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BankofMarquis (1832 KP) rated Enola Holmes (2020) in Movies
Oct 18, 2020
A Winning (enough) combination
I'm a sucker for Sherlock Holmes. I grew up watching the fantastic black and white Holmes films from the 1940's starring Basil Rathbone and Nigel Bruce. I checked out '70's Holmes flicks like MURDER BY DECREE and the 7 PERCENT SOLUTION and then re-fell-in-love with Holmes with the Jeremy Brett BBC SHERLOCK HOLMES TV series of the 1980's and, of course, Benedict Cumberbatch's modern take on the master sleuth in the 2000's was "must see TV" for me. I was even on-board with Robert Downey Jr's. "take" on this iconic sleuth and was thrilled when Sir Ian McKellen portrayed an elderly Sherlock Holmes in MR. HOLMES.
So...I eagerly awaited the Netflix treatment of the "younger" sister of Sherlock Holmes in ENOLA HOLMES -and, I gotta say, I wasn't disappointed.
Based on the Young Adult series of novels by Nancy Springer, ENOLA HOLMES introduces us to the (heretofore unknown) younger sister of Sherlock and Mycroft Holmes. Raised by a fiercely independent mother in the late 1880's, Enola goes searching for her when she goes missing and gets mixed up in the "The Case of the Missing Marquess" along the way.
Millie Bobbie Brown (STRANGER THINGS) is a winning, charismatic (enough) performer as Enola. She is a steady and sure hand at the helm of this ship throughout the course of this 2 hour and 3 minute adventure. While I would have liked her to command the screen more with her presence, she does enough to make it a good, solid, effort.
The supporting cast is just as good. Helena Bonham Carter (FIGHT CLUB) is perfectly cast as Enola's (and Sherlock's and Mycroft's) mother - she has that fierce streak of independence and "don't mess with me" energy while carving her own path. She is the type of character that one would go looking for if she went missing. Sam Claflin (HUNGER GAMES: CATCHING FIRE) is finely unrecognizable (at least to me) as Mycroft - written in this piece as the more "traditional" of the Holmes family and Henry Cavill (MAN OF STEEL) brings a strong arrogance to his portrayal of Sherlock. He also brings something else - heart - to this character, a character trait that has "traditional" fans of this character up in arms. For me, it works well in the context of this film.
As for the film itself - it is good (enough). I found myself enjoying the mystery and the characters and enjoyed my time in this world. It's not anything new, but it's like putting on a pair of old shoes - comforting to wear.
This is an adaptation of the first book of the series, and I, for one, hope that there are more. It's a winning combination that was pleasant to watch.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
So...I eagerly awaited the Netflix treatment of the "younger" sister of Sherlock Holmes in ENOLA HOLMES -and, I gotta say, I wasn't disappointed.
Based on the Young Adult series of novels by Nancy Springer, ENOLA HOLMES introduces us to the (heretofore unknown) younger sister of Sherlock and Mycroft Holmes. Raised by a fiercely independent mother in the late 1880's, Enola goes searching for her when she goes missing and gets mixed up in the "The Case of the Missing Marquess" along the way.
Millie Bobbie Brown (STRANGER THINGS) is a winning, charismatic (enough) performer as Enola. She is a steady and sure hand at the helm of this ship throughout the course of this 2 hour and 3 minute adventure. While I would have liked her to command the screen more with her presence, she does enough to make it a good, solid, effort.
The supporting cast is just as good. Helena Bonham Carter (FIGHT CLUB) is perfectly cast as Enola's (and Sherlock's and Mycroft's) mother - she has that fierce streak of independence and "don't mess with me" energy while carving her own path. She is the type of character that one would go looking for if she went missing. Sam Claflin (HUNGER GAMES: CATCHING FIRE) is finely unrecognizable (at least to me) as Mycroft - written in this piece as the more "traditional" of the Holmes family and Henry Cavill (MAN OF STEEL) brings a strong arrogance to his portrayal of Sherlock. He also brings something else - heart - to this character, a character trait that has "traditional" fans of this character up in arms. For me, it works well in the context of this film.
