It’s rare for the third installment of a franchise to resonate just as deeply, if not more, than its predecessors. But Day One manages to raise fresh, existential questions.
It’s rare for the third installment of a franchise to resonate just as deeply, if not more, than its predecessors. Butspiel here, and get it out of the way. It’s absolutely and mightily true.
And yet. Every now and then – perhaps more often than a film critic might recognize, but certainly not enough to invalidate such an observation – a piece of intellectual property actually justifies its existence as something other than a shallow cash cow. Michael Sarnoski’sadmirably makes its own case for returning us to the franchise’s clever doomsday scenario. Much of the gratitude for this should be aimed straight at its star, a characteristically magnetic Lupita Nyong’o.
For poet Samira , the normal way of life is sickness as a cancer patient, and she’s deeply unhappy. But then the aliens crash down, and suddenly a debilitating illness is no longer her most pressing concern. As Sam navigates the ruined city, she must contend with not just aliens but an extremely anxious tagalong named Eric . Unlike her, Eric is apparently reckoning with his own mortality for the first time ever as a young adult. He’s not handling it well at all.
Sam, too, is disturbed, fearful, and enraged – by her life’s circumstances and by the world around her. Nyong’o embraces these prickly qualities, but allows warmth to creep in, too, particularly as her bond with Eric solidifies.. But funnily enough, this subsequent prequel resonates more deeply and thoughtfully than its predecessor – and far more than the third installment of a franchise has any right to.
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