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Comes a Bright Day


All is not calm, all is not ‘Bright.’

Rod Lott November 27th, 2012

London, jazz, neon-lit nights, a posh hotel, a heist, Imogen Poots: Comes a Bright Day has so many elements I love to see in the movies, yet they add up to such a minuscule amount of pleasure. It's like pouring your favorite bubbly beverage all the way to the top of a frosty glass, only to see that once the head has subsided, you're left with so little.

comesabrightday

The story surrounds a hostage situation during the attempted theft of a diamond butterfly broach commissioned by Napoleon and valued at some $1 million and change, and the efforts of a mild-mannered errand runner (Craig Roberts, Jane Eyre) to become a hero in the face of danger. So what if it mostly to impress the gorgeous girl (Poots, Fright Night) also in the line of fire? I can't say I blame him.

That the title refers to her character of Mary Day, however, is a groan-worthy choice worth pointing blame at writer/director Simon Aboud over. Coasting on a whispery, metronome-jazz score that sets the proper intimate mood, he seems to be slightly in over his head in his feature debut following a pair of shorts; as currently written, the story is too thin to justify its length.

Although generally light in heart, Aboud's piece is too talky and inert for film, yet would lose all its mood on the stage. Aside from one fabulous monologue and the iridescent smile of his leading lady, ambience is all it has going for it. —Rod Lott


 
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