In Netflix's skeptical heist movie
"Lift," the initial target is an art auction in Venice. Headed by
their ostensibly composed leader, Cyrus (Kevin Hart), the team prepares to
liberate fine artworks from the clutches of the elite. This crew, comprised of
tech prodigies and experts in disguise, views themselves as modern-day cultural
Robin Hoods. Their mission involves taking from the affluent, enriching
themselves, challenging the privileged, and supporting the artists.
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| Gugu Mbatha-Raw and Kevin Hart in 'Lift.' |
In the opening scenes directed by F. Gary Gray ("Straight Outta Compton"), Cyrus confidently approaches a stunning building where the auction is set to take place. A red carpet guides the way to the entrance, with Venetians in masks milling about on either side. Unlike Gray's more subtle portrayal of Venice in his 2003 film "The Italian Job," the city appears ostentatious in this sequence. Every surface is bathed in light, giving the impression that the exposure has been maximized.
The intense brightness of the
surroundings doesn't seem to faze Cyrus as he casually walks to his designated
seat, maintaining communication with his team through a microphone. As the
auction commences, he confidently bids millions on an NFT by the anonymous
artist N8 (Jacob Batalon). At this point in "Lift," there is a sense
of promise as we begin to grasp the dynamics at play. The film unfolds with
Cyrus, Denton (Vincent D’Onofrio), Camila (Úrsula Corberó), Magnus (Billy
Magnussen), Mi-Sun (Yun Jee Kim), and Luke (Viveik Kalra) navigating the room
and the vicinity of the auction house. On the other side, keeping a vigilant
eye on them is Interpol agent Abby (Gugu Mbatha-Raw), an overachieving federal
agent leading a group dedicated to apprehending Cyrus and his crew.
However, as the action unfolds, the early signs of promise are accompanied by a lack of trust in the audience. "Lift" appears too insecure and eager, unwilling to withhold details and too anxious to maintain a sense of mystery. Rather than skillfully revealed, the film's tricks are clumsily exposed through awkward exposition. When Cyrus and his team successfully acquire the NFT, they also take the artist hostage. This abduction, not as menacing as it may sound, triggers an international uproar.
An opportunity to delve into
commentary on a visual art world fueled by hype and to build intrigue around a
group participating in it due to the perceived elevated status of stolen goods
is missed in "Lift." Instead, the film uses this moment for Cyrus to walk
N8 through each step of their heist and elucidate the group’s mission. In
"Lift," there's no need to speculate on motivations, whether
individual or collective, as Cyrus will eventually provide the explanations.
This deflating realization prompted the critic to revisit a classic
(Soderbergh’s Ocean’s Eleven remake) to rekindle the understanding that this
genre can be enjoyable.
The orchestrated capture of N8 sets the stage for the real drama in "Lift." Following a discussion with her colleague Huxley (Sam Worthington), the head of a more "serious" Interpol department, Abby is compelled to enlist Cyrus’ crew. Huxley has set his sights on a larger target: Jorgenson (Jean Reno), a billionaire profiting from manufactured destruction. Having recently struck a deal with an anonymous hacker group to manipulate global grids and cause mass flooding, Jorgenson becomes the focal point. Further exposition unveils the plan: Abby must enlist Cyrus and his team to steal millions of dollars worth of gold from a flight without alerting Jorgenson.
If viewers remain engaged at this
point (all within the first 20 minutes), they will discover that Abby and Cyrus
share a history, adding complexity to their current relationship. However, any
tension in their dynamic is barely perceptible. Despite their individual
talents, Hart and Mbatha-Raw lack chemistry, and Daniel Kunka’s screenplay
doesn't afford enough time for their connection to develop. The romantic aspect
between Abby and Cyrus relies on expository recollections of their childhoods
and a brief, intense week together.
Hart's portrayal of an internationally wanted man also carries an unnecessary formality. While the actor has ventured into more dramatic roles, his performance in "Lift" is hindered by a deliberate smoothness that deprives his character of the required natural playfulness. This stands in contrast to his role as a single dad in "Fatherhood," where he used his comedic roots to ground the performance.
In exchange for immunity, Cyrus
agrees to assist Interpol, and the crew embarks on their most ambitious heist
yet. As is customary with great heists, there's an element of impossibility and
a genuine risk to their lives. Driven by the prospect of a surveillance-free
future, Cyrus and his fellow thieves devise a plan to retrieve the gold from
the plane, deliver Jorgenson to the authorities, and ultimately save lives.
The thrill of plotting injects
"Lift" with a much-needed dose of excitement. While the technology
employed may lean towards the unrealistic, Gray's directorial prowess ensures
that scenes of tech acquisition and intricate execution contribute a subtle
sense of urgency to the narrative. While not sufficient to rescue
"Lift," it does manage to mitigate the film's overall sense of
absurdity.
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