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‘Day shift’, vampire horror perpetrated by the Netflix algorithm | Culture

Written by ebookingservices

Netflix is ​​capable of everything. To produce some of the most interesting, and even subversive, adult and complex films of recent years. And also to launch its pre-production algorithm, factory of ultra-processed audiovisual content, to end up creating some of the most embarrassing nonsense of the season, also starring more or less fallen stars. The last example of this hodgepodge of previous bad ideas (calling them referents would be a compliment) is Day shift, vampire action comedy directed by newcomer JJ Perry, commanded in its cast by a downcast Jamie Foxx.

In this series production line of conduct, it seems obligatory to start (supposedly) strong with a pre-credits sequence that does not force you to change your mind, and therefore to continue tracking leisure food with the platform’s search engine. But in those initial minutes, no matter how high they are placed in terms of tone, the incapacity of the architects is usually glimpsed. So it happens in Day shift with the introduction of its main character: a pool cleaner from Los Angeles, a separated family man in the process of divorce, who spends his days killing some beings who call themselves vampires but who can resemble zombies, and who never You know what your goal is. It sounds like bullshit and it is, but sometimes goofy movies can have a refreshing sense of the Dionysian, and other times just be the stupidity they seem from a distance.

Day shift wants to be both an action comedy, a B-movie horror movie, a goofy family movie, a fighting and kung-fu production, and buddy-movie with opposite character roles and distant physical peculiarities. The obvious feeling is that it is not satisfied with a certain arc of public; He wants to bring them all together, leveling them at the bottom, and he will probably be left with none.

Perhaps the less demanding will settle for their action sequences, martial arts fight and point-blank shooting with assault weapons, shot unimaginatively anyway, but at least discreetly professional within the contemporary Hollywood order. However, although a certain beauty can be admitted in his photography of contrasting colors, what does not admit doubt is that the dialogues are perpetrated by someone who is just beginning to walk in this writing. Or perhaps by someone whose wings and imagination are being cut off from the offices. The three minutes of banalities, reiterations and platitudes of the initial conversation between Foxx’s character and his wife, about his poor job as a father and the possible move of mother and daughter to Florida, is the best example. . Above all, because Foxx, a good actor in low hours, aware of the phrases he has to release, dedicates himself to making high school gestural winks unworthy of an interpreter of his caliber.

Film of noise and honey, of ideology devoid of any idea, Day shift It is one more of the various calculation systematization operations offered to the viewer from the platform. The algorithm, presumed expert in solving leisure problems, who rarely understands cinema.

Day shift

Address: JJ Perry.

Interpreters: Jamie Foxx, Dave Franco, Meagan Good, Karla Souza.

Gender: comedy. USA, 2022.

Duration: 113 minutes.

Platform: Netflix.

Premiere: August 12.

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