Reviews
‘Night Patrol’ Review: Vampiric Cop Horror Undone by Messy Execution
I really wanted to love Night Patrol. And to be quite honest, I did for the first 40 minutes or so. The set up has the right amount of intrigue, the characters have great potential and chemistry, and the world building begins to polish its concepts nicely around its midpoint. But as this action horror exploitation film progresses, strange choices in the screenplay and editing tarnish what it sets up.
What you’re fed is filling at first, but soon the cup runs dry. While its final moments do feel grand and fun, they are undoubtedly clumsy. And though Night Patrol’s chances of garnering a cult following seem highly likely just for the niche concept it hits on, the back half of the film leaves a sour aftertaste that makes it hard to enjoy as easily as most cult classics.
Night Patrol Sees Gang Members Take On Vampiric Cops
Crip Wazi (RJ Cyler) has his night take a sharp turn for the worse after a hookup with his Piru lover gets interrupted. But his misfortune isn’t from members of either gang spotting them: it’s the LAPD who arrive on the scene. What starts as a stop and search turns bloody fast as the mysterious unit of cops known as Night Patrol kill her suddenly. The newest member, Hawkins (Justin Long), doesn’t flinch as he becomes part of the deadly police gang in ritualistic fashion.
Narrowly escaping the encounter, Wazi returns home to the Colonial Courts to try and get help from the local Pirus, led by Bornelius (Freddie Gibbs). The plan is to avenge their own, but the entire neighborhood ends up in the crosshairs of the monstrous task force. Where the residents see a place and people to protect, Night Patrol sees little more than a chance to feed on its black and brown citizens.
A Strong Cast Led by RJ Cyler Delivers
At its core, it’s a solid concept: rival gangs band together with guns and African mysticism to fight some literal blood-sucking racist cops. If Pirus and Crips all got along, they might be able to gun down some vampires by the end of this movie. Its fun ideas are matched with an eclectic but appropriate cast: Freddie Gibbs, Flying Lotus, RJ Cyler, Justin Long, Dermot Mulroney, and most surprisingly of all Phillip Brooks, who you might know as WWE superstar CM Punk. Cyler, star of The Harder They Fall, very much carries with his performance here as he did there. He gets to show his emotional range throughout the film and works well with what he’s given. He’s only outpaced by Gibbs in terms of entertainment for the sheer number of great reactions Bornelius gets.
Justin Long’s physical performance oscillates from impressive to underwhelming here, but he is about as compelling as Cyler, all things considered. One scene in particular where he has an emotional outpouring as he discovers what Night Patrol is really all about struck hard. Brooks also manages to sell his vitriolic bastard of a character well, putting another mark down on his resume as a welcome sight in horror going forward.
A Clever but Confused Script
But unfortunately, fun performances can’t make up for the feet of clay the movie stands on. Its true weakness is in its storytelling and editing, which chops scenes and sections of the film up in a way that’s impossible to ignore.
Now, credit where it’s due. On a meta-textual level, the script has some clever flourishes. Its Black characters don’t start the movie on the back foot, intimately aware of the existence of Night Patrol, even if they can’t pin down exactly what kind of monsters they’re up against. There’s something to be said here of what it reflects: the acute awareness Black Americans are forced to have about the dangers of interacting with the wrong police officers and being at the mercy of violent policing.
The characters arm themselves well, they don’t walk into scenarios recklessly or leave themselves open to be torn apart (at least, not until late in the film). Wazi’s mother who evangelizes on the Zulu peoples and their occult knowledge, has been preparing for them for a long time. And when the vampires show up at their doorstep, the counter-offensive is quick.
