Ryan Prows’ latest film, Night Patrol (2025), can be summarized in one word: ambitious. His new horror mixes social commentary with a classic movie monster to craft an unapologetic “midnight movie,” with all the blood and provocation one would come to expect. Beyond that, Night Patrol engages with far more complex questions, interrogating assimilation, policing, and race. While Prows’ reach often exceeds his grasp, the film’s sincerity makes it a compelling entry in contemporary social horror.
At its best, the film feels overwhelmed by its own ideas. It fails to navigate all the many storylines it introduces, and while it can be an entertaining ride to question where the story may lead, in this case, it dilutes the film’s seemingly key message.
Minor spoilers ahead.
Night Patrol follows brothers Xavier (Jermaine Fowler) – a former member of a Crip gang and current Los Angeles Police Officer – and Wazi (RJ Cyler) – a current member of a Crip gang – whose life unravels after Wazi’s girlfriend is murdered by the Los Angeles Police Department (LAPD). Their two paths intersect as the case unfolds, eventually leading to the reveal of an underground world of vampirism that exists within the LAPD known as Night Patrol. A world that even Xavier’s own partner, Ethan (Justin Long), has connections with.
Xavier’s and Wazi’s storylines run perpendicular as they embark on different journeys through life. On one hand, Xavier’s decision to join the police force, which the film pointedly refers to as “pigs,” functions as a symbolic betrayal of his community and even his race. While Xavier sees the LAPD as a chance to help youth from backgrounds similar to his, his own mother, and even the film itself, frame this choice as a form of assimilation into whiteness. This desire deepens when Xavier expresses interest in joining Night Patrol after Ethan is recruited.
In contrast, Wazi is a Crip. Audiences’ preconceived notions of this affiliation lead us to view him as a criminal. Yet, Wazi is truly the heart of the story – even if the film may forget this at times. He’s emotionally aware and somewhat empathetic, a victim of circumstance who rises up and ultimately saves the day.
As the film unfolds, it is revealed that Night Patrol is not only actually a vampire coven but has also deliberately orchestrated violence between the Bloods and Crips, actively fueling their conflict to maintain control and secure a steady supply of blood.
Shocking: the police are the bad guys. This does not come as much of a surprise in a post-Get Out landscape where revelations of corrupt police forces are not only present in the fictional media we consume but also in non-fiction. However, Night Patrol offers a more nuanced critique by deliberately establishing an orchestrated division between the Bloods and Crips, offering a sharp critique of how marginalized communities are often manipulated by those in power into turning against one another rather than confronting the institutions that cause their harm. The moment when the two gangs briefly unite is one of the film’s most potent ideas, demonstrating the power of collective resistance.
This revelation adds additional weight to Xavier’s arc. Xavier’s desire to join Night Patrol and further assimilate into this institution that purposefully targets and literally drains his community of its essence, leaving them with nothing, is clearly looked down upon by the film. Wazi is the one who saves the day once he fully accepts his African heritage. The film positions Wazi’s path of cultural reconnection and embracing as a victory, while Xavier’s path of assimilation leads to failure.
Again, the film could fall into predictable territory by making the stereotypical “criminal” the hero while casting the police as clear villains. Yet, despite this familiar setup, you can’t help but admire the heart at the center of the story. Particularly, the film’s interest in African spirituality and magic, as well as its attempt to immerse the viewer within this community. The world Prows creates seems rooted in something genuine and true to reality. Although I cannot speak to the authenticity of these portrayals, I can still acknowledge that the effort feels fresh and purposeful. This sincerity alone makes Night Patrol leagues above other films that fall into the same predictable story beats.
This isn’t to say the film doesn’t verge on stereotypes to drive home its thematic point. It does. These stereotypes are most noticeable when paired with the film’s extreme violence, leading you to question whether the film’s intentions are pure.
While brutality is not unusual for a “midnight movie” film, the application here – particularly the depiction of violence inflicted upon Black characters and the grotesque treatment of a Black woman – is difficult to witness. Perhaps it was Prows’ intention to unsettle the audience and force us to consider the real-world violence faced by marginalized communities. However, that feels out of place within this genre of film, which seems to pride itself on its graphic, transgressive nature.
The excess of violence often crosses a line, and, paired with stereotypical performances and dialogue, the moments felt more exploitative than purposeful. Thus, undercutting some of the more interesting ideas related to race and power that Night Patrol otherwise attempts to express.
The film is bogged down by its own ambition. For all its passion, Night Patrol struggles to give these ideas the space they fully require. The ambition of the project overwhelms it as it wastes time on character plotlines that feel completely irrelevant to the core thesis.
Running parallel to Xavier and Wazi’s story is a B-plot involving Ethan and his father (Dermot Mulroney), the head vampire of the coven who is eager to recruit Ethan. This portion of the film utilizes a mixture of hallucinatory imagery and distorted sound design to invoke a sense of unease. Long and Mulroney deliver quite enjoyable, campy performances that keep you invested even if you are not entirely sure what is happening or why. The storyline itself feels as though it belongs to an entirely different film.
Nonetheless, you can’t help but admire Prows’ direction. He is clearly interested in interrogating systems of power and using the “midnight movie” genre to confront this head-on. When the film centers on Wazi’s journey in contrast to Xavier’s, and the circumstances they are forced to learn to survive within, it taps into something genuinely powerful. Even when the film stumbles due to its own ambition, sloppy delivery of over-exposition dialogue, and attempt to squeeze in unnecessary plotlines, it still feels earnest, and perhaps more importantly, entertaining.
Review Courtesy of Kam Ryan
Feature Image Credit to RLJE Films and Shudder