Day Shift

Release: Friday, August 12, 2022 

👀 Netflix

Written by: Tyler Tice; Shay Hatten 

Directed by: J.J. Perry

Starring: Jamie Foxx; Dave Franco; Meagan Good; Natasha Liu Bordizzo; Eric Lange; Karla Souza; Snoop Dogg

Distributor: Netflix

 

 

**/*****

A stuntman of many years, J.J. Perry sinks teeth into his first directing effort with Day Shift, a fun but forgettable vampire-themed action/comedy. For the most part this cartoonishly violent send-up plays the way you would expect from someone whose experience lies more on the technical side of things. Day Shift is mostly style over substance with a few clever spins on vampire mythology thrown in.

The goofy story revolves around Bud Jablonski (Jamie Foxx), a cash-strapped family man who cleans pools in sun-drenched SoCal as a cover for his real job as a vampire hunter. A protracted and vicious fight sequence early on proves he’s highly skilled and capable of defending himself. But he also seems to prefer doing things his own way. His off-the-book methods have led to his dismissal from the Union, which operates by a strict code of conduct, and his odd hours and constant excuses have created a rift in his family. Ex-wife Jocelyn (Meagan Good) is giving him a week to come up with $10k to cover their daughter Paige (Zion Broadnax)’s private school tuition and braces or she is putting Bud in her rearview once and for all. 

Meanwhile Audrey (Karla Souza), a powerful vampire posing as a real estate agent, has infiltrated the local market with plans of restoring the balance of power between her fellow bloodsuckers and the humans who now hunt them for their fangs. Souza is a game participant, chewing the scenery as a hammy villain who laments how the mighty have fallen. Sadly the script reduces her grand ambition to a predictable and boring revenge plot. When Audrey gets a whiff that Bud’s recent kill is none other than her daughter, she makes it her life’s work to draw even.

Unsurprisingly, like the vampires in this brave new world, it is the stunts that rule the day as well as the night. Brutal confrontations come thick and fast, whether it’s a one-on-one beatdown with an elderly woman or a tag-team effort in bringing down a stronghold. However not all of the stunts pulled are over-the-top fight sequences in which the dead and the living alike are tossed across the room like rag dolls. Supporting characters are their own spectacles, be it Eric Lange adorned with the world’s worst wig as grouchy union boss Ralph Seeger or Snoop Dogg busting out the snakeskin boots as Big John Elliott, a vaunted union member whose get-up hints at a myth never fully explained.

The union is Bud’s best chance of making the money in time, and Big John has the kind of clout necessary in getting him reinstated. But of course there are caveats. The rogue cowboy will have to work the less profitable day shift while being chaperoned by union rep Seth (Dave Franco), who will report directly to Seeger any and all code violations his partner is sure to commit. If only the avid rule-abiding accountant can avoid developing a conscience and/or devolving into a mess of involuntary bodily functions when things get real.

The pairing of Foxx and Franco is a curious one but it is let down by the hackneyed script from Tyler Tice and Shay Hatten. The odd-couple dynamic feels forced and never allows the actors to build convincing chemistry together. Franco is sentenced to making a fool of himself while Foxx gets to look stoic and heroic busting heads (or severing them in this case). Though the ultimate gag may be the very idea of casting the notoriously intense alpha male actor in a movie this absurd. The guy who once portrayed Ray Charles to Oscar-winning effect may not get turned into a comedic punching bag, but he does at one point get to experience that unique sensation of being thrown up a flight of stairs.

Day Shift certainly is colorful, and in more ways than one. Toby Oliver’s cinematography bathes the San Fernando Valley in an exaggerated color palette and like Souza’s super-vamp and her sense of fashion it calls just a bit too much attention to itself. The action pops, as do various joints and limbs thanks to the radical new vampire concept — think street contortionists, not so much Dracula. I guess you have to appreciate the little things here. The milieu is whacky (I love the idea of a pawn shop trading in vampire teeth, and treasured character actor Peter Stormare being the guy behind the counter). In the end Perry’s vision has spurts of imagination but rarely at a storytelling level.

Please don’t get all bent out of shape but I have to re-kill you.

Moral of the Story: Knowingly silly, Day Shift plays up the vampire mythology to mildly entertaining effect but with a smarter script it could have been a Zombieland, which is already what it feels like it’s going for. It has that same kind of hyper energy. Unfortunately it lacks the strong characters that could have made it more memorable.

Rated: R

Running Time: 113 mins.

Quoted: “So you just gonna light your finger on fire, huh?”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; http://www.imdb.com 

Zombieland: Double Tap

Release: Friday, October 18, 2019

👀 On Demand

Written by: Rhett Reese; Paul Wernick; Dave Callaham

Directed by: Ruben Fleischer

Starring: Jesse Eisenberg; Woody Harrelson; Emma Stone; Abigail Breslin; Zoey Deutch 

Distributor: Sony Pictures

 

 

***/*****

I’m not much of a zombie guy but I have a lot of time for Zombieland. The original, now over a decade old, was this fun little hang-out movie set at the end of the world, a nice, self-contained story that took the zombie threat about as seriously as any movie needs to in my opinion. Its energy was propelled by banter and pop culture references almost in equal measure, as a group of strangers tried to survive a particularly bad outbreak of a disease that turned cows mad and people into, well, ravenous bloodthirsty creatures.

