Lift: Gugu Mbatha-Raw and Kevin Harts antics fall flat

The most recent addition to Netflix's collection of heist thrillers has characters that are cardboard cutouts and predictable turns.The idea behind Lift, the newest heist thriller on Netflix, is an enormous shipment of gold is supposed to be taken in midair. It sounds like an intriguing plot point. The thriller appears polished, having been filmed in some of the most picturesque places on earth, such as Venice, Switzerland, and Ireland. The film, which aims to be a suspenseful thriller, is propelled by a varied cast.

However, the film, directed by F. Gary Gray, who has previously helmed films such as The Italian Job (2003) and The Fate of the Furious (2017), lacks substance and is not very compelling.Lift, a novel by Daniel Kunka, chronicles the exploits of Kevin Hart's character, professional thief Cyrus Whitaker, and his skilled gang as they attempt the ultimate heist: taking $500 million in gold from a vault on an aircraft that is hovering 40000 feet over the Alps. A group of hackers in the thriller are capable of making even the most difficult heists seem easy. That is established in a long opening scene where the group whisks away a mysterious artist and sets up a furious chase along Venice's canals. Shortly later, Whitaker is being pursued by Interpol agent Abby Gladwell (Gugu Mbatha-Raw), who approaches him with the idea of stealing the gold at the request of her senior official.The first aim is a Venice art auction.

The gang at the heart of Netflix's mistrustful heist drama Lift, led by their aspirationally stoic chief, Cyrus (Kevin Hart), get ready to steal priceless works from the hands of the one percent. This squad considers themselves as a bunch of cultural Robin Hoods, consisting of proficient techies and masters of disguise. They screw the rich and support the artists while pilfering from the wealthy to fill their own coffers.Directed by F. Gary Gray (Straight Outta Compton), the movie opens with Cyrus waltzing toward an imposingly beautiful edifice that will host the auction. A crimson carpet delineates the route to the main entrance, as Venetians in masks move about on either side of the ropes. This opening scene makes Venice, which Gray more deftly depicted in his 2003 film The Italian Job, appear gaudy. Every surface is touched by light, as though the exposure has been fully increased.