In Spite of Night Patrol’s Charm, It’s A Plot Stretched Too Thin
I bring this up because, for as thoughtful and clever as that all is, those quality decisions highlight the uninspired and dull ones as well. The plot is still undeniably stretched out in an odd way. Part of the problem is the fact that there are effectively three different main characters in this story: Wazi, Hawkins, and Xavier (played by Jermaine Fowler). Xavier is Wazi’s cop brother, and Hawkins’ partner before he joins Night Patrol, making him the bridge between the two. But it’s a rickety bridge, and little care is paid to Xavier as a character who is one-dimensional in the end and really just human shaped fuel to keep the plot going. Hawkins gets a similar demotion later on but at least gets to be part of the ending and have a decent amount of screentime.
This problem of a plot stretched thin between characters is exacerbated by a slightly bloated runtime and a very disorderly rearrangement of scenes that plagues its back half. The characters have interactions in the third act that should have been established in the first or second. Expository and comedic beats that don’t fit the dire nature of the situation make for tonal road bumps. In some cases, continuity of where characters were and what they said is thrown out the window entirely. There’s a big reveal for comedic effect in the film’s last scenes, but its undercut by what a character said just minutes prior spoiling the joke.
A Nightmare of Editing Hamstrings Ryan Prows Fantastic Directing
Director Ryan Prows has proven himself highly competent in the past with his feature Lowlife, and his handling of the camera in this film is no different; it even indicates some serious growth. He has a firm grasp of lighting his locations and framing his characters, he’s good at setting a tone. I particularly love how he handles the sequence where the cops inevitably and violently storm the Colonial Courts. It manages to be highly stylized while capturing the genuine horror of the attack, and he demonstrates a clear sense of balancing those cinematic elements. He is, without a doubt, highly skilled.
But unfortunately, the way that Night Patrol is plotted, paced, and cut together tears apart and reassembles Prows solid vision, taking what could be a great horror film and seriously hamstringing it. It’s a flesh golem of great ideas, stitched with the right organs in the wrong places—and some of its guts missing altogether by the time those credits roll.
As much as I love horror, genre fans can be a bit…gatekeepy. Over the years, we’ve seen prominent comedy legends dip their toes into horror (Jordan Peele, Chris Rock, Danny McBride) to varying success. Many genre fans want nothing to do with comedy legends getting into horror, though for Peele and Rock, there’s probably another reason people look down on their horror films. We’ve seen something similar the past few years with YouTubers getting into the horror game as well; why are horror fans so weird about who writes/directs horror films? But what many people don’t know is that one of found footage’s most powerful films was created by a truly incredible non-genre filmmaker. So, how exactly did The Bay come to be?
The Bay’s Found Footage Story and Plot Breakdown
Investigative reporter Donna Thompson (Kether Donohue) finds herself in the crosshairs of one of the 21st century’s most prominent stories. Denizens of Clairidge, Maryland, are falling ill to a mysterious disease that’s covering them in boils, lesions, and pustules. Told through a series of leaks, after the government desperately tried to wipe this reporting, Donna retells the harrowing story that killed nearly the entire town. But what exactly is behind these illnesses, and can they even be stopped?
How Barry Levinson Created The Bay
The Bay writer/director Barry Levinson is one of film’s heavy hitters. His directing (and in some respective cases writing) credits brought us some of the greatest films of all time, with Rain Man, Sleepers, Good Morning, Vietnam, and Man of the Year, to name a few. How did this Oscar-winning director find his way into genre filmmaking, and found footage at that? From what I can tell, Levinson was approached to make a documentary about the Chesapeake Bay and its ongoing pollution. Since this topic had already been covered in documentary form, Levinson decided to take a fictional and horror approach to this all-too-real problem. From there, The Bay was born.
Timely Environmental Horror and Real-World Commentary
Taking real issues in the world and adding a horror flair to them has been one of the best ways for filmmakers to disseminate issues and deliver hard-hitting commentary. Around this time, 2012, is when Vice was really becoming a voice online with some groundbreaking work. For Barry Levinson to decide to tell this story, about the real pollution in the Chesapeake Bay, in the found footage medium, was the best decision he could have made. Levinson’s decision brings an air of authenticity and exists almost as a call to action. It’s more or less a feeling of, “this is happening in a town near you.”