The last time we saw the old crew, they — the rule-making Columbus (Jesse Eisenberg), Twinkie-loving tough-guy Tallahassee (Woody Harrelson) and the clever and resourceful sisters Wichita (Emma Stone) and Little Rock (Abigail Breslin) — were leaving the scene of a major zombie beat-down at an amusement park somewhere in California. It seemed to me and I think to pretty much everybody that this was a natural end to their story. Clearly director Ruben Fleischer didn’t have enough closure and in 2019 he dropped the long-not-awaited sequel, hoping to recapture at least some of the magic from the first.

As it turns out, he was on to something.

When it comes to style, Zombieland: Double Tap — the name is inspired by Rule #2 in Columbus’ handy little survival guide — definitely has it. That’s because it is pretty much the same movie, now with Homers, Hawkings and T-800s (suborders of zombie that are hilariously dumb, horrifyingly intelligent and near-impossible to kill, respectively) thrown in the mix. The flashy presentation is a carbon copy, right down to certain camera angles and motifs — scenes of Woody Harrelson briefly losing it in a fit of rage and of gnarly zombie kills choreographed sublimely to the blasting guitars of Metallica . . . oh, and the neat little thing the editors do with the on-screen text, integrating words into the environment in some really creative ways.

It’s the way Fleischer justifies all the time in between that makes Double Tap a surprisingly substantive and sentimental update. It helps to have your entire original cast return and to have the caliber actors who can easily slip back into character like no time has passed and yet still convey that it has. This is a sequel that not only benefits from consistency, but a natural sense of evolution. While most of them don’t look like they’ve aged (and Eisenberg is almost comically eternally boyish), Abigail Breslin was a mere 12 years old at the time Zombieland was filmed. The young actor has done the most growing up and shrewdly Fleischer and his writing team offer the sequel as a coming-of-age story where, effectively, every A-lister in the movie defers to her arc, even Eisenberg and Stone, whose Columbus and Wichita are dealing with their own little fall-out after the former proposes the one thing that scares the latter more than any zombie — marriage.

Through a combination of cabin fever and having tired of Tallahassee’s overly protective quasi-parenting, Little Rock desperately seeks independence, eventually crossing paths with a pacifist named Berkeley (Avan Jogia) who whisks her away to this zombie-free utopia called Babylon where guns and troublemakers are the only things unwelcome. The resulting movie becomes another cross-country adventure that, along with culturing the viewer in the diaspora of post-apocalyptic American landmarks, introduces some solid new supporting characters en route to reuniting with Little Rock.

Thomas Middleditch and Luke Wilson pop up briefly, mostly to get turned into zombies, but not before serving up a surprisingly effective and protracted doppelgänger gag, while Rosario Dawson is in as Nevada, who is pitched not just as an obvious savior for Harrelson’s lonely soul but also his intellectual/emotional equal — one of my out-and-out favorite scenes in either movie is the hostile manner in which they first meet near Graceland.

And we may have lost Bill Murray along the way, but Double Tap does counter-offer Zoey Deutch in what is easily the movie’s stand-out performance, playing this total space cadet named Madison who, relative to this narrative at least, comes from a shopping mall freezer and adds this whole other whacky dynamic to the mix. Instead of being an annoyance her dumb-blonde archetype is the movie’s revelation and I for one would recommend the movie on her contributions alone. Her Madison becomes a part of the crew’s growing pains and really inspires some good reactions from Emma Stone.

Anyone who has sat through a Zoolander 2 or a Dumb & Dumber To or — yikes! — an Independence Day: Resurgence knows not to trust the ten-year belated sequel. In fact it almost feels like Double Tap breaks the rules by actually being good, that oh so rare justified sequel that delivers both on world-expansion and character growth while never abandoning the breezy narrative formula that made the original a hit. With a cast this good, it’s easy to keep the good times rolling even when the world is falling apart around you.

I know. I know it’s a spoiler. But it’s just too good not to share.

Moral of the Story: I’m having serious debates with myself over which movie is better. I’m actually leaning toward the sequel. Think about it. A sequel has to do something extra just to draw even with, be as good as, its predecessor. A good original movie debuts with no standard set against it. Double Tap has to overcome familiarity and it does that really well by introducing some quality new characters and perhaps most importantly by keeping the tone light. There’s a version of these movies that could be really dark, like The Road dark; remembering back to Columbus’ narration in the original about how everyone has been made an orphan in the wake of the virus. But these are stoner comedies of equal value. The fact Double Tap outgrossed its predecessor might be the strongest testament to that.

Rated: R

Running Time: 99 mins.

Quoted: “There I was, hiding in the woods, when I thought, ‘I used to live in a freezer, so why not a freezer on wheels?”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: IMP Awards; IMDb