Vamps in SoCal? Makes sense.
When it comes to an action scene, J.J. Perry knows what he’s doing. That’s why it’s no surprise that his directorial debut, Day Shift has some of the best fight scenes I’ve seen in any other vampire film. In fact, to ensure that the scenes stood out, the filmmaker employed actual contortionists and performers who had experience performing in acts such as Cirque du Soleil. Less than three minutes into the film, we see Jamie Foxx’s character, Bud Jablonski, in a memorable fight scene with a vampire that lets the viewer know off the top — this ain’t the vampires you’re used to. Unfortunately, that introduction is the very thing that leaves the viewer with more questions than answers and a bit of a void at the end of what could’ve been the next blockbuster vampire film.
Day Shift follows Bud Jablonski, a vampire hunter who hides his extracurricular activities by fronting as a pool cleaner. When Bud’s estranged wife Jocelyn (Meagan Good) threatens to move to Florida for financial reasons, taking their daughter Paige (Zion Broadnax) with her, Bud has to act fast to come up with enough cash to get her to stay. The only problem is since Bud’s been kicked out of the international union of vampire hunters for code violations, he has to rely on black-market buyers like Troy (Peter Stormare) to sell the teeth of his latest vampire killings. After realizing the black market isn’t going to give him the kind of cash he needs, he asks his longtime vampire hunting friend Big John (Snoop Dogg) to help him get reinstated into the union. Ain’t no wages like union wages, amirite?
Bud’s union boss Seeger (Eric Lange), is determined to make rejoining the union impossible for Bud and only agrees on the condition that squeamish union rep Seth go along to chaperone. Things look hopeful until Bud manages to piss off Audrey (Karla Souza), a realtor who also happens to be the most powerful vampire in SoCal.
It makes sense why John Wick franchise director Chad Stehelski would rally behind this production; many things work in the film. We’ve already touched on the fight scenes that look more like hardcore ballet; it’s violent but beautiful at the same time and shows Perry’s expertise in the field.
Another major win for the film is the vampires. These are not the bloodsuckers we’ve seen before, and they aren’t glistening like diamonds in the sky, nor are they easy to take down. In the first fight scene with Bud and some old lady, seconds after the vampire hits the floor, we can see that her body is somewhat deflated before it springs back to life, bones cracking back into place as her wounds heal. Her human facade fades to reveal a vampire that looks like a cross between the vampires from Van Helsing and zombies.
The film pulls from traditional lore to set the foundation for their vampires. They’re invisible in the mirror, still repelled by garlic, they’ll burn in the sun, and can be killed by a wooden stake or decapitation. Some cool things about these vampires are that they are separated by five species: Juvenile, Eastern, Southern, Uber, and Spider. Juvenile vampires or “juvies” or “zombie vamps” are vampires created by an already young vampire. They lack regenerative abilities and look more like zombies, hence the nickname. Eastern vampires have long-centered top teeth like 1920s Nosferatu. Uber vampires are at the top of the food chain, the oldest and the strongest of all the vampires. So powerful, in fact, that some can come back from being decapitated.
We learn that vampires can’t live without their fangs, and when they die, they emit a gas that other vamps can smell in seconds. Bud even references “familiars,” humans who hang around vampires hoping to be turned (shoutout to Blade). But, all these cool facts and tidbits also work against the film.
Day Shift sets up what would be considered a beautiful canvas for new stories of vampires and hunters but never actually explains what’s happening. As the film continues, the story moves so fast that it forgets to answer the questions it creates. It jumps around and throws out random plot points that serve as a crash course in their world of vamps, but the worldbuilding wasn’t entirely completed.
The only reason I can think of is that this will be one of many in a franchise of Day Shift films, which could totally work. Between Perry’s artfully crafted action sequences, Jamie Foxx’s impeccable comedic timing, and a cast with magnetic chemistry, there’s no reason why we can’t get more from these creators. Ultimately, Day Shift is a great summer, easy-to-watch action comedy for people looking for a low-stakes film to invest their time in. If you’re the kind of vampire fan that remembers every demon that ever crept out of the Hellmouth on Buffy the Vampire Slayer, you might get a little frustrated from the lack of plot and unrealized worldbuilding.
Day Shift is streaming on Netflix.
Rating: 3.5 out of 5 stars
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