After numerous infractions, Bud Jablonski (Jamie Foxx) is kicked out of the vampire hunters’ union – an organization where the slaying of the undead is conducted according to strict rules. These hunters make a living by selling valuable vampire artifacts, namely their teeth. Soon, Bud discovers that his wife plans to leave Los Angeles with their daughter unless he can provide financial support. Thanks to his friend and fellow hunter, Big John (Snoop Dogg), Bud is granted temporary membership, but he’s now forced to hunt alongside Seth (Dave Franco), a union representative tasked with documenting any violations.
Jamie Foxx as Bud in “Day Shift”
Netflix continues its relentless production of genre films. However, their streaming content, like the broader shift from theatrical blockbusters to home entertainment, has acquired negative connotations. Even casual viewers often express disappointment with Netflix’s attempts to revive old-school genres, as seen with the recent criticism of “The Gray Man.” “Day Shift” ventures into the realm of vampire hunter action flicks, a genre that peaked in the late '90s and early '00s. One might ask, “Is there life after ‘Blade’?” Considering examples like “Abraham Lincoln: Vampire Hunter,” the low-budget “Priest,” and the repetitive “Underworld” franchise, the answer seems to be a resounding no. Yet, this doesn’t deter producers and writers from revisiting vampire hunter stories, seemingly oblivious to the tired clichés that plague the genre. Apparently, there’s still a steady demand for vampire-related content, both in terms of audience expectations and within the narratives themselves, where hunters profit from slaying the undead.
Scene from “Day Shift”
A Promising Premise Falls Flat
“Day Shift” marks the directorial debut of J.J. Perry, a stuntman with experience on major blockbusters like “Avatar” and “Fast & Furious 8.” Unfortunately, the film fails to deliver on its promise of a '90s-inspired action spectacle, becoming bogged down by plot contrivances and overused tropes. The vampire hunter is, of course, a lone wolf haunted by a traumatic past or family troubles (in this case, the latter). For comedic relief, he’s paired with an insecure sidekick, the butt of numerous jokes. These gags, predictably, become repetitive (count how many times Dave Franco’s character’s soiled pants are mentioned and note when it stops being funny). As for the vampires, their antagonistic nature is only superficially explored, with the villain being a real estate agent (Karla Souza) dreaming of a vampire paradise in sunny California. The vampires themselves are poorly rendered, courtesy of the visual effects department, turning them into characters from a cheap exploitation film. The climactic battle is particularly disappointing, revealing the film’s shortcomings.
Missed Opportunities and Familiar Tropes
Dave Franco as Seth in “Day Shift”
However, Perry’s film attempts to justify its runtime with the comedic chemistry between Jamie Foxx and Dave Franco (the seasoned pro teasing the rookie as they navigate vampire territory), a visually appealing aesthetic, and Snoop Dogg in a cowboy hat mowing down creatures with a machine gun. Why not indulge?
The initial excitement quickly fades into routine. Watching the vampire hunts becomes less engaging than the duo’s verbal sparring, and the “John Wick”-style choreography with vampires fails to live up to expectations. The film lacks the relentless pace that would keep viewers glued to their seats. Fighting vampires is depicted as a tedious and mundane task, much like the life of an office worker. The characters themselves acknowledge this, spending time within the organization’s walls, tallying violations, issuing fines, and engaging in tiresome meetings with superiors. The film touches upon, but fails to fully explore, the idea of vampire extermination becoming a bureaucratic system integrated into the functioning of capitalism.
Karla Souza as Audrey in “Day Shift”
A Disappointing Climax
Perry approaches the long-awaited action with enthusiasm, but the effect is delayed. By the second hour, the acrobatic feats of the vampires, dismemberments, bone-breaking, and close-range shooting become tiresome. “Day Shift” attempts to emulate the success of “Zombieland” with its energy, bloody humor, and brutal hunters protecting humanity. However, Perry is constrained by the limitations of Netflix’s entertainment model. The result is content, not a film, automatically relegated to background viewing. A film that promises a fun time is ultimately devoid of fun, even when Jamie Foxx battles a vampire grandma.