Time Out by Joshua Rothkopf

A darkly stylish horror film.

Charlotte Observer by Lawrence Toppman

Daybreakers is more serious, from its A-list cast to its political commentary, with blood as a metaphor for oil. Like the best genre films, it has something on its mind.

Chicago Tribune by Michael Phillips

Peter and Michael Spierig's earlier, campier horror outing, the zombie picture known as "Undead," was even bloodier than this one. The movie-makers are after bigger game here, and a subtler mixture of speculative nightmare and action film.

Philadelphia Inquirer by Steven Rea

While the characters are B-movie thin, the dialogue standard-issue, and the CG and matte effects only passable at best, it's undeniable fun to behold the likes of serious thespians Hawke and Dafoe slumming around in this cheeseball stuff.

Boston Globe by Wesley Morris

Daybreakers has unexpected flashes of brilliance.

The Globe and Mail (Toronto) by Rick Groen

The symbolism is about as subtle as a fang to the neck. Really, Daybreakers is more fun than foreboding; it's fright-lite, yet that's par for the bloody course in these busy apocalyptic days.

ReelViews by James Berardinelli

On balance, however, there are more things to like about Daybreakers than to dislike. The production is loaded with impressive touches, some more nuanced than others.

Chicago Reader

Just when it seemed as if the vampire narrative had degenerated into terminal suckitude, along comes this gleefully gory little gem.

Arizona Republic by Bill Goodykoontz

Daybreakers isn't a great film, but it's a good one, and in a market oddly lousy with vampire tales, it's an original.

Chicago Reader by Cliff Doerksen

Just when it seemed as if the vampire narrative had degenerated into terminal suckitude, along comes this gleefully gory little gem.

The New York Times by Jeannette Catsoulis

The narrative may flag, but the doomsday atmosphere and George Liddle’s production design remain vivid until the final, blood-splattered reel.

Austin Chronicle by Kimberley Jones

It’s a little bit silly – as is Dafoe’s Kentucky-fried cowboy mechanic named Elvis – but silly is fun. In fact, one wishes it were sillier still.

Chicago Sun-Times by Roger Ebert

This intriguing premise, alas, ends as so many movies do these days, with fierce fights and bloodshed.

Empire

Lots of interesting concepts competing for limited running time make for more of a TV pilot than a feature film.

Variety by Dennis Harvey

The script doesn't wring many surprises or much character involvement from the premise, and the brothers' helming, while slick, is short on scares, action setpieces and humor.

Entertainment Weekly by Owen Gleiberman

Daybreakers turns?into a ponderous apocalyptic chase film -- it's like "Children of Men" with exploding-plasma shock effects.

Village Voice

Wearisome "Ain't it cool?" video-game splatter-violence is all that's memorable of the action, while a (mixed) metaphorical subtext of conservationism can't save a text that squanders its actors.