Ryan Prows’ Dreamy, Biting Vampire Gang Drama

Justin Long has quietly become one of indie horror’s most reliable trust indicators. From “Tusk” to “Barbarian,” he’s a familiar face whose presence on screen typically signals genre storytellers with something truly worthwhile to say. But in Ryan Prows’ “Night Patrol,” arriving in theaters from RLJE Films and Shudder, the actor barely registers.

That’s an ironic testament to Prows’ clear creative vision and strong narrative control. It’s also proof the director was mostly successful in steering his film‘s sprawling ensemble cast through a hazy, imperfect vampire saga — about corrupt, blood-sucking police targeting vulnerable citizens in Southern California. 

Grounded in a gritty and ethereal Los Angeles that, true to life, puts “vibes” first, “Night Patrol” is a gangland dramedy that casually bounces between caustic one-liners and gun shots. Co-written by Prows, Shaye Ogbonna, Tim Cairo, and Jake Gibson, the film packs a shaggy script about power and brutality that combines beats of a satirical creature feature with the drama of a street war erupting between Bloods and Crips. When LAPD officer Ethan Hawkins (Long) gets promoted to the elite “night squad,” he and his ex-partner, Xavier Carr (Jermaine Fowler), find something even more hellish within the task force. 

Wazi (RJ Cyler) and Ayanda (Nicki Micheaux), Xavier’s brother and mom, encounter that demonic force in their circles, too. They’ve got their own magic to bring to the battle at hand, and Prows doesn’t hesitate to unleash the bright, neon green glow of a supernatural artifact into the cross-fire police action of the modern thriller’s first act. More mystically minded than you might guess, gang members Bornelius (rapper Freddie Gibbs), Three Deuce (filmmaker Flying Lotus), and Tripp (hip-hop artist YG) buy into the fantasy and meet the genre shift with expletive-laced humor that doesn’t relieve tension but increases it. 

Meanwhile, the (extra?) evil police are presented as broadly horrific and outwardly racist. Fitting! The casting matches the meathead characters visually, but the disproportionate number of objectively bad thespians on Team Thin Blue Line results in an acting performance disparity that’s sometimes brutal to watch as the fighting progresses. Pro-wrestler CM Punk appears as a deputy who can’t figure out even one of his scenes — while co-stars Fowler and Long get the smartest jokes of the movie. (You need the context, but keep your ears perked for the truly hilarious, “I remember MY first sandwich!“) 

There’s enough blood-and-guts fun to be had thanks to the vampire setup, but Prows and his cast shine brightest when they’re toying with savage melodrama. Dermot Mulroney appears in a surprise role that doubles as a predictable but enjoyable soap opera reveal, and the opening scene deftly introduces Cyler’s Wazi as a lovable underdog. He witnesses the state murder his situationship, mere minutes before learning not only that magic is real but that it also runs in the family.

Romantic, spiritual, or criminal, the textured relationships of “Night Patrol” make for enough rich connective tissue between characters across this unreal L.A. to make Prows’ universe feels almost capable of supporting a TV show. But even saving many of cinematographer Benjamin Kitchens’ most beautiful shots for the end of the film, Prows seems to run out of plot as the finale fades into ambience. 

Pacing proves an impossible obstacle for “Night Patrol,” with its routine lulls suggesting the theatrical release could eventually do better as “second screen” programming enjoyed at home. Astonishingly slow at times, Prows’ heavy-handed style — complete with three, semi-gothic title cards it really didn’t need — builds to a sense of boredom that blankets even the most essential and emotional scenes.

It’s a low-budget affair that feels less like wading around in a cinematic mood and more like languishing in underwhelming production values as the monotony of the last 45 minutes grinds on. But Prows takes big, decisive swings when the plot does manage to pick up, and ultimately, the audience is rewarded with a tonally chunky experience that isn’t for everyone but impresses as both otherworldly and authentic.

Caught somewhere between “Buffy the Vampire Slayer” and “The Wire,” this dark genre hybrid has a lot of flaws, but none of them are fatal. With “Night Patrol,” Prows drives a stake through the hearts of two familiar landscapes to try a unique idea with ever-prescient themes and a gamely frantic pulse.

Grade: C+

From RLJE Films and Shudder, “Night Patrol” is in theaters on Friday, January 16.

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