“Bright” Review ✦✧✧✧✧

23 December, 2017

Director: David Ayer
Screenwriter: Max Landis
Director of Photography: Roman Vasyanov
Will SmithJoel EdgertonNoomi Rapace

Synopsis: In a parallel existence where humans, orcs, and elves struggle to coexist in a world crippled by class divide and racial tension, an experienced policeman and his orc partner discover an object once believed to be mythical in the hands of a young elf who will do anything to prevent it from falling into the wrong hands.

Bright Review:

An awful metaphor made with the subtlety of a mass shooting and the direction of a broken compass, “Bright” is an inanely dull affair from a writer-director duo nobody asked for, staging a juvenile re-enactment of a very human problem while settling for a simplistic take on something far deeper and more complex at play in the world of today. Dense filmmaking with a tumbleweed premise, the movie sees David Ayer go from bad to worse in a Netflix Original with one of the poorest scripts of the year, flunking its way to the bottom with flaccid one-liners and odious fantasy drivel.

An expected turn from mainstream curse Will Smith whose place alongside an awkwardly made up Joel Edgerton creates a unlikable pairing in a diverse yet poorly utilised cast of characters, “Bright” is a bad take on the lottery of life, trying desperately to create its own universe while casually ignoring the only important character in the entire screenplay. With magic wands, fairies, and evil elves feeling frankly ridiculous in a movie helmed by the genius behind “End of Watch,” the film echoes in an empty theatre, producing hideous set pieces on a sound stage where nothing feels authentic.

Misguided by the Snyder effect with gratuitous slow-mo and a conceited tone, “Bright” exudes a confidence unable to be matched by the low quality of its B-movie set-up, featuring only half the magic of the average “Lord of the Rings” or “Harry Potter” movie with almost none of the effort. Resorting to make-up effects that would’ve struggled to convince audiences over a decade ago, the film turns most of its cast to rubber in order to fulfil its clunky metaphor and yet there’s hardly anything new to be found as writer Max Landis encroaches on an unforgiving genre with little wiggle room for silliness.


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