This seems to be one of that rare breed -- a vampire film with emphasis on mood and storyline, rather than a gorefest like, for example, John Carpenter's Vampires. I'm thinking particularly of the twist involving the deadly virus poised for release and the several secrets and betrayals on both sides of the conflict between the rogue vampire and the alliance of humans and peaceful vampires. The self-conscious allusions to other examples of the genre should tip off viewers that this movie is not in the traditional mode of such films and that "vampire rules," whatever they are, do not apply. If you're a stickler for rules, look elsewhere. The blue filter over the camera lens, the dried leaves and black panther in Lucy's gothic mansion, the retro set design, and so on are there to create a mood, not simulate reality. After all, the concept of vampires is in its very nature an eerie dream; this movie treats it accordingly. There are some thoughtful lines, such as pasty-faced Aaron's response to his warm-blooded partner's curiosity about what it's like to suck human blood. That's a place you don't want to visit, he says, leaving his meaning up to the viewer and therefore allowing as complex a meaning as you are capable of giving it. Sure, the fog effects are overdone, Serenity looks pretty depressing, and Woodbine was miscast. This is not a perfect film. It's a B-grade monster movie with the courage of its convictions plus points for originality and some style into the bargain.