Why The Bay Is One of the Best Found Footage Horror Movies
What really makes The Bay work more than most other found footage films is Levinson’s experience in traditional filmmaking. I love this subgenre; it’s my favorite. But I know, as well as most found footage fans, that there is an overwhelming amount of trash. While the subgenre, now, merely exists as a conduit for aspiring filmmakers to tell a story on a shoestring budget, it’s lost its way. Have an idea for one scare? Throw 60 minutes of aimless meandering through the woods and give someone a Canon Vixia! You have yourself a found footage movie. And while I love and appreciate how many people try to make films in this subgenre, it’s become as polluted as the Chesapeake Bay.
The Bay is one of the few found footage films that uses its subgenre to its advantage, rather than as a budget constraint. Granted, Levinson is in a much better position to do that than most filmmakers. But the director’s understanding of traditional storytelling makes The Bay one of the most captivating films within the subgenre. While The Bay excels with its storytelling, it’s SFX department head Chris Bridges who brings the true terror to life.
Practical Effects and Body Horror That Just Work
From the isopod-filled fish to the gory, decimated citizens of Clairidge, The Bay is a truly disgusting film. Many found footage films find themselves blowing their budget on one, maybe two, stinger(s). The Bay, once it really gets going, constantly hits you with blood, viscera, and squirmy things. It uncomfortably wriggles under your skin until you just can’t take a second longer.
The Bay and the Decline of Found Footage Horror
To wrap this up, there is an interesting parallel to The Bay and the subgenre as a whole. Found footage, at this time, was ramping up to be a landfill of ideas; it was figuratively being polluted by chicken shit. The Bay stepped up to show audiences that new, exciting, and terrifying films could still exist within the subgenre. But that also means we shouldn’t sit idly by to be force-fed garbage. We can step up and say enough is enough. Don’t make justifications for bad found footage films (garbage) as it floods the subgenre (waterways). Because if there is enough bad found footage (garbage/chicken shit), then the subgenre will collapse (water will become polluted/we will all die).
Steven Spielberg’s Disclosure Day is a film so close to greatness, but one leashed by itself from attaining it. The first science fiction film from Spielberg in eight years has base elements which are truly fantastic. The mystery is compelling, and the performances can be emotionally resonant. And despite how simple and familiar the set pieces and genre tropes it revels in are, Disclosure Day has some of the most thrilling moments audiences will see in a film this year.
But what should be a knockout summer blockbuster becomes bloated. It’s a film that could easily be a perfect score but suffers from its approach. Considerable pacing and scripting issues dial back the appeal of its ten out of ten visuals and leave you thinking about what could have been one of the best Spielberg films of all time.
What Is Disclosure Day About?
As international tensions rise, the world reaches a tipping point. Nations prepare to go to war, and the conflict of nuclear powers threatens to send humanity back into the Stone Age. But an insurgent group hopes to avoid destruction by unlocking a secret chapter of human history and sharing it with the world: the story of humans and their first contact with aliens.
Up against the shadowy government contractor Wardex, a rogue group races to unveil the truth. Caught in the web of intrigue are a hacker named Daniel (Josh O’Connor) and a weather reporter named Margaret (Emily Blunt), whose proximity to the struggle and its origins becomes impossible to ignore. Hunted by Wardex director Scanlon (Colin Firth), the fate of the world hangs in the balance as the duo attempts to give the entire human race full disclosure.
A Balancing Act Between Tension and Wonderment
For the most part, Disclosure Day has Spielberg in rare form. The immediate mental leap that fires off is to try and drive home comparisons to Close Encounters, though that instinct detracts from the unique balancing act on display. The film is able to juggle between evoking a sense of wonderment and a sense of pure dread with just how it’s shot. Crossing the spectacle of psychic phenomena with the tension of a Cold War spy-thriller is something we haven’t seen from him in any one project. It’s a hybrid, and a fascinating blending of genres at that.