As for the film itself - it is good (enough). I found myself enjoying the mystery and the characters and enjoyed my time in this world. It's not anything new, but it's like putting on a pair of old shoes - comforting to wear.
This is an adaptation of the first book of the series, and I, for one, hope that there are more. It's a winning combination that was pleasant to watch.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
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BankofMarquis (1832 KP) rated Red Notice (2021) in Movies
Nov 19, 2021
Good (enough) Entertainment for the Entire Family
Around the Holidays, I always get asked to recommend a film “Good for the Entire Family”, something that the kids as well as the adults - including Gramma and Grampa - can enjoy.
For Thanksgiving, 2021 (and beyond) the answer is simple - look no further than the Netflix film RED NOTICE starring Dwayne “The Rock” Johnson, Gal Gadot and Ryan Reynolds.
Written and Directed by frequent “The Rock” collaborator, Rawson Marshall Thurber, RED NOTICE pits the 3 stars each other as Master Thieves and the Law Enforcement Agent that is chasing them. It is a light-hearted, fun, action, adventure treasure hunt film reminiscent of the Nicholas Cage NATIONAL TREASURE movies.
Don’t be expecting hard-hitting, gritty action in this one. Instead, expect light-hearted action with fast banter, faster cars and bullets that - to no one’s surprise - fails to land in any human being. Automobiles, equipment and buildings are destroyed - but humans…? Not so much. They just pick themselves up, dust themselves off and start all over again.
The acting in this is “as expected”. The Rock is tough, muscular and charming. Ryan Reynolds is fast-talking, conniving and charming. Gal Gadot is mysterious, tougher-than-she-looks and charming. They play off together well and add a little higher level of quality to this film than it probably deserves.
That’s because the script, plot machinations, twists, turns, double-crosses and banter are all pretty much run-of-the-mill. It is not anything special, but nor is it bad. It is “fine” and with these 3 talented performers at the forefront of this, it lifts itself to “better than fine”, it’s a good family film that all can enjoy.
The Direction and Action sequences by Thurber are just as pedestrian and run-of-the-mill but just as entertaining none-the-less. I think the charm of this film is it’s predictability. It’s like putting on an old pair of sweatpants. Your’e not going to wear them to the Oscars, but for sitting on the couch after a full family dinner on Thanksgiving, it fills the bill very well.
The film is light enough for kids (though they do drop the “f-bomb” once or twice). It’s just edgy enough for tweens/teens (hence the “f-bombs”) and a rollicking good time for the adults with enough self-awareness of what they are doing that the actors (first and foremost Reynolds) almost looks like they are going to address the camera to comment on what’s going on at any moment.
And that, too, is part of it’s charm.
Letter Grade A- (it’s probably a B+, but since it is my answer for “Family Film of the Holidays”, I’ll give it an A-).
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
For Thanksgiving, 2021 (and beyond) the answer is simple - look no further than the Netflix film RED NOTICE starring Dwayne “The Rock” Johnson, Gal Gadot and Ryan Reynolds.
Written and Directed by frequent “The Rock” collaborator, Rawson Marshall Thurber, RED NOTICE pits the 3 stars each other as Master Thieves and the Law Enforcement Agent that is chasing them. It is a light-hearted, fun, action, adventure treasure hunt film reminiscent of the Nicholas Cage NATIONAL TREASURE movies.
Don’t be expecting hard-hitting, gritty action in this one. Instead, expect light-hearted action with fast banter, faster cars and bullets that - to no one’s surprise - fails to land in any human being. Automobiles, equipment and buildings are destroyed - but humans…? Not so much. They just pick themselves up, dust themselves off and start all over again.
