The first few screenings of 2024 were mainly due to several common factors, including an interesting cast, a promising premise with the potential for a truly memorable experience, and, in the case of Lift, the involvement of a well-known director, F. Gary Gray (The Fate of the Furious). I didn’t hold high expectations for any of my previous watches, and I kept them tempered for this film too, not anticipating more than a generic heist flick, most likely lacking significant innovation.
I got precisely that. As the narrative of Lift unfolds, it becomes increasingly apparent that the movie struggles to break free from the genre’s constraints, adhering to a formula that has been tried and tested in numerous heist films. The hope for a captivating story with unexpected twists and turns was never on the table, as Daniel Kunka (12 Rounds) writes a pretty by-the-numbers screenplay without much creativity – it’s only his second feature script in fifteen years – leaving all of the movie’s success entirely dependent on the overall execution.
Lift Critique
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The opening heist and chasing sequence through the canals of Venice is undoubtedly a high point, showcasing the director’s flair for orchestrating visually engaging action. However, the euphoria generated by these moments is short-lived, as Lift stumbles into a rhythm of predictability and monotony. Except for an admittedly cool yet choppily edited brawl in an airplane with a window ceiling, the overall narrative can’t be salvaged from the pitfalls of uninspired storytelling.
The ensemble cast is left grappling with thinly sketched characters that never evolve beyond their initial introductions. Despite the palpable chemistry between the actors, their performances are restrained by the script’s lack of depth. The criminal group’s motivation, a linchpin for any heist flick, feels more like a mandatory excuse to actually have a film than an exploration of the complexities of their choices or the emotional toll of their actions.
As Lift progresses, it becomes evident that it suffers from an abundance of characters. This excess dilutes the potential for individual growth and weakens the lack of urgency and danger within the plot, further undermining the tension, and making it difficult for the audience to invest fully in the unfolding events. Even the characters designed to provide comic relief are given sporadic appearances, doing little to alleviate the increasingly dull tone.
While Kevin Hart’s (The Man From Toronto) foray into more dramatic roles is commendable – I disagree with the miscast comments – Lift doesn’t fully capitalize on his potential, relegating him to moments of seriousness amid a sea of lighthearted banter that he’s rarely part of. It’s a missed opportunity to showcase the actor’s range and explore the emotional spectrum that he could provide. On the other hand, Gugu Mbatha-Raw (Loki) manages to infuse some much-needed gravitas, doing a lot of heavy lifting.
The decision to shoot in many real locations is one of Lift‘s redeemable aspects, allowing the audience to traverse the globe alongside the characters. Obviously, the long airplane heist relies a lot on VFX, but overall, I wish more blockbusters of today committed to realism by filming in any of the infinite gorgeous locations of our planet.
In Conclusion
Lift quickly becomes a forgettable heist flick, contradicting its initial promise of intrigue, excitement, and a pretty engaging opening sequence. Sadly, everything is overshadowed by formulaic storytelling, paper-thin character development, and a failure to innovate within a well-trodden genre. A narrative that fails to rise above the mundane, despite possessing a talented cast and a couple of standout set pieces. As the credits roll, one realizes the many missed opportunities that could have made this movie a solid addition to its respective genre…
4/10
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