In an alternate present-day where magical creatures live among us, two L.A. cops become embroiled in a prophesied turf battle.
Stars Will Smith and Joel Edgerton play it mostly straight here, doing their part to sell the dopey premise, but the screenplay offers viewers little reward for our own suspension of disbelief.
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.
That old Hollywood standby, the venerable buddy cop movie, may have met its anguished demise this holiday season. Will Smith just killed it.
Ultimately, the biggest problem with Bright is that it squeezes nudity, profanity and blood into the kind of dopey adventure that should be aimed more at adolescents - right down to its simplistic lessons about tolerance.
Potentially a dark harbinger of things to come, Bright isn t only the worst film of 2017, it could be responsible for many of the worst films of 2018 and beyond.
Bright takes a bunch of gobbledygook from The Lord of the Rings, liquefies it in a blender and pours it liberally over the same "corrupt cop comes to a moral crossroads" blueprint that Ayer has been copying since Training Day.
The result is a loud, ungainly hybrid that does not serve police procedurals or fantasy spectaculars very well.
Dungeons and Dragons-style fantasy, with its species-specific stats and attributes, is a pretty suspect well to draw from if you re trying to pull off some kind of modern-day race relations metaphor.
This is what it looks like when good ideas go bad. A sequel, naturally, has already been greenlit. Go orc yourself, Hollywood.
... ultimately "Bright" simply lacks the screenwriting smarts to capitalize on the social commentary in its setup that it so nakedly attempts to harness.