Nerdly » ‘Night Patrol’ Review

05th Mar2026

‘Night Patrol’ Review

by George Thomas

Stars: Jermaine Fowler, Justin Long, CM Punk, Freddie Gibbs, YG, Nicki Micheaux, Flying Lotus, Dermot Mulroney, Jon Oswald, Nick Gillie | Written by Shaye Ogbonna, Ryan Prows, Tim Cairo, Jake Gibson | Directed by Ryan Prows

Vampire cops. Gang warfare. Political bite. And CM Punk.

On paper, Ryan Prows’ Night Patrol sounds like the kind of gloriously chaotic genre mash-up we’d usually champion without hesitation. Jermaine Fowler and Justin Long leading a secret police unit that turns out to be bloodsucking white supremacists? Throw in CM Punk, a regular fixture for us thanks to his wrestling work, and you’ve got immediate Nerdly curiosity.

If you’re of a certain vintage, the premise alone probably sparks fond memories of Full Eclipse – Mario Van Peebles heading up a squad of werewolf cops in peak ‘90s monster-cop madness. That was a multi-rental back in the VHS era. It was messy, sure, but it had pulp confidence and went all-in on its concept. Night Patrol feels like it’s chasing that same “law enforcement as literal monsters” hook, only this time swapping fur for fangs and injecting a heavy dose of modern political anger.

And to its credit, it doesn’t hold back.

The set-up is strong. Fowler plays a cop caught between his badge and his gang-connected family, while Long’s Hawkins is the legacy officer stepping into the mysterious titular Night Patrol unit, unaware that the squad operates as a vampiric clean-up crew targeting a Black neighbourhood under the guise of policing. It’s an aggressive metaphor, and the film wastes no time making its stance clear.

When Night Patrol leans into brutality, it genuinely works. A routine traffic stop spirals into a sudden execution that lands with a nasty jolt. A later firebombing sequence plays out with grim inevitability, sirens wailing somewhere off-screen while chaos unfolds. There’s also a warehouse shootout lit by flickering security lights that gives the action real punch. The production value is evident throughout — this isn’t scrappy indie horror. The cast is sizeable, the set pieces are ambitious, and even CM Punk gets moments that lean into his physical presence in a way genre fans will appreciate.

Where the film struggles is in how it connects all those strong pieces.

The racial and policing allegory is front and centre: right down to a pointed “defang the police” riff. Horror has always been a vehicle for social commentary, and there’s something refreshing about how unapologetic this film is. But the messaging is so explicit that character development sometimes feels secondary. Emotional turning points don’t always linger the way they should.

Hawkins’ descent into vampirism, for example, should carry real psychological weight. His first true step over the line happens quickly, and while the idea is strong, the aftermath isn’t explored as deeply as it could be. Fowler’s internal conflict, torn between community and career, is compelling on paper, but the script doesn’t always give it room to breathe. The tension is there; it just needed sharper focus.

Then there’s the vampire mythology. At one point we get a very clear Blade II-style jaw split – an unmistakable visual that genre fans will clock instantly – but beyond those striking moments, the rules feel loose. The Night Patrol wear metal fangs like cosmetic affectations, their abilities fluctuate, and the wider supernatural framework is left deliberately murky. Mystery can be effective, but here it occasionally feels underdeveloped rather than enigmatic.

The final act also takes a bold tonal swing, shifting from grim urban horror into heightened, almost mythic revenge territory. It’s an ambitious move and one that shows the film isn’t afraid to escalate. Whether it fully sticks the landing will depend on your tolerance for genre-blending theatrics, but at the very least it commits.

That’s ultimately what defines Night Patrol: commitment. It’s not safe. It’s not timid. And it’s certainly not boring. It throws political horror, monster-cop pulp, gangland drama and revenge fantasy into the same pot and lets them clash. Not every ingredient blends smoothly, but there’s enough energy and visual confidence here to make it an interesting watch, especially for fans who miss the era of mid-budget genre films willing to take big swings.