Lift is many things I didn’t expect to enjoy. A dramatic vehicle for funnyman Kevin Hart. A heist flick that takes NFTs seriously. I’ve also been out of touch with F. Gary Gray’s directorial career since Straight Outta Compton. Netflix dared allow one of their originals to clock in under two hours, which benefits energy and pacing, because Daniel Kunka’s screenplay wastes no time. Lift is no Ocean’s Eleven in first class or a sky-flying The Italian Job, but that’s not an issue. Gray plays to the simplest pleasures of heist cinema and wins us over because sometimes it’s alright to simply be dependable and straightforward.
Hart stars as Cyrus, the mastermind of a sorta do-gooding criminal troupe specializing in art theft. His team is composed of the usual players, from safecrackers (Billy Magnussen) to masters of disguise (Vincent D’Onofrio), and they’re under surveillance by government law enforcement. You’ve seen this before; you know the drill. Special agent Abby (Gugu Mbatha-Raw) approaches Cyrus and offers him a deal: Steal $100 million in gold bullion from a mid-air flight and receive blanket pardons. Cyrus agrees, partially because of the offer, but mostly because it means he gets to work alongside his ex-fling Abby and hopefully rekindle their shared passion through gentlemanly yet seductive thievery.
Lift features more romantic tension than what’s on the tin, which is actually quite charming. Cyrus and Abby are a will-they-won’t-they destined to “will,” which softens the blow of an otherwise run-of-the-mill objective. Hart lays his flattery on thick and with an earnest expression, abandoning the comedic chops that launched and sustain his career. Even more surprising? He doesn’t need them. Cyrus’ lovestruck advances come across as sincere—even candy-coated sweet. Hart and Mbatha-Raw collaborate well as a rom-com couple in an action-first scenario, which allows the surrounding film to breathe as they draw attention away from its more ordinary genre execution.
Memorable heist movies are only as likable as their ensemble, and Lift is no exception. Beyond Hart and Mbatha-Raw, the cast of specialists carry their assigned weights. Magnussen is the overcaffeinated safe opener with a positive mental attitude, Úrsula Corberó is the laser-focused pilot, and Yun Jee Kim works a keyboard as a brainiac tech guru—everyone does their jobs. Take that as an endorsement. There’s a safeness to their relationships that doesn’t permit extreme stakes, but not every danger-driven plot has to come with sorrowful loss. Sometimes, it’s nice to watch besties score a big win through guile and friendship.
Although, that mention of padded stakes comes with a hollow sensation. Lift can feel like it’s running through the motions as Cyrus’ team workshops their unthinkable plan, pieces falling into place like gifts from above. Jean Reno portrays a stereotypical villain, who could have been played by a scarecrow given his usage. Kunka’s story is clever in short bursts, like a disguised vape gun or aerial stunts in a pimped-out private jet, but the overall structure functions like a softcore heist treat. It’s nothing remarkably ambitious or experimentally complex, which—while pleasing enough—is merely an appetizer that Danny Ocean would devour in one bite.
Listen, there’s nothing wrong with a beer and Bloomin’ Onion kind of night. Lift might be a comfort snack in the heist canon, but that’s alright—it’s still a quality product with fundamental yet tasty flavors. Hart’s turn as a cool, caring and collected ringleader plays wholly better than expected, to the point where a sequel that advances his and his team’s futures would be a delightful announcement. Better yet, Netflix has learned that you can still tell a complete story closer to the 90-minute mark. Lift is less about the difficulty of a heist and is more about the friends we make along the way, which might sound cheesy, but ends up with just enough Hart.
Director: F. Gary Gray
Writer: Daniel Kunka
Starring: Kevin Hart, Gugu Mbatha-Raw, Vincent D’Onofrio, Úrsula Corberó, Billy Magnussen, Jacob Batalon, Jean Reno, Sam Worthington
Release Date: January 12, 2024 (Netflix)
Matt Donato is a Los Angeles-based film critic currently published on SlashFilm, Fangoria, Bloody Disgusting, and anywhere else he’s allowed to spread the gospel of Demon Wind. He is also a member of the Hollywood Critics Association. Definitely don’t feed him after midnight.