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“Next Day Air” is a convoluted but bright sad comedy that has the conviction to perform gangsters and drug dealers seem like people you would want to root for. It’s a chronicle of hapless people in an equally hapless dwelling, and yet director Benny Thunder and writer Blair Cobbs aren’t so melodramatic that they fail to look the humor in it all; many moments are genuinely droll, at times in that blatant screwball arrangement, at other times in that underhanded plan that makes you mediate about what was said and by whom. The clever structure helps a immense deal, every scene so carefully paced that the whole thing runs like clockwork. Curious, the precision that went into a screenplay about a scenario that was handled very imprecisely. It’s quite possible that this is an intentional demonstrate of cinematic irony, which is obliging because it reveals an intelligence films like this tend to lack.
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The set, essentially, is about a drug deal gone despicable. Using an ordinary delivery service modeled after UPS or Fed-Ex, a ruthless drug lord from Calexico, California named Bodega (Emilio Rivera) ships ten bricks of high-quality cocaine to Philadelphia. It was supposed to be delivered to Jesus (Cisco Reyes) and his girlfriend, Chita (Yasmin Deliz), but a potheaded delivery man named Leo (Donald Faison) accidentally drops it off at the apartment further down the hall. It’s now in the possession of three inept bank robbers: Brody (Mike Epps), Guch (Wood Harris), and Hassie (Malik Barnhardt) . While Hassie spends most of the film asleep on the couch, Brody and Guch mercurial resolve to net rich off the bricks by selling them to Brody’s cousin, Shavoo (Omari Hardwick) . Shavoo, unfortunately, is unaware that his secret stash of money has been stolen.
As you can sight, this legend involves a lot of people, and their personal histories are, to varying degrees, interwoven all throughout. Leo is a slacker who doesn’t catch his job very seriously, not caring a bit for boxes marked as fragile. He’s inches away from being fired by his boss, who objective happens to be his mother (Debbie Allen) . He knows for a fact that his co-worker and friend, Eric (Mos Def), actively steals merchandise from the very boxes he delivers. Jesus and Chita bicker like immature teenagers, almost as if they were already married. It’s a complex, multilayered film, yet it never loses peek of the record or the characters. This is especially considerable as we reach the final act, at which point Bodega comes to Philadelphia, Jesus and Chita search for Leo, and Brody, Guch, and Shavoo originate distrusting one another. Eventually, nine people earn themselves in the same slight apartment, and of those nine, seven are armed and unsafe.
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One of the film’s best scenes may seem like an certain gimmick, but it works honest the same. Brody calls Shavoo to mutter him about the ten bricks. Subtitles suddenly appear, translating slang-heavy ghetto talk into formal English. I found myself laughing, probably because that scene forced me to face a cultural gap head on; had there been no subtitles, I most likely would not have understood a thing they were saying. The rest of the film is linguistically solid, if a cramped in-your-face with outrageous references to Oedipus. Honestly, the four-letter dialogue in this movie none too subtle–if the filmmakers had set aside a dollar amount on each word, the actors would have probably earned more at the kill of the shoot than the total of their salaries.
In spite of this, there are specific passages of dialogue that can actually beget the audience contemplate, if only for a moment or two. Occupy, for example, an ongoing argument between Brody and Guch about the nature of family; while Brody is convinced that Shavoo is acting honestly, Guch believes that no one, not even conclude family members, can be trusted. His point hits home arrive the kill of the film, at which point his priorities are made abundantly definite. And then there’s Shavoo, who asserts, “If it ain’t worth dying for, you don’t want to be in it.” He remembers that line worthy later on, and considering what has happened and who it happened to, it’s unclear whether or not he mild believes this to be proper.
While I’m hard pressed to say that “Next Day Air” is a message movie, there is the sense that something more lurks beneath the zany surface, and whatever that something is, it can do more for an audience than unbiased smack them upside the head with extreme dialogue, a lot of drug exercise, and bloody shootouts. I suspect most of the credit goes to the carefully plotted screenplay, which successfully interweaves multiple storylines without getting them hopelessly confused with one another. I get it both fabulous and silly that such a chaotic anecdote achieved its goals because of an organized script. That may, in fact, be the funniest thing about this movie (although I laughed attractive hard at a scene featuring Jesus practicing his stick-up routine in front of a mirror, each time using a bigger gun) . Clearly, “Next Day Air” is a lot smarter than it lets on.
From the previews and commercials I concept this movie was going to be a straight through comedy but I was frightened to rep out that it actually had a myth to go with it. From beginning to demolish it kept my attention throughout. Don’t rep me atrocious it was a humorous movie but it wasn’t a punchline after punchline type of movie. Check it out, you will be very surprised as I was.
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