Cast: Cuba Gooding Jr., Moira Kelly, Omar Epps, Martha Plimpton, Alice Drummond
Director: Stephen Tolkin
Producer: John Bard Manulis
Screenplay: Stephen Tolkin based on the play Beirut by Alan Bowne
Cinematography: Tom Sigel
Music: Michel Colombier
Released by: HBO Showcase
Daybreak, a made for HBO movie, tells the story of a group of anti-government rebels. The film transpires in a "near future" New York City during a time when a sizable portion of the country's population has become infected by a fatal sexually-transmitted disease. Those so diagnosed are put into concentration camp "care centers". Getting caught escaping from one of those places results in execution. In the midst of this bleak landscape, Blue (Moira Kelly) meets Torch (Cuba Gooding Jr.), a rebel leader. Immediately attracted to both his person and his cause, Blue seeks to join the band. She finds out, however, that the work involved is far more violent and dangerous than handing out seditious literature.
Daybreak is easy to review, because its strengths and weaknesses are obvious, and there are far more of the latter than the former. Supposedly a science fiction tale, Daybreak is actually a morality play. Although AIDS is never mentioned by name as the "mysterious" disease that afflicts the nation's population, it doesn't take much guessing to arrive at that conclusion.
This film can be divided into two parts -- a staggeringly bad first half that is mostly action/adventure and a stronger second half which focuses more on dramatic issues. As is almost always the case with short (89 minutes) motion pictures that try to do a lot, the pacing of Daybreak is wildly erratic, leading to a degree of viewer alienation that is undesirable with the remote controller so close. This isn't a theater where you have to walk out to get away from the movie.
At any rate, the initial forty-five minutes of Daybreak are saddled with a predictable plot and weak characterization. By waiting for the second half to delve into the characters' personalities, the film strands its audience with a group of people that we don't know or care about. Daybreak also has an annoying tendency to make everything -- people and situations -- all good or all evil. There aren't many "gray areas" here.
A single, long dramatic scene in the second half almost saves the movie. However, even though it's tense and emotional, this exchange between Blue and Torch comprises only 20% of Daybreak's running time. The action scenes are probably meant to add excitement to the movie, but they're too pedestrian, and danger without well-drawn characters is more routine than entertaining.
While few will deny that the message of Daybreak -- the danger of intolerance and misunderstanding -- is worthwhile, similar themes have been previously presented far more effectively. One thing that Daybreak does well is give us an interracial romance where skin color is a complete non-issue. Even as this story probes intolerance against AIDS victims, it erases racism. There isn't the usual clash of cultures, since Blue and Torch obviously come from similar economic and social backgrounds.
The acting is variable. While Cuba Gooding Jr (Boyz 'N the Hood). and Moira Kelly (The Cutting Edge) are generally convincing, there are isolated instances when their performances falter. Nevertheless, given the difficulty of acting with such a banal script, Gooding and Kelly deliver surprisingly heartfelt -- and occasionally powerful -- performances.
Daybreak is one of those message-oriented science fiction films that doesn't do a very good job when it comes to drama or action. Despite a fascinating premise and a competent cast, the movie is poorly executed, and the presence of one powerful, emotive scene isn't enough. On the whole, the sun never rises on Daybreak.
© 1993 James Berardinelli