Lift
Lift
“Lift” is incredibly generic, very boring and quite forgettable too, just like any other film titled ‘Lift, the kind of glossy action film that moves really fast the way Netflix movies do, even if there is no requirement for it. It is not crassly silly like ‘Red Notice’, for example, but rather more on par with The Gray Man: Well made and full of stars, but rather flat with a couple of interesting concepts.
F Gary Gray is one of the directors whom you don’t struggle to trace their pedigree in action flicks; he has done better action movies (“Set It Off,” “The Italian Job”) and will do it again. “Lift”, like many films, is about a diverse group of people with skills in tricking who attempt to execute an outlandish theft that would seem flawless in avengers.
That premise has its disc pleasures mainly because the task itself gets more interesting to the hitman as it progresses. But there’s so little in the characters in the movie from Daniel Kunka that one wonders why they want to escape, and even do special effects-with such a detachment, it’s like being inside a video game.
A team of experienced professional thieves needs to hijack and rob a passenger aircraft filled with gold bars worth 500 million dollars on board from London to Zurich.”
Cyrus, Kevin Hart’s character, takes the lead as the head of a seasoned and experienced band of thieves. Apparently at the beginning of the film, he is already trying to organize the theft of some modern art in Venice. Not even that spectacular.
The movie tries to spice up its travelogue with pretty pictures of famous European cities that are London and Brussels, wеll Venice for starters. Each one is like the residue of the last one. Here, Hart breaks out of his fast-talking, amazed mode, thank God. Which is welcome, though. Still, concerning him, as an adventurous, charming leading man, “Lift” fails to provide anything gratifying to him.
Mysteriously, there was a history between Cyrus’ crew and the animals also pursued by the undecipherable Interpol agent, played by Gugu Mbatha-Raw. The two share some awkward flirting, but no real heat.
With orders from her boss, who is a trusty voice of action star Sam Worthington, Abby goes undercover and persuades the robber and his team to help him get the gold he is transporting to a terrorist agent so that he can make some money by triggering the attacks.
Do not fret if that makes little sense: The complex is economical in that everyone is brought to some sort of a platform where they have to perform some spectacular mid-air maneuvers with no apparent reason.
All of them have an assignment—Camila (Úrsula Corberó) controls the plane, Mi-Sun (Yun Jee Kim) does all the hacking, and Denton (Vincent D’Onofrio) does the gruesome task of makeup etc — sim ply because that is all there is to them. They live together in high-rise apartments and warehouses painted the same shade of bright white in which they make sassy repartees that get forced.
Billy Magnussen is the only one who makes Magnus, the safe-cracker character four snatches shores up to that fugue. What he is doing here is so fascinates that you want to tug him out and force him back into head of Brad Pitt startlingly and unbelievably Brad Pitt in ‘Burn After Reading’. It is like he is in a totally great movie and not this one you wish so much.
But then it is understandable that quite a number of the thrills and excitement that are ‘Lift’ are all plain zippy editing – tricks – taking quick cuts, speeding up footage and montage days. At length, blood on the head banging fights must be limited to no more than two or more on the average, an airplane.
They become monotonous and frustrating, and that is the entire movie. On the other hand, ‘Lift’ perhaps is better watched when one is inside a plane with nowhere to go and very little mind activity is required for entertainment.
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