WHAT IT’S ABOUT?
A perpetually stoned delivery man named Leo unwittingly delivers a package of 10 kilos of high-quality cocaine to the apartment across the hall from its intended recipients who are anxiously awaiting its arrival. It winds up in the hands of a couple of inept crooks Brody and Guch who look at it as manna from God and set about to sell it to Brody’s drug dealing cousin and his accomplice. Meanwhile their neighbor Jesus and his clueless girlfriend embark on a desperate search to find their stash before the unforgiving drug kingpin who sent it to them finds out it’s missing.
WHO’S IN IT?
A game cast led by Donald Faison (who also produced) as the inept delivery man provide the laughs in this Tarantino-esque screwball farce. Faison is quite funny as the stoner Next Day Air worker who sets the dominoes in motion with Mike Epps and Wood Harris expertly playing the "dumb and dumber" hoods who think they’ve found nirvana in the coke-laden mystery package. Also making an impression are Cisco Reyes as the Puerto Rican dealer sweating out the missing box of drugs Yasmin Deliz as his girl and Omari Hardwick as the cousin looking to make the deal. Mos Def steals his brief scenes as a colleague of Leo’s and Debbie Allen is smartly sassy as Leo’s mother/boss. Emilio Rivera rounds out the principal cast as the intense and unforgiving drug lord.
With all these divergent characters focused on one very valuable package director Benny Boom has his work cut out for him but he merges the various lowlifes in and out of focus surprisingly well. Sure they’re all stereotypes but each gets their moments to amuse. This is not brain surgery and Boom knows that milking the silly situation for all the laughs it allows. Next Day Air is better than it has any right to be (if you check your brain at the door).
The film should have stayed with the comedy (ala Pineapple Express) instead of inserting unnecessary grainily-shot violent flashbacks to up the body part count. It’s as if a committee decided there wasn’t enough bloodletting and told the director to insert these pointless scenes. The inevitable final showdown also seems out of place with the light tone set earlier but does provide no end of irony in wrapping up all the loose ends.
For full enjoyment don’t try to make sense of the fact that a seasoned kingpin would send such a large parcel of illegal drugs through a commercial courier service. Obviously there would be no movie if he didn’t but last time we checked no one was using FedEx to ship heroin.
NETFLIX OR MULTIPLEX?
Either way. At a breezy 84 minutes Next Day Air is an agreeable timewaster.
Set in the wintry tones of 1950's England Asylum follows a confused woman Stella (Natasha Richardson) who has too much time on her hands. Her husband Max (Hugh Bonneville) an ambitious forensic psychiatrist has been hired to treat patients at a criminal psychiatric hospital and soon the married couple along with their 10-year-old son Charlie (Gus Lewis) are living on the hospital's grounds. Unstable as she is Stella soon falls for a pathological inmate named Edgar Stark (Marton Csokas) smitten with his mysterious volatility. Problem is Edgar murdered his wife. But Edgar and Stella begin a lusty affair anyway and Stella's family life dissolves into shambles. Jealous doctor Peter Cleave (Ian McKellen) accelerates the breakdown. Asylum is about trapped troubled people confined by their own limitations.
This eclectic ensemble of Britain's finest thespians (and one New Zealander) is Asylum's strongest suit as they play up their worst behaviors. Richardson excels as the detestable Stella letting her fawn-like yet manic eyes do the talking during extended facial close-up scenes. Richardson captures Stella's addiction to helplessness. McKellen (up next in X-Men 3) wields a strong quietness commanding attention with his unpredictable acerbic intentions. As the asylum's voice of authority McKellen makes us believe he belongs in the institution. But the heaviest lifting is left to Csokas (Kingdom of Heaven The Great Raid) who must be at once brooding and pacifying as a wife murderer. Csokas' combination of desirable and repulsive works with mixed results though they are satisfactory. His allure is functional.
The mushy form of Stella's descent makes Asylum feel like a long misdirected slog even though it's only 97 minutes long. There isn't much of a story unfolding; instead it's more of a zigzag-wandering around the stations of grief. Edgar's crazy Stella's in love with him and that's Asylum. The film also often shifts locations without engaging the audience to care. Certain scenes are indeed devastating true to Asylum's grief-stricken story. Director David MacKenzie (Young Adam) shows some chops with his visual narrative style. But the story runs into the ground repeatedly like a nihilistic jackhammer. The direction then seems more like an irritant.