a5c7b9f00b Set in a world where fantasy creatures live side by side with humans. A human cop is forced to work with an Orc to find a weapon everyone is prepared to kill for.
In Los Angeles, humans live with orcs and elves in a world where fantasy creatures do exist. LAPD police officer Dayl Ward is the first human cop having the orc police officer Nick Jakobya partner. When Ward is shot by an orc and Jakoby does not capture the shooter, he questions whether Jakoby lets the fellow orc escape. During a patrol, Ward and Jakoby arrest a man that tells that there is a prophecy and Ward is blessed. Meanwhile, Internal Affairs press Ward to find the truth about the escape of the shooter so that they can fire Jakoby. The magic department of the FBI interrogates the man that belongs to the terrorist Shield of Light group which protects brights so that they can prepare for the return of the Dark Lord that will destroy the world. Ward and Jakoby are summoned to attend a disturbance and they stumble upon a Shield of Light safe-house where they arrest the elf Tikka and bag her magic wand. Soon they learn that Tikka is hunted down by the evil and powerful rogue elf Leilah and her Terrorist group Inferni which are the ones actually trying to resurrect the dark lord and they need to protect Tikka and the wand; otherwise the world will be destroyed. What will they do?
I've been looking forward to this movie for quite some time. Your typical fantasy tropes of Orcs and Elves and Magic Wands thrust into a gritty street crime thriller? It sounds bonkers…and amazing. At absolute worst Bright was guaranteed to be good fun. And it is. It really is. It's exactly what you'd expect, with Will Smith being Will Smith, cooped up in a car with an Orc amidst the completely unsubtle racial tensions of LA. They stumble upon a murder scene with a scared Elf huddling with a magic wand at the centre of it, and have to avoid the local gangsters, the Orc community, a cult of renegade Elves, and the Magic Task Force arm of the FBI across the streets of LA. No matter the cost, no-one can get their hands on the wand.<br/><br/>And this is where the tantalising world-building comes in. Bright is chock-full of tiny little details and backstory that ooze through every scene and ultimately just causes you to want to know more. The title comes from the designation of magic users; those who are born with the ability to wield wands without blowing themselves up. Brights are usually Elves, but every now and then you get human Brightswell. Since the rise and fall of a Dark Lord two thousand years previously, magic has been outlawed and sought out by the authorities. This means most Brights don't even know what they are, and the only way to find out is to grab hold of a wand, which has a high chance of blowing you (and everyone around you) up. For some the risk is worth it,the power a wand grants is limitless.<br/><br/>Then there's the aforementioned racial tensions. There's a mention of nine races in this world, but humans, Elves, and Orcs get all the attention in Bright. The Orcs are the black community, sticking together like family, but succumbing to drugs and violence, and often treated unfairly by the police and other races. Meanwhile the Elves are the upper class rich race who have their own Dubai-esque district full of supercars, gold, and towering glass skyscrapers. The humans are stuck somewhere in the middle. However there's a whole bunch of teases and hintsto the other races. There's an amusing opening sequence between Will Smith and a fairy, who are treated like pests, there's a quick shot of a centaur dressed in police riot gear, and there's even a dragon flying in the LA skyline. I'm looking for the already-ordered sequel just to see more of these races being translated into the modern world. Dwarves? Skeleton hordes? Rat-men? Gnomes? Treefolk? They could go anywhere with it!<br/><br/>Bright is full of clichés and tropes though, of course. There isn't really anything new here, on the crime thriller side or the fantasy side. What makes Bright feel fresh is purely in the combination of the two genres. There's still a Dark Lord, the Elves are still stuck-up, high-maintenance people, there's a prophecy with chosen ones. And then of course the whole racial tensions thing is aboutsubtlea sledgehammer to the face. Orcs and Mexicans are still organised by gangs, there's corrupt cops, the buddy cop angle is full of one-liners and banter. As such, if you're familiar with either genre, there are few surprises. In fact it can get downright predictable at times.<br/><br/>Acting is so-so, with no-one particularly standing out. Will Smith is Will Smith and there's little more to say about that. He's at his best delivering one-liners and being a charming leading man, butalways he struggles with the more dramatic moments. Joel Edgerton does a lot behind his new face of make-up, but it never quite tantalises, and often he just looks a little awkward and uncomfortable. Noomi Rapace is pretty much just a pretty-face antagonist who has about two lines in English. Edgar Ramirez, Lucy Fry, Happy Anderson, Ike Barinholtz, Brad William Henke, and Jay Hernandez all do well in their supporting roles though.<br/><br/>Visually Bright somehow manages to balance the gritty, street-level aesthetic of downtown LA with the more loftier spectacles like the glowing, dripping wand, and mystical forms of death and destruction. While I can't say it offers anything wall-mount worthy, the aesthetics that Bright establishes goes a long way to building the world the story fits in. The majority of the movie is practical effects too, which goes a long way to keep the balance between realistic and fantastical, but it does result in the Orcs looking just a little underwhelming. They look more like humans with severe skin conditions than full-blooded Orcs (which are traditionally corrupted Elves, but who knows if that's the route Bright takes or not).<br/><br/>Bright is no masterpiece, that's for sure. It's proven quite polarising between critics and audiences because of this. It's well-made, but doesn't make any strides on a technical level. The writing is serviceable, with a shaky third act, but it's offset by teasing world-building. Judged purely from an objective standpoint, Bright is an average flick, neither great or horrendous. I find myself wanting to know more though, and I'll gladly sink myself back into that world formany sequelsNetflix wants to give us. It's thoroughly enjoyable with some fantastic moments (Will Smith gunning down four antagonists in slow motion to Bastille's World Gone Mad is certainly a high point), chuckle-inducing humour, and a plot that holds more potential than it admittedly capitalises on. I give Bright an enjoyable but unremarkable 7/10.
Its good, people should watch and ignore the critics.
This ambitious, yet astonishingly well-executed Netflix tentpole directly benefits from the way Ayer’s gritty, streetwise sensibility grounds Landis’ gift for creating an elaborate comic-book mythology.

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