The acting in this is “as expected”. The Rock is tough, muscular and charming. Ryan Reynolds is fast-talking, conniving and charming. Gal Gadot is mysterious, tougher-than-she-looks and charming. They play off together well and add a little higher level of quality to this film than it probably deserves.
That’s because the script, plot machinations, twists, turns, double-crosses and banter are all pretty much run-of-the-mill. It is not anything special, but nor is it bad. It is “fine” and with these 3 talented performers at the forefront of this, it lifts itself to “better than fine”, it’s a good family film that all can enjoy.
The Direction and Action sequences by Thurber are just as pedestrian and run-of-the-mill but just as entertaining none-the-less. I think the charm of this film is it’s predictability. It’s like putting on an old pair of sweatpants. Your’e not going to wear them to the Oscars, but for sitting on the couch after a full family dinner on Thanksgiving, it fills the bill very well.
The film is light enough for kids (though they do drop the “f-bomb” once or twice). It’s just edgy enough for tweens/teens (hence the “f-bombs”) and a rollicking good time for the adults with enough self-awareness of what they are doing that the actors (first and foremost Reynolds) almost looks like they are going to address the camera to comment on what’s going on at any moment.
And that, too, is part of it’s charm.
Letter Grade A- (it’s probably a B+, but since it is my answer for “Family Film of the Holidays”, I’ll give it an A-).
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
LeftSideCut (3776 KP) rated Hawkeye in TV
Dec 23, 2021
Contains spoilers, click to show
Marvel Studios continue their streak of enjoyable mini-series with Hawkeye, a series that was met with a fair amount of indifference upon its announcement, which is understandable. On the surface , Clint Barton isn't the most exciting Avenger to build a series around, but Hawkeye surprises with a team of decent writers, and a story adapted from Matt Fraction and David Aja's acclaimed comic book run.
Most of Barton's specific plot beats revolve around his family, and his loss of hearing. The human elements ensure that he remains a relatable, street level character. The "Hawkeye" that this series is really about of course is MCU newcomer Kate Bishop, a fan favourite comic character who is portrayed wonderfully by Hailee Steinfeld. The series is essentially her origin story, and I for one can't wait to see her in future projects. The chemistry between Steinfeld and Jeremy Renner is great, and provides a huge amount of heart to the overall story.
Florence Pugh has a welcome return as Yelena, and her involvement ensures that Hawkeye is as much of a tribute to Black Widow as anything else, and serves some much needed closure for her concluded story arc that has been frustratingly absent since the events of Avengers: Endgame.
Elsewhere, the likes of Vera Farmiga, Tony Dalton, and Alaqua Cox make up a strong supporting cast, and sets up an upcoming series for Echo, a deeper cut from the Marvel vaults, but one that I'm intrigued to see develop.
And then of course, there's motherfucking Kingpin. Arguably the most popular character from the Netflix shows, the decision to bring Vincent Donofrio back as Wilson Fisk is a smart one. His presence in the MCU is incredibly exciting to me, and Donofrio does and excellent job once again, at filling the boots of one of Marvel's most intimidating villains. Welcome back sir.
There are plenty of exciting action set pieces sprinkled throughout (a car chase involving various trick arrows is a particular highlight) and the decision to keep Hawkeye firmly street level in its execution is a wise one. It allows New York City to feel like a character in it's own right, and the Christmas setting adds to that. It does feel like a proper holiday watch at times, and this is probably why the show feels so goofy on more than one occasion. I know that the MCU likes to keep the mood light for the most part, and is often found guilty of undercutting serious or epic moments with jokes. Hawkeye occasionally goes overboard with these moments, especially in the finale. It's not enough to derail what is an incredibly entertaining series, but it's a little frustrating.
Overall though, Hawkeye is another decent and fleshed out mini series in this sprawling franchise. The extra runtime of a season has ensured that all of the MCU shows this year have been high quality and worth watching. I just hope it's not too long until we get a Kate Bishop/Yelena reunion!
