We're still a ways off from a new Blade film, and a new John Wick entry won't arrive until next year. So why not combine the best of both worlds in the comfort of your own home?
Academy Award winner Jamie Foxx stars in Day Shift as Bud, an L.A. vampire hunter. Kicked out of his union for getting sloppy, he's hoping to get back in their good graces with another job that holds a big payday. There's also some heart-tugging nonsense about reuniting with his daughter. But really, this is about guns, decapitations and kicking ass. Joining his crew are Dave Franco as the persnickety Seth and Snoop Dogg as Big John. (I let out an audible whoop when I saw him pull out a gatling gun to mow down a bunch of vampires.)
J.J. Perry makes his directorial debut here. He previously served as second-unit director on a lot of low-budget action movies over the last decade, but most importantly worked on the first two John Wick films and the two most recent Fast and Furious films. Even if the movie isn't all it can be, the stunt work should be extraordinary.
Day Shift premieres exclusively on Netflix on August 12.
About Kip Mooney
Like many film critics born during and after the 1980s, my hero is Roger Ebert. The man was already the best critic in the nation when he won the Pulitzer in 1975, but his indomitable spirit during and after his recent battle with cancer keeps me coming back to read not only his reviews but his insightful commentary on the everyday. But enough about a guy you know a lot about.
I knew I was going to be a film critic—some would say a snob—in middle school, when I had to voraciously defend my position that The Royal Tenenbaums was only a million times better than Adam Sandler’s remake of Mr. Deeds. From then on, I would seek out Wes Anderson’s films and avoid Sandler’s like the plague.
Still, I like to think of myself as a populist, and I’ll be just as likely to see the next superhero movie as the next Sundance sensation. The thing I most deplore in a movie is laziness. I’d much rather see movies with big ambitions try and fail than movies with no ambitions succeed at simply existing. I’m also a big advocate of fun-bad movies like The Room and most of Nicolas Cage’s work.
In the past, I’ve written for The Dallas Morning News and the North Texas Daily, which I edited for a semester. I also contributed to Dallas-based Pegasus News, which in the circle of life, is now part of The Dallas Morning News, where I got my big break in 2007. Eventually, I’d love to write and talk about film full-time, but until that’s a viable career option, I work as an auditor for Wells Fargo.
I hope to one day meet my hero, go to the Toronto International Film Festival, and compete on Jeopardy. Until then, I’m excited to share my love of film with you.