in leading roles provides some allure, amusement and cache. But the script never remotely rises to the occasion, resulting in a hodge-podgy mess that, at nearly two hours, is also a half-hour too long for its own, or anyone else’s, good.The setting — the dregs of the San Fernando Valley — scarcely seems less like prime vampire real estate compared to Transylvania, but that’s where a reformed vampire with the unlikely name of Bud Jablonski ekes out a living cleaning swimming pools.
One requirement issued by the cockamamie script is that Bud be accompanied at all times by a minder, Seth , an entirely un-streetwise and mostly unfunny doofus who is continually apologizing for his thoroughgoing doofusness.
A vampire eminence eventually emerges in the form of Audrey , prompting some action that becomes increasingly hectic and, ultimately, exhausting; the adversaries keep at one another until, at least from a viewer perspective, something’s got to give. As it’s no surprise how matters ultimately will end up, shorter and tighter would have been far more advisable than longer and drawn out.
Dramatically, this is too bad, as first-time director J.J. Perry looks to have given this opportunity everything he’s got action-wise. Perry long has been one of the busiest and most accomplished fight choreographers/stunt coordinators/second unit directors in the business; theseries are merely among the most recent of his couple of decades of credits. On the basis of the evidence here, it’s clear that Perry certainly knows how to shoot heavy-duty action.
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