This balancing act is primarily driven by an absolutely packed and powerful ensemble cast. Emily Blunt plays Margaret with effortless odd and endearing charm as she gets thrown headfirst into the deep end. The quirks of her character evolve into a fully fleshed out persona that reminds you why Blunt has top billing. Josh O’Connor plays his part as the yin to Margaret’s yang beautifully as well; his sober terror as he finds himself on the run is a fun contrast that, when placed opposite of Blunt, renders great chemistry between the two as they’re magnetically drawn to each other in search of the truth.
Disclosure Day Gives Us One of the Best Sci Fi Villains
Colin Firth’s absolutely nefarious Noah Scanlon is one of the best villains in a science fiction film in a long time, especially during the movie’s most memorable confrontation against Daniel’s girlfriend Jane. His performance is about as finely tuned as it is frightening. And as far as Colman Domingo’s rebel leader Hugo goes, it’s clear why his pivotal dialog was the core of all the marketing material. There’s a steady calmness that could only come from an actor as seasoned as Domingo slipping into his role like a glove. He and Firth are highlights, even if they are delegated mostly to supporting roles. Together, the entire cast moves like clockwork.
Lack of Confidence, Thy Name Is Dialogue
But while the cast feels perfect for the roles they’re given, and they do great with what they can, the nature of so much dialog in Disclosure Day is repetitive and obvious. There’s a wild number of moments that would be truly golden if they weren’t shot down by characters stating not only their emotions but also the obvious things that are happening in front of them.
Some moments should fundamentally feel like characters are having a massive breakthrough or emotional catharsis, but more often than not, it feels more like the audience is having these emotional arcs explained to them. Thematically, the movie is supposed to be about this search for fundamental truths. Truths not just about our place in the universe and in the eyes of God, but about our place with each other. It’s that thematic richness it seeks that makes the bad lines feel like so much salt in the wound. There are moments where these intrinsic questions could be asked with dimension and depth, but instead they’re flattened out by how the characters speak to each other bluntly.
This is the aforementioned proximity to greatness; there’s a hypothetical cut of this film that has so much of this verbal bubble wrap sliced away which would be perfection. But just like on our Earth and the Earth of Disclosure Day, this is not a perfect world. It can only really be chalked up to a diffidence that plagues the writing: a lack of confidence in being able to communicate something subtly, and a simultaneous lack of confidence in the audience to receive that information.
Small Tears in a Sentimental Tapestry
As the film continues with this pattern, the small tears in this emotion driven tapestry become more noticeable. The CGI can be wonky at times. The score can feel leading rather than complementary. The blocking is far from inspired, especially given how many scenes there are of our characters surrounded by a crowd with bated breath; with this many bodies in motion, the way he places his actors and moves through them feels less thought out.
And most noticeable of all, the film’s hefty runtime is paced poorly, especially in its third act. Make no mistake: it’s a final reel that is visually and sonically gorgeous in where it goes. If cinematographer Janusz Kamiński was ever in a flow state, it is here and now with this film. It feels like there was an abundance of footage and no haste to actually edit out any of it. It feels like a director’s cut that just goes on too long, like many scenes in the film. This is especially apparent in a finale that should be awe-inspiring for how incredible it looks, but ultimately lingers too long and overstays its welcome.
It’s understandable that when working with the most influential voice in cinema history, one might be reticent to cut anything. But Disclosure Day’s lack of restraint with how it unfolds exacerbates many small issues that will leave some viewers with regret. Not because it’s irredeemable, or even a movie you won’t enjoy watching, but because it has so much to give and is so captivating in its cinematic vision. And because sadly, that vision is weighed down by the desire to be easily digestible and show all of its emotional tricks. It’s a desire that turns a borderline perfect film into simply another aesthetically pleasing one.
