The Bright star discussed what his Netflix movie's poor critical reception means in the changing landscape of cinema.
As soon as it was up on Netflix last December, Bright was critically panned despite a more positive reception from general audience. With David Ayer's ill-conceived worldbuilding and a pretentious attitude that tries to be slick and smart, the movie deserves everything the critical consensus threw at it.
Edgerton starred in Bright as an orc police officer next to Will Smith's leading man, and despite the heavy make-up, he managed to be give the best performance in the movie. In a Collider interview to promote Red Sparrow, Edgerton weighed in on the advantage of a Netflix release:
All I know is what was reported, which was something like—whatever number was reported—something like 11 million that first weekend. Whatever it was, it amounted to a $100 million-plus opening weekend. But, I have to be honest, that’s considering that people don’t have to get in their car, go buy a ticket, go buy the popcorn. There’s a certain age where you can roll over and press play on the remote control.
He also compared Bright to Star Wars: The Last Jedi, referring to each of them as a sort of anti-thesis to the other.
But, according to them, the numbers were there. And I think that would be supported by the wild discrepancy between the audience score and the Rotten Tomatoes aggregate score, it’s almost the inverse of Star Wars: The Last Jedi. You’ve got critics at 93 or 92%, and the audience gave it a 50-something, and you get to Bright, which is sort of slammed by critics, but it has a 90% audience score. I think there was a little bit of extra critical hate towards it because it’s changing the landscape of the movie business, but I think Bright is maybe a movie that needs to be reviewed by public opinion rather than viewed through the highbrow prism of film criticism.”
While Bright hits all the wrong notes for its genre mix of buddy cop, dark fantasy, and social criticism, Netflix already announced a sequel. And Edgerton might be right, at least about the change brought to the future of cinema by these poorly reviewed Netflix movies.
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