The plot: In an alternate present, humans have co-existed
with elves, orcs and fairies since the beginning of time. Police officer Daryl
Ward (Will Smith) has been paired up with rookie Orc cop Nick Jakoby (Joel
Edgerton) against his wishes, and the rest of the force isn’t too happy with having
Jakoby either. On a routine call, they find a magic wand, one of the most
powerful artifacts in their world. With the help of elf Tikka (Lucy Fry), Ward
and Jakoby set out to stop Leilah (Noomi Rapace) from using the wand to bring
back The Dark Lord and return the world into a state of mystical war like it
was 2000 years earlier.
Will Smith hasn’t just left his charisma at
home; he legitimately doesn’t want to be here. From how much he talks around the fantastical elements around
him to his incredibly surly attitude throughout the entire film, there’s really
no other explanation for why our main character(?) is this disinterested in
what he’s doing. Edgerton benefits slightly from being the only person here
with some semblance of a character, but try as he might to work through that
makeup (credit is due for going the practical route there, at the very least),
the guy feels too restrained to really make an impact. Lucy Fry as the young
Bright flips around, says next to nothing and only does something when either
Ward or Jakoby need her to; she is the epitome of a character by proxy and she
barely registers as a result.
Ike Barinholtz as a racist cop hits vile without
being remotely watchable, Édgar Ramírez at least has some physical presence but
not much else as a Federal agent of the Magic Task Force, Noomi Rapace seems to
be having fun with her role as the main villain and she’s at least able to be
intimidating through sheer physicality, and Brad William Henke as the leader of
an Orc street gang… you know, something about a white guy (makeup
notwithstanding) talking about how the bad the po-lice are is more than a
little awkward.
It’s rare that a film could be genuinely
improved by some opening setup narration, because otherwise, this attempt at
high fantasy in an urban setting falls really damn flat. We’re given a few
surface details, like a conflict against ‘The Dark Lord’ that happened 2000 years
prior and bits and pieces about the Orc mythos, but nothing that makes this
feel like anything more than a rushed paint job over a standard story about
police corruption. The opening credits admittedly do start the film off on the
right foot, giving us a collection of street art that does surprisingly well at
setting up certain cultural norms for this new and supposedly exciting setting,
but the rest of it is just so plain and normalized and… well, lacking in any
sense of fun. I get that grim and gritty crime stories aren’t the go-to place
for hijinks, but just something, anything,
that could lighten the tone a little bit and show at least some understanding
of how surreal everything is to an outsider’s perspective would have helped. As
much as I don’t have a lot of love for Underworld or even The Last Witch Hunter, at least they felt like the aesthetic was there for a reason. Here,
it’s just a reskin meant to make this story look slightly more interesting than
it actually is.
The inclusion of more fantastical elements,
more so than serving as a means to soak the setting in something
not-of-this-world, is mainly done here to aid the overall parable on racism and
racial tensions. Or possibly class tensions, seeing as the Orcs are depicted as
the street-level thugs and the Elves are shown as the opulent upper class.
However, this script’s approach to unearthing racial attitudes is… skewed, to
say the least. Rather than really telling any brand of truth around why certain
attitudes exist, a large number of which are reliant on the fantasy background
to begin with, the film seems far more comfortable just revelling in it.
“Racism exists” is about as far as we get in terms of message, and even then,
we are shown far more examples of those attitudes than anything that could
question them.
Even when we do see
characters try and do the decent thing, it’s not for any true moral reason;
rather, it’s just to make sure that they don’t look bad by others. It’s all for
show and the only change that comes about is through death. Other than that, no
character shift occurs at any point. Ward is prejudiced from start to end, and
Jakoby is noble but also in conflict with his own racial background from start
to end; this film’s idea of progression is rather suspect.
Which leads us rather neatly into the story
itself, which is yet another example of a film being far longer than it has any
right to be. Not only that, when looking at the bare bones of the story,
nothing feels like it fits. The beat cop story clashes rather loudly with the
more fanciful elements like the magic wand and the concept of Brights, the only
beings who can safely wield them (yet another aspect that is barely fleshed
out), to the point where the film just completely shifts gear from one to the
other midway through.
It’s also rather aimless, as our leads just stumble
through the streets of LA and get caught up in things that are supposed to be
important but never register as such. There’s no sense of tension to any of
this because there’s no progression between plot points. Events happen,
seemingly at random, and a lot of them feel like they’re here just to
needlessly extend the running time, like the gang leader Poison (Enrique
Murciano) who wants the wand so he can walk again or the crooked cops who also
want the wand for themselves. Actually, now that I’ve written it out, it’s
starting to make a bit more sense: This is a MacGuffin story. People want this
thing, these other people don’t want them to have this thing, these people try
to protect from everyone else; every beat in the story after a certain point
plays out in this pattern. To say nothing of the ending, which feels like David
Ayer trying to outdo Suicide Squad in terms of messy conclusions, right down to
everyone just standing (or in some cases lying) around and talking about trying
to stop a creature from entering their world, and then they do it in the space
of a few seconds. huzzah
All in all, this is incredibly lame. The acting is
disinterested through-and-through, the visuals are so murky that it’s hard to
actually engage with, the world-building is embarrassingly subpar, and the
writing in general tries for racial examinations but is so confused on what
kind of story it wants to tell, and how, that it completely falls apart. Not
even the admittedly decent action beats are enough to save this thing from the
refuse bin. Despite my minority opinion on Suicide Squad and even some of
Max Landis’ scripts like American Ultra, I’m not getting on the defensive for
them this time; you both done fucked up. And you likely will again, considering
this thing has already been greenlighted for a sequel… because it seems that we
are completely incapable of learning anything from our mistakes anymore.
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