Most of Barton's specific plot beats revolve around his family, and his loss of hearing. The human elements ensure that he remains a relatable, street level character. The "Hawkeye" that this series is really about of course is MCU newcomer Kate Bishop, a fan favourite comic character who is portrayed wonderfully by Hailee Steinfeld. The series is essentially her origin story, and I for one can't wait to see her in future projects. The chemistry between Steinfeld and Jeremy Renner is great, and provides a huge amount of heart to the overall story.
Florence Pugh has a welcome return as Yelena, and her involvement ensures that Hawkeye is as much of a tribute to Black Widow as anything else, and serves some much needed closure for her concluded story arc that has been frustratingly absent since the events of Avengers: Endgame.
Elsewhere, the likes of Vera Farmiga, Tony Dalton, and Alaqua Cox make up a strong supporting cast, and sets up an upcoming series for Echo, a deeper cut from the Marvel vaults, but one that I'm intrigued to see develop.
And then of course, there's motherfucking Kingpin. Arguably the most popular character from the Netflix shows, the decision to bring Vincent Donofrio back as Wilson Fisk is a smart one. His presence in the MCU is incredibly exciting to me, and Donofrio does and excellent job once again, at filling the boots of one of Marvel's most intimidating villains. Welcome back sir.
There are plenty of exciting action set pieces sprinkled throughout (a car chase involving various trick arrows is a particular highlight) and the decision to keep Hawkeye firmly street level in its execution is a wise one. It allows New York City to feel like a character in it's own right, and the Christmas setting adds to that. It does feel like a proper holiday watch at times, and this is probably why the show feels so goofy on more than one occasion. I know that the MCU likes to keep the mood light for the most part, and is often found guilty of undercutting serious or epic moments with jokes. Hawkeye occasionally goes overboard with these moments, especially in the finale. It's not enough to derail what is an incredibly entertaining series, but it's a little frustrating.
Overall though, Hawkeye is another decent and fleshed out mini series in this sprawling franchise. The extra runtime of a season has ensured that all of the MCU shows this year have been high quality and worth watching. I just hope it's not too long until we get a Kate Bishop/Yelena reunion!
BankofMarquis (1832 KP) rated Spiderhead (2022) in Movies
Jun 26, 2022
Weak Script Sinks This Flick
The history of cinema is littered with tales of the Mad Scientist who gets too caught up in their own experiments to the detriment of all. Once the human cost of the experiment is revealed to this seemingly sane inventor, he (it usually is a he) turns with a wild-eyed look and justifies the human expense in the name of science.
Such is the case with the Netflix Original movie SPIDERHEAD with Chris Hemsworth as the mad scientist in this scenario and Miles Teller and Jurnee Smollett as 2 of the prisoners who trade in their life sentences to be used as guinea pigs in his experiment.
It’s an interesting enough premise - one that is not new - so it is always the execution of this concept that makes (or breaks) this type of film.
Unfortunately for SPIDERHEAD, Writers Rhett Reese and Paul Wernick are unable to elevate the premise (based on a short story by George Saunders) into anything new, unique or interesting.
Director Joseph Kosinski (TOP GUN: MAVERICK) does a yeoman’s job trying to elevate this material to something better than it is. But…kind of like trying to get me to be a Prima Ballerina…Kosinski just cannot make something out of raw material that is fundamentally flawed. He uses a few interesting camera moves and draws out suspense in enough areas to catch the audience’s interests…but not much else.
He is helped by the casting of some top notch talent. Chris Hemsworth is engaging and charismatic (initially) as the Elon Musk/Steve Jobs-esque new age inventor who is trying out some new medical serums on prisoner/volunteers. The problem with Hemsworth - who I think is a pretty good actor - is that once you start seeing the cracks in his character’s façade (and those cracks appear early on), Hemsworth’s performance turns fairly one-dimensional and he becomes a caricature of the “crazed scientist”.
