A tale of the modern, the effect that it can make, on traditions and behaviours, that over years have formed a brake, as barriers are broken, with walls cascading down, lines are crossed, words go unspoken, the Armageddon clock counts down.

The Night Watch keep on searching, for those who overstep the mark, those who crawl out of the shadows, those who live their life in dark; they have visions of the horrors, that may take the world to hell, using seers that they've discovered, a contemporary show and tell.

Anton finds more than he bargained for when hunting down a cursed doctor who is about to bring calamity and chaos reigning down on everything and all.

"Night Watch" is far more entertaining than many of its American counterparts in the "secret underground world of vampires and good vs. evil" genre. Unlike "Underworld" and "Constantine" it kept my attention throughout, but still this Russian smash is severely flawed.

First, let's applaud the good parts. "Night Watch" is distinctly Russian. Moscow is presented as a vibrant mix of modern metropolis and Gothic-style throwback to the middle ages. The plot, heavily steeped in its own fabricated mythology from a series of popular books, also serves on some level as an allegory for the fall of Communism and the rise of Capitalism. In my mind, the forces of "dark" forced underground are the Communists, while the forces of "light" (whose HQ is fronted by the City Electric Company) are the Capitalists, who often get caught up in their own bureaucracy in their vain attempts to keep the peace and not violate the truce. Some of the special effects and modern riffs on vampirism are highly imaginative and disarming (I loved "The Gloom" aspect). The American distributors also deserve some credit for their creative use of subtitles which often become part of the scene without ever distracting from the visuals.

Unfortunately, the director is clearly a veteran of music videos, and he makes the action sequences hyper kinetic and often incoherent. When he does manage to create an alluring visual, he quick-cuts, and you wish he would've had the patience to hold some of the shots longer. This hectic visual style is evident in the plotting as well, which clearly is setting up for sequels with the introduction of many characters, though some of the subplots (especially involving the cursed virgin woman and her evil vortex) seemed unnecessary. Likewise, the rushed finale seemed oddly anti-climatic and didn't pack the wallop I feel the filmmakers intended.

Despite the flaws, I will eagerly await the American distribution of the sequels, and I suppose that is the greatest compliment a film like this can receive.

Others are humans with varying supernatural powers. They are split into the forces of Light and Darkness. In the heat of a devastating battle, the leader of the Light Geser offers a truce to the leader of the Dark Zavulon. From then on, choosing sides must be done freely and the truce is monitored by forces from both sides. Night Watch is a force of Light that police the Dark force during the night. In Moscow, Anton Gorodetsky is recruited into Night Watch.

It's crazy dark moody style. It's chaotic and unrestrained. I love the chaos but only in the style. It's also chaotic story telling and that's not a good thing. The whole thing is fascinating at first but eventually wears me out. Timur Bekmambetov shows great promise but he needs more clarity in his story telling skills. The scenes need better connective tissues and the style can't be done at the expense of everything else.