Buzzkill family man Brandon (Jencarlos Canela), layabout Jose (Al Galvez, SNAKES ON A TRAIN), and wishy-washy Peter (Seth Gordon) head out into the Florida Everglades for a weekend hunting trip, which also happens to be the alternate drop site of drug dealers evading the DEA. Jose witnesses the drop at night and sees dollar signs. Brandon wants no part of Jose's plan and Peter sides with him; however, Jose wakes Peter up in the middle of the night and convinces him to help him hide the drugs so he can get them to his cousin Felipe (Melvin Cabrera) to move them quickly. Unfortunately, Paco (Juan C. Bofill) - who walks everywhere in slow motion - and his gang (including the requisite BAMF gun-toting female Tania [Sonya Smith]) follow their tracks back to the camp and wage an attack on the hunters' camp. Brandon, however, manages to take out several of the men MATRIX-style, and the three get out on the road (without Brandon bothering to ask any questions). Jose's cousin does not want to handle a two million dollar coke sale, so he directs Jose to big-time drug dealer Miguel (Gabriel Porras) - we know he's big time because his introduction triggers a quick-cutting rap music montage of bodyguards, champagne, and bikini-clad groupies - but Paco and his gang are in hot pursuit. They decide to cut through the swamps in a dune buggy (with Brandon still ridiculously unaware that his friends have stashed the drugs), but they run out of gas and soon have to face off against machine guns with only bows and arrows.

HUNTED BY NIGHT isn't exactly entertainment, so much as a demo reel for actor/writer/director/executive producer/stunt coordinator Juan Bofill, a stunt coordinator on several Latin-American TV series (from which most of the cast are also drawn). Not a fight goes down without slow-motion blows and freeze-frames, dissolves, and crashes are punctuated by that rhythmic fade-out/fade-in thing you see in action and horror theatrical trailers (we even get the slow motion flick of a cigarette into a puddle of gasoline and "walking away from an explosion towards camera in slow motion" bit). Bofill's fight scenes would be impressive had they not been over-directed with emphatic slow-motion and freeze frames that drag out every action sequence to the point of parody). The dialogue scenes, on the other hand, are under-directed with crucial confrontations made up of several minutes of monotonous ad-libbing while the camera just swings - rather than pans - back and forth. Canela's hero - of which we know nothing about other than that he has a wife and kid (who is obsessed with angels) is nonsensically imbued with the sort of super senses usually bestowed in traditional action fare upon highly-trained military loner types (apparently, he's got an almost supernatural instinct for survival because he momentarily died when he was born and has been watched over by a guardian angel ever since). His two buddies are just as flatly drawn, with Jose's need to be contrary suspending the audience's suspension of disbelief, and Peter flip-flopping between the two extremes. Bofill's villain is unevenly acted; despite the film's religious leanings, he seems less like a symbolic devil figure than the usual action movie bad guy who just won't die. Whatever message the film seems to want to convey is ultimately mired it's constant aspiring towards "badassed-ness."