Spare a thought for the lonely plight of vampires.

These tormented souls are cursed to loiter in shadows, walking the earth for all eternity while the people they love grow old and die.

Persecuted and misunderstood, these creatures of the night ask for so little: the occasional buxom wench to desiccate, an excellent dental plan.

Instead, vampires are mercilessly hunted for sport, doomed to a splash of holy water or an unsightly stake though their withered heart.

To add insult to injury, a nice relaxing holiday in the sun is simply out of the question.

Adapted from the graphic novel by Steve Niles and Ben Templesmith, 30 Days Of Night attempts to redress the balance, unfolding in the icy wastes of Alaska, one of the few places where the dawn of a new day is met with uninterrupted darkness.

Vampires can run free in this winter wonderland - they don't even feel the nip of the cold.

Their only demand is that they be allowed to senselessly slaughter the odd isolated community.

Sadly, even in sub-zero temperatures, the human protagonists of David Slade's bloodthirsty ice-capade find the courage to fight back against the toothy interlopes.

It's the last sunset in a month for the residents of Barrow, Alaska, before the entire area is plunged into darkness for 30 days.

Most of the locals head south but Sheriff Eben Oleson (Josh Hartnett) and his estranged wife Stella (Melissa George) are compelled to stay.

A flock of vampires led by Marlow (Danny Huston) and two of his most devoted minions Arvin (Andrew Stehlin) and Iris (Megan Franich) descends on the town, ready to feast on the stragglers, Eben must lead the inhabitants to safety and hold out until the light returns.

30 Days Of Night sinks its teeth into a simple, neat premise and just about sustains dramatic momentum for the best part of two hours.

Performances are variable, not least Hartnett's lawman, who somehow commands respect from his fellow citizens even though he barely looks old enough to hold office.

George is a sparky sidekick, never shy of an argument while Huston babbles in a nonsensical archaic tongue as the chief villain.

Director David Slade enjoys spattering the pristine, snow-laden sets with lashings of blood, including an impressive aerial shot of the town dotted with the still-twitching bodies of slain locals.

The dark, eerie locales provide plentiful opportunities for vampires to swoop into shot for cheap scares, but some of the editing is too frenetic, making it difficult to keep track of who is gnawing whom.

Convincing make-up provides many of the actors with razor-sharp grins and distended pasty features, as well as black soulless eyes.

They dress to distress.