Day Shift reviews came out, and critics were divided about the vampire comedy thriller by Jamie Foxx and Snoop Dogg


Summer is a great time to watch funny action movies, and this year has been quite successful. But among all the fighter jets, dinosaurs and bullet trains, can we all agree that there is always room for more vampire movies? Netflix is here to answer the call with Day Shift. And while we’re not talking about “Twilight” here (the “Day Shift” trailer pokes a little fun at the shiny vampires), it looks like it’s going to bring a lot of laughs and some pretty wild vampire acrobatics thrown in for good measure.

The film starred Jamie Foxx and Dave Franco (check out CinemaBlend’s exclusive interviews with the “Day Shift” actors here!), as well as Snoop Dogg, who was personally chosen by Fox. Critics have seen the film, and although “a buddy cop movie where Jamie Foxx and Snoop hunt vampires” sounds like a good endorsement in itself, I think we should let the professionals do their thing. Let’s look at the reviews, starting with CinemaBlend’s Day Shift review. Eric Eisenberg rates the Netflix movie 1.5 stars out of 5, saying that while it’s definitely bright, the movie is also lazy and scattered, resulting in a really boring end product.:

Directed by J.J., “Perry’s Day Shift” is a movie that seems to be written on a computer. The words and phrases “cop buddies,” “vampires,” “Los Angeles,” and “John Wick-style action movie” were dumped into the car, and this scenario is what was spat out. This is a general mess in his performance from opening to closing, and only further confuses the fact that he stumbles upon interesting ideas, but then clearly does not know what to do with them (leaving them abandoned and never developed further than their introduction).

Lovia Gyarkye of The Hollywood Reporter doesn’t exactly approve of the project, calling it “passable popcorn entertainment.” The critic says that the “Day Shift” is pleasant enough if the audience does not attach too much importance to it, and the barbs and witticisms of the main trio make the characters worthy of support:

The neat script and energetic cast — Fox, Snoop Dogg and Dave Franco — all enliven the everyday rhythms of the story and add characteristic comedic touches —mean that viewers can look forward to a good time, even if they don’t remember much after the credits.

Chris Evangelista from SlashFilm rates it 5 out of 10, saying that Day Shift succeeds in its action, but, as other critics note, does not develop its most interesting ideas. It’s harmless enough, and Jamie Foxx plays well, even if his character is a bit one-dimensional. From the review:

I really liked the hierarchy and hints of politics taking place in the vampire/hunter world. But “Day Shift” doesn’t devote enough time to this, and instead relies heavily on unfunny jokes and a hasty script. … Franco’s character is like a fish out of water, constantly annoying to the point that he begins to harm the film. And it doesn’t make much sense for Bud [Jamie Foxx] to be so ruthlessly cruel to Seth [Dave Franco] at every turn when he’s here, since Seth is the guy evaluating him and his only chance to get back into the Union. .

Sam Stone from Comic Book Resources says that the film will delight viewers on sultry summer days. While it’s certainly not an attempt to discover something new, there’s enough blood and comedy-and plenty of action—in it to make it arguably one of the best Netflix original films of this summer. The critic says:

“Day Shift” is a movie that knows exactly what it is, and the audience should know too when they watch it; it’s not a movie seeking to change the horror game, but simply to provide a blood—soaked thrilling ride. If the sight of Snoop Dogg walking around Southern California in a rag and a cowboy hat, casually waving a chain gun, is not a demonstration of the undead, then this film revels in the excessive possibilities of the genre and does not ask viewers to think particularly seriously about what they see. Come to the vampire slaughterhouse and watch Fox’s fascinating banter and chat with his on-screen friends and family.

However, Todd McCarthy’s review from Deadline is more in line with CinemaBlend’s review, as the critic says that the script never fits the case of the action proposed by J.J. Perry’s fighting scenes and the whole film is a “hodgepodge with a national hodgepodge”:

Since the screenwriters are apparently just coming up with something while they’re working, with no way to rewrite, the film spins in one direction, and after a few moments falls through in another, gestures that seem designed more to preserve the wild and often incomprehensible actions taking place on the screen than to create any dramatic meaning. A few more passes through the script could only help.

Critics seem a bit contradictory, many want more from the script, despite their positive reviews of the action.


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