The trailer for Bright came on before Star Wars… And despite the massive ‘Netflix’ logo that normally turns me off completely, I was actually thoroughly impressed. The visuals caught me right away, and the idea of orcs and guns was one that, I gotta admit, appealed to me greatly. Unfortunately, I got home to discover that it wasn’t going to come out until the 22nd of December, granted only about a week away but still too long for me to wait. Basically, I don’t know if there was just something about it, but I was itching to see this movie.
Following officer Ward (Will Smith) and his orc partner, Jakoby, Bright injects fantasy creatures into a sprawling LA, set some decades in the future. A magical war swept the Earth two thousand years ago, and a mysterious figure called the Dark Lord rose and was eventually defeated by the nine armies. Now, a powerful artifact has been discovered which could bring about his return, and it’s up to Ward and Jakoby, with the help from an elven sorceress, to find it and destroy it. That probably doesn’t sound too interesting to the majority of people, but it’s really quite good.
One thing that sprung to mind immediately from the moment Bright started was something my girlfriend says all the time when we’re watching movies. “I don’t like this,” she tells me, “You can tell it’s a script.” With Bright, I find the exact opposite to be true. Will Smith is a highlight, of course, with his Deadshot-esque quips (directed by David Ayer of Suicide Squad fame, after all), but the others characters talk like normal people, too. It’s incredibly refreshing and is most likely because a movie like this, which goes straight to TV/Netflix but has still had some semblance of a budget behind it, doesn’t have to fill the expectations created by the silver screen in terms of dialogue. But that doesn’t mean it’s worse. It means that, free of the confines of cinema, TV writers have full reign, and actually write better scripts overall. What sounds better, truly? Sherlock Holmes, or Avengers? If you think it’s the blandly barked orders and cliche catchphrases of the latter, I pity you. Bright’s script is one of the best things going for it.
Now, I’m a sucker for already-established lore, like that of the Star Wars universe, and my other favourite thing about Bright is the mythology behind the story. Mythology which, in the film’s setting, has existed for thousands of years, so is already deeply ingrained in the characters’ thoughts, actions and psyches. Meanwhile, in Lord of the Rings and the like, the many races and locations and creatures and weapons and blah blah bloody blah are without fail explained in massive exposition dumps. “This is Bluddagud, the sword that slew Infil whom slew Underfil whom begat Grundil,” and so on so forth. Don’t make me laugh. Just hand the sword slowly and carefully to the hero (so I know it’s an important or sacred object just from the way you’re handling it), maybe tell me its name in a hushed whisper (so I know you’re scared or intimidated by it) and then have the hero react accordingly (so I know, simply from their actions, that this weapon must have a huge reputation). I want a universe where characters can just reference things around them like they’ve been living amongst them for years, which, if we’re suspending our disbelief as one must when watching movies… they have! Think about it. In a film of your life, would you buy a coffee with a friend and, as you pay the barista, turn to them and explain the strange metal discs in your hand? No. As a writer, when you spoon-feed the audience information, they know you think they’re too stupid to figure things out by themselves. When a police car drives past a checkpoint and there’s a fricking centaur in body armour with an assault rifle, I know that this is clearly a normal thing in this society. This is the way things should be done, and it’s the way things are done in Bright.
There are also some very cool visual and musical cues that brought tears to my eyes, especially at the finale, where the score that has been teased for the duration of the film builds to a proper climax. Just an aside.
To be Improved:
Tikka? Chicken Tikka? I couldn’t really tell her name from the way they were saying it, the problem when you never see fantastical names written down, but she’s this nimble elf blondie who’s stolen a magic wand and she’s really damn annoying. She’s basically a walking ex machina, for one thing, able to steal handcuff keys in the heat of the moment, while being shot at, may I add, but on top of that she cringes at every slight noise and is generally just a bundle of nerves. Her acting, towards the end, though, actually gets incredibly good. The elves in general are all a bit of a let-down, considering they’re some of the coolest-looking in the film. The main villainess can take down a whole SWAT team single-handedly, with one knife, but is somehow bested by Will Smith literally wearing a tracksuit. She then comes back to life, an even more annoying result, and her henchman is a ripoff Hitman complete with suit and bald head, and:
There is also plot thread with a Magic Task Force, led by a blue-haired elf, following the heroes along with the police, the human street gangs, the orc street gangs and the creepy Elf death squad, which just gets lost as the protagonists have so many people after them that it seems unlikely they’d be able to even turn a corner without bumping into one of their pursuers. Finally, there is a very cheesy moment (if a little touching, come on, I’m not made of stone) where a character emerges who knows one of the protagonists but is inexplicably the one person tasked with killing them. When said character then leaves and the protagonist is actually killed, I thought this criticism was going to have to be put in my ‘The Good’ section for having the balls to actually stiff a hero. But then, the character is brought back to life a second later! Disappointment to pleasant surprise and back again. If anything I can at least say it kept me on my toes.
After enjoying the trailer immensely and seeing the potential in a film like this, I was worried that Bright wasn’t going to be anything special. But I think, for the most part, I was proved wrong. The socio-political commentary on race is a little heavy-handed, especially given the nature of the setting (where orc ghettoisation has clearly just represents African-American ghettoisation) but perhaps it’s exactly the sort of thing we need in today’s world. Granted, it probably won’t change the world. Ratings for Bright have been anything but. In my opinion? The message is there. And it’s wrapped up in what is, honestly, a well-written, Suicide-Squad aesthetic, brilliantly-acted, sometimes cheesy but more often visually and narratively impressive and innovative, movie. And you can’t take any of that stuff away from it.