The surprises to me here are the performances of Miles Teller (TOP GUN: MAVERICK) and Jurnee Smollett (LOVECRAFT COUNTRY). These are 2 performers who I’ve always felt were good but not great, but they are intriguing to watch in this. They have strong chemistry with each other and they are 2 protagonists that are easy to root for against crazed antagonist Hemsworth.
In look and feel and tone, this film reminded my of the 2014 Alex Garland marvel EX MACHINA, but where that film easily was lifted by a tremendously strong script and ideas by Garland (check it out if you haven’t seen it - it is well worth your time), SPIDERHEAD, ultimately, sinks into the chasm of a weak script with no real strong ideas/themes behind it.
Letter Grade B+ (for the Direction of Kosinksi and the performances of Teller and Smollett)
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
Such is the case with the Netflix Original movie SPIDERHEAD with Chris Hemsworth as the mad scientist in this scenario and Miles Teller and Jurnee Smollett as 2 of the prisoners who trade in their life sentences to be used as guinea pigs in his experiment.
It’s an interesting enough premise - one that is not new - so it is always the execution of this concept that makes (or breaks) this type of film.
Unfortunately for SPIDERHEAD, Writers Rhett Reese and Paul Wernick are unable to elevate the premise (based on a short story by George Saunders) into anything new, unique or interesting.
Director Joseph Kosinski (TOP GUN: MAVERICK) does a yeoman’s job trying to elevate this material to something better than it is. But…kind of like trying to get me to be a Prima Ballerina…Kosinski just cannot make something out of raw material that is fundamentally flawed. He uses a few interesting camera moves and draws out suspense in enough areas to catch the audience’s interests…but not much else.
He is helped by the casting of some top notch talent. Chris Hemsworth is engaging and charismatic (initially) as the Elon Musk/Steve Jobs-esque new age inventor who is trying out some new medical serums on prisoner/volunteers. The problem with Hemsworth - who I think is a pretty good actor - is that once you start seeing the cracks in his character’s façade (and those cracks appear early on), Hemsworth’s performance turns fairly one-dimensional and he becomes a caricature of the “crazed scientist”.
The surprises to me here are the performances of Miles Teller (TOP GUN: MAVERICK) and Jurnee Smollett (LOVECRAFT COUNTRY). These are 2 performers who I’ve always felt were good but not great, but they are intriguing to watch in this. They have strong chemistry with each other and they are 2 protagonists that are easy to root for against crazed antagonist Hemsworth.
In look and feel and tone, this film reminded my of the 2014 Alex Garland marvel EX MACHINA, but where that film easily was lifted by a tremendously strong script and ideas by Garland (check it out if you haven’t seen it - it is well worth your time), SPIDERHEAD, ultimately, sinks into the chasm of a weak script with no real strong ideas/themes behind it.
Letter Grade B+ (for the Direction of Kosinksi and the performances of Teller and Smollett)
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Don't Look Up (2021) in Movies
Jan 9, 2022
A Brilliant Satire
Satire is a tricky thing to get right, there is a balance between humor and pathos that must be struck in order to drive home the point.
The Netflix Original Satire, DON’T LOOK UP, Directed by Adam McKay (THE BIG SHORT) finds the right line, beautifully.
A send-up of the Climate Change debate (but also, a condemnation of the reaction to the current Global Virus), DON’T LOOK UP has a who’s who of performers that are at the top of their game and delivers a top-notch entertainment that also makes you think.
The plot of the film is simple enough - a PhD Student (Jennifer Lawrence) discovers a “planet killing” comet that is on a collision course with Earth and, joined by her Professor (Leonardo DiCaprio), tries to get the “powers-that-be” to listen to the threat.
DiCaprio (in essence, in the Anthony Fauci role) is superb as the Professor that tries to convince the Politicians about the Science of the threat. His frustration at hitting the brick wall of “political spin” crescendos in an absurdly bravura performance.
