The Reviews For Will Smith’s “Bright” Are As Dim As They Come

Netflix’s Bright starts streaming tomorrow and the reviews are a sharp contrast to the movie title.

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The movie is Netflix’s first foot in the waters of original blockbuster movies; directed by David Ayer (director of Suicide Squad) and starring Will Smith, Joel Edgerton and other well-known names in Hollywood, the expectations were high for this one.

Unfortunately, most of the critics weren’t on board with the execution of this movie as shown in some of the comments below.

John DeFore of The Hollywood Reporter

“Alas, the finished product, though plenty embarrassing, isn’t quite involving enough to merit the kind of pile-on mockery that greeted Ayer’s DC Comics abomination Suicide Squad. 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. Rumored to be the most expensive Netflix original film to date, the pic may well attract eyeballs on the streaming outlet. But its potential as a franchise-starter is laughably small.”

Noel Murray of The Los Angles Times

“It’s hard to imagine Bright inspiring anyone to want to see or make a full-blown series of films. Aside from a few nifty ideas and the occasional amusing or exciting scene, this film is a chore.”

Todd Gilchrist of The Wrap

“Even Will Smith’s irrepressible charisma can’t compete with the unrelentingly muddy production design, the poorly conceived characters and a profoundly stupid racial metaphor that somehow amplifies stereotypes of actual ethnic groups. The result is another genre disaster that’s only impressive in how arrogantly the filmmakers presume audiences will want it to be expanded into a franchise.”

Other reviews from IndieWire, Vulture and Collider had the same tone while talking about the movie. It wasn’t all bad though, Peter Debruge of Variety had this to say about the movie.

“Bright is the best Netflix original movie to date, and it absolutely deserves to be seen on the big screen, though don’t let that stop you from watching it home, as End of Watch director David Ayer’s welcome return to the cop-movie genre — following a disastrous wrong turn into Suicide Squad territory, of which we will say no more — fills an intense, grown-up movie niche that Hollywood once did so well, but has since replaced with formula-driven product.”

Hopefully, this means there is still some hope for the movie after all.