Smith, in a hangdog performance so dispiriting that it might genuinely make you pity one of the world’s most successful people, stars as Daryl Ward, a second lieutenant who was just shot in the line of duty. As if the goofy crackle of blue magic that runs through the Netflix logo isn’t enough of a warning sign, that gag is followed by a card for a production company called “Trigger Warning Entertainment.” Just gonna go out on a limb and suggest that these might not be the best people to make a thinly veiled metaphor for America’s racial violence that starts with Will Smith swatting a rodent-like garden sprite and declaring that “Fairy lives don’t matter!” Lock and load, snowflakes!
It’s rare to see a movie so toxic that it manages to raise multiple red flags before the very first shot, but “Bright” is a special piece of work. Maybe “Bright” would have fared better had Ayer repurposed the faux-documentary approach he brought to “End of Watch,” but hedging between the film’s disparate modes results in unmitigated disaster. Something like “District 9” stands out as another clear point of comparison, but that movie’s riff on South Africa felt so lived-in. Needless to say, the only remotely believable conflict in “Bright” is between the “grittiness” of a police drama and the fantasticality of a plot that revolves around the search for a magic wand, Ayer cramming those two things together like “R.I.P.D.” never happened. Imagine, if you will, that the war for Middle Earth was a seismic event on our timeline, and that all of the various fantasy creatures who participated in the fight simply went their separate ways once it was over. The elevator pitch is easy enough to understand, even if it requires some further explanation: “Bright” is essentially “Training Day” meets “The Lord of the Rings,” but much dumber than that sounds. At least “The Emoji Movie” owned up to the fact that it was just putting shit on screen at least “The Emoji Movie” had the courtesy to dress it up in a bowtie.Ī $90 million blockbuster that boasts all the production value of an episode of “Charmed,” Netflix’s first mega-budget film effort starts with a potentially compelling premise that never gets off the ground. The only thing more predictable than this high-concept police story is the idea that a year as punishing as 2017 would save the worst for last. From the director of “Suicide Squad” and the writer of “Victor Frankenstein” comes a fresh slice of hell that somehow represents new lows for them both - a dull and painfully derivative ordeal that often feels like it was made just to put those earlier misfires into perspective. There’s boring, there’s bad, and then there’s “ Bright,” a movie so profoundly awful that Republicans will probably try to pass it into law over Christmas break.
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