Meryl Streep is brilliant (of course) as the President who is more interested in how this situation affects her, politically, than how it affects the populace. She is joined by a sychophantic Jonah Hill (as her son and Chief of Staff). Hill has never been better and understands the nature of this character and mines it for comedic gold.
Cate Blanchette and Tyler Perry are also strong as the Cable News Anchors who are more interested in keeping the conversation “light and fun” and they actually have good “co-anchor” chemistry with each other.
Timothee Chalamet, Mark Rylance, Rob Morgan, Ron Perlman and, yes, Ariana Grande are also strong in smaller, almost cameo, roles.
But the standout star of this film is Jennifer Lawrence as PhD student Kate DiBiasky, the person who discovers the comet (and for whom the comet is named). It is easy to forget just how strong of a performer that Lawrence is but she goes toe-to-toe with Streep/DiCaprio/Blanchette et al and more than holds her own. Her character/performance is the backbone - and conscience - that holds this film together.
Of course, credit for all of this must go to Writer/Director Adam McKay who showed in THE BIG SHORT that he is more than “the comedy Director” of such films like ANCHORMAN and he puts that ability to work, strongly, in this film. He clearly had a vision of what he wanted to put across in this film and straddles the line between humor and seriousness in such a way that no matter what side of the “Global Change” and “Global Pandemic” crisis you are on, you will think that this film skewers you and favors the other side.
Which is the sign of a terrific satire.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
The Netflix Original Satire, DON’T LOOK UP, Directed by Adam McKay (THE BIG SHORT) finds the right line, beautifully.
A send-up of the Climate Change debate (but also, a condemnation of the reaction to the current Global Virus), DON’T LOOK UP has a who’s who of performers that are at the top of their game and delivers a top-notch entertainment that also makes you think.
The plot of the film is simple enough - a PhD Student (Jennifer Lawrence) discovers a “planet killing” comet that is on a collision course with Earth and, joined by her Professor (Leonardo DiCaprio), tries to get the “powers-that-be” to listen to the threat.
DiCaprio (in essence, in the Anthony Fauci role) is superb as the Professor that tries to convince the Politicians about the Science of the threat. His frustration at hitting the brick wall of “political spin” crescendos in an absurdly bravura performance.
Meryl Streep is brilliant (of course) as the President who is more interested in how this situation affects her, politically, than how it affects the populace. She is joined by a sychophantic Jonah Hill (as her son and Chief of Staff). Hill has never been better and understands the nature of this character and mines it for comedic gold.
Cate Blanchette and Tyler Perry are also strong as the Cable News Anchors who are more interested in keeping the conversation “light and fun” and they actually have good “co-anchor” chemistry with each other.
Timothee Chalamet, Mark Rylance, Rob Morgan, Ron Perlman and, yes, Ariana Grande are also strong in smaller, almost cameo, roles.
But the standout star of this film is Jennifer Lawrence as PhD student Kate DiBiasky, the person who discovers the comet (and for whom the comet is named). It is easy to forget just how strong of a performer that Lawrence is but she goes toe-to-toe with Streep/DiCaprio/Blanchette et al and more than holds her own. Her character/performance is the backbone - and conscience - that holds this film together.
Of course, credit for all of this must go to Writer/Director Adam McKay who showed in THE BIG SHORT that he is more than “the comedy Director” of such films like ANCHORMAN and he puts that ability to work, strongly, in this film. He clearly had a vision of what he wanted to put across in this film and straddles the line between humor and seriousness in such a way that no matter what side of the “Global Change” and “Global Pandemic” crisis you are on, you will think that this film skewers you and favors the other side.
