Lift 2024 Movie Review: A Candid Review of Netflix’s “Lift”
What’s more cringe-worthy: a movie tethered to a plot involving NFTs or a character explaining what NFTs are? Well, brace yourselves, because Netflix’s latest release, “Lift,” manages to tackle both. Starring the charismatic Kevin Hart and a slew of recognizable faces, the film feels like a dubious mashup of a late Fast & Furious installment and a mid-2000s European heist flick.
Directed by F. Gary Gray, a seasoned Hollywood director with a diverse portfolio, “Lift” takes us on a high-stakes mid-air heist orchestrated by Interpol, led by the suave thief Cyrus Whitaker, played by Hart. However, the film’s turbulent journey mirrors Gray’s own struggles with recent projects, particularly the ill-fated “Men in Black: International.” The question looms: did Gray find solace in the making of “Lift”? Audiences might not share his presumed relief.
Lift 2024 Movie Review
Cyrus Whitaker, a suave art thief, blurs the lines between his craft and an art form, setting the stage for CGI-laden action sequences, many of which seem staged in a living room against a green screen. Yet, the film’s main heist aboard an Airbus A380 lends a tactile quality to these scenes. Gray’s deft handling of hand-to-hand combat adds a surprising dynamic touch, though he occasionally succumbs to fully computer-generated aerial acrobatics shots.
Enter Jean Reno, embodying the arms dealer-type villain with a lethargic energy reminiscent of someone rudely awakened. Despite appearing in only a couple of scenes, Reno’s character lacks clear motivations, conveniently overshadowed by vague references to saving the world and stopping terrorists.
In an unexpected twist, Kevin Hart assumes the role of the straight man, a departure from his usual wildcard comedic roles. A talented comedian, Hart seems miscast, possibly a consequence of his role as a producer. The film’s tonal alignment with earlier Netflix blockbusters, such as “Red Notice” and “The Gray Man,” signals a shift away from incorporating real conversations and locations into the narrative, epitomizing a trend in post-pandemic big-budget cinema.
The romantic subplot in “Lift” falls flat, mirroring the lackluster chroma work in the film’s climactic showdown. A potentially fun scenario, involving Hart projecting incriminating footage on the belly of a wrecked private jet, is hindered by the film’s failure to leverage its picturesque locations fully.
The effort imbalance is evident. While the central cast, especially Vincent D’Onofrio and Billy Magnussen, embrace the absurdity, the film’s very premise raises eyebrows. “Lift,” a movie about greed, seemingly exists because of it.
In conclusion, “Lift” struggles to soar above its own inconsistencies. Despite moments of dynamic action and a talented cast, the film succumbs to the pitfalls of an uninspired plot and questionable casting choices. As Netflix continues its ambitious foray into big-budget cinema, one can’t help but wonder if real conversations and genuine locations will ever reclaim their place in the frame.