Which is the sign of a terrific satire.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
LeftSideCut (3776 KP) rated Day Shift (2022) in Movies
Oct 12, 2022
Vampires vs. The Bronx, Night Teeth, and now Day Shift. Someone over at Netflix really likes investing in vampire horror-comedies of varying quality. Day Shift, for the most part, is a competent and entertaining action flick, thanks in no small part to the cast. Jamie Foxx has shown time and again that he's more than capable of taking on lead duties, whether he's winning Oscars for music biopics, or kicking vampire ass up and down California. His chemistry with Dave Franco lays the foundation for much of the films humour, and introduces a kind of buddy cop dynamic into the mix. The cast is further bolstered with some smaller roles from industry veteran Peter Stormare, and living legend Snoop Dogg (patiently waiting for a Big John spin-off project).
The action scenes are a whole lot of fun. The vampires contort and twist in horrible ways, and are dispatched in equally horrible ways. There's plenty of blood and viscera, limbs flying about the place, decapitations. It's all well choreographed, fast paced, and hugely entertaining.
There's a lot going for Day Shift, but it does faulter at times. After an exciting opening scene, there's quite a lengthy dip in pacing. This leads to a lot of exposition dumps and world building. Crafting lore for a new IP is something that can be tricky to navigate, and Day Shift misses the mark in this instance. It's all well and good providing the audience with background information that would be everyday knowledge for these characters, but it's executed in a way that feels wayward and messy, and almost 100% through dialogue. And example of a film that does this kind of thing well would be Zombieland. Withing minutes, we know plenty of in-universe rules for surviving the zombie apocalypse, and it's done in a fun, breezy, and brisk manner. In contrast, Day Shift puts a pin in any sort of excitement to throw all sorts of exposition at us in a way that feels like it's relying on potential sequels for any kind of pay off. It's just a little deflating, and not even Foxx's charisma can keep it from becoming boring.
To add to the negative side of things, the villain of the piece is aggressively forgettable. There's a semi-clever reference to how estate realtors are evil, but other than that, she's just an uninspired bad guy that causes the protagonists mild peril. The narrative also suffers from the age old issue of characters doing stupid things to drive the plot forward. Some of the events that unfold don't make a huge amount of sense with what we've been told previously.
Despite these misgivings and a messy middle, Day Shift ends on a high note, with an entertaining final third, and ultimately manages to be a perfectly passable popcorn movie. What it lacks in substance, it's makes up for in style, and will surely leave most with a smile on their faces by the time the credits roll.
The action scenes are a whole lot of fun. The vampires contort and twist in horrible ways, and are dispatched in equally horrible ways. There's plenty of blood and viscera, limbs flying about the place, decapitations. It's all well choreographed, fast paced, and hugely entertaining.
There's a lot going for Day Shift, but it does faulter at times. After an exciting opening scene, there's quite a lengthy dip in pacing. This leads to a lot of exposition dumps and world building. Crafting lore for a new IP is something that can be tricky to navigate, and Day Shift misses the mark in this instance. It's all well and good providing the audience with background information that would be everyday knowledge for these characters, but it's executed in a way that feels wayward and messy, and almost 100% through dialogue. And example of a film that does this kind of thing well would be Zombieland. Withing minutes, we know plenty of in-universe rules for surviving the zombie apocalypse, and it's done in a fun, breezy, and brisk manner. In contrast, Day Shift puts a pin in any sort of excitement to throw all sorts of exposition at us in a way that feels like it's relying on potential sequels for any kind of pay off. It's just a little deflating, and not even Foxx's charisma can keep it from becoming boring.
To add to the negative side of things, the villain of the piece is aggressively forgettable. There's a semi-clever reference to how estate realtors are evil, but other than that, she's just an uninspired bad guy that causes the protagonists mild peril. The narrative also suffers from the age old issue of characters doing stupid things to drive the plot forward. Some of the events that unfold don't make a huge amount of sense with what we've been told previously.
Despite these misgivings and a messy middle, Day Shift ends on a high note, with an entertaining final third, and ultimately manages to be a perfectly passable popcorn movie. What it lacks in substance, it's makes up for in style, and will surely leave most with a smile on their faces by the time the credits roll.