Directed By John Francis Daley and Jonathan Goldstein

Starring – Ryan Reynolds, Kenneth Branagh, Maria Bakalova

The Plot – Lieutenant Troy Brennan (Reynolds) takes part in a top secret surveillance mission over Soviet airspace. Things take a sharp turn, however, when he is forced to eject from his plane over the Russian wilderness. He is rescued by a paradoxical Russian native (Branagh) and the two begin to appreciate both their differences and commonalities.

Rated PG-13 for violence and action, some strong adult language, suggestive references and smoking.

Mayday — Official Trailer | Apple TV

POSITIVES

Considering Apple TV’s documented history of assembling two polar opposite stars for consistently unfunny and redundantly familiar results, Mayday is among the most artistically ambitious and emotionally complex additions to its never-ending library of weekly-added content, establishing a dependably entertaining and occasionally gut-wrenching foundation from a fruitful friendship grown from the seeds of Cold War distrust. While Daley and Goldstein wait patiently to hear about the studio’s futuristic outlook for the very same Dungeons and Dragons franchise that they helped craft back in 2023, their creative efforts here are not only spent on a compelling ice-breaking dynamic between Troy and Nick, featuring the most effective blend of caustically dry humor that Reynolds has made a career unloading, but also the eye-opening parallels of their ideally-clashing worlds, conveying an elaborately eye-opening conversation about the pratfalls of blindfolded patriotism, and how propaganda ultimately keeps its pawns from seeing the complete picture. As a result, what initially begins as a mental chess game of wills between their emotional reservations towards one another quickly evolves into an affectionately warm and admirably glowing friendship bonded by pop culture and commonalities, and while the opposites attract idea is certainly nothing freshly original, especially alongside a Planes, Trains and Automobiles structure to the storytelling, it never feels any less endearing as a result of the naturally earned chemistry between its connecting protagonists, where Reynolds and Branagh inject an ample allowance of personality and charisma to performances that appeal to each of their extensive capabilities. Despite Troy feeling like another in a laundry list of interchangeable scenery-chewing performances for Reynolds, there is a heartily humanistic underlining to the character that makes him feel all the more redeemable from something as intentionally meanspirited as Deadpool or Van Wilder, with Reynolds offering the right amount of restraint on the integrity of the material to keep from going into business for himself, and even while Branagh casually distributes the most unconvincing and inconsistent Russian accent that I’ve ever heard put to film, he still excels at the Herculean task of eliciting the most emotionally unraveling moments of the entire film, where he’s able to surmise so much earnest empathy despite being an unforeseen killing machine of unstoppable punishment. As a result, the film is at its best when these two are sharing the screen, as Daley and Goldstein firmly establish a conductive synergy between them that not only feels life-altering for each of the characters, but also all the more transparently evident in absence whenever they’re separated, and with just the right amount of sincerity to their intended direction, the maturity of the material withstands some of Reynolds’ counterproductive commentary, attaining enough meaningful laughs in small and appropriate doses, without ever undercutting the dramatic magnitude of the conflict that’s directly in front of them. As to where the comedy and stoic performances are no surprise to the collective talent that’s assembled, the cunning style and sleekly stimulating filmmaking is an unforeseen breath of fresh air to this movie’s integral benefit, especially those creatively artistic influences during hand-to-hand fighting sequences, which help reign in an air of intensity for velocity throughout razor sharp fight choreography. Between meticulous camera schemes that evolve and expand alongside the motions of influenced objects, or even the relaxed measurements of the editing’s consistency, the visuals are effortlessly entrancing in appraising the meaningful kind of believability and encompassing immersion to stunning sequences with no shortage of complexity to the ways they’re creatively captured, and while the movie’s minimal dependency upon action makes it difficult to prematurely label it as an action movie, first and foremost, there’s no denying the inflated appeal that materializes from their transfixing allure, which are undeniably among the very best action sequences that can be found among Apple’s original content. If this isn’t enough, Mayday also isn’t a film that overstays its welcome in the confines of a 100-minute runtime, with enough urgency to the storytelling and corresponding pacing to transpire seamlessly to evade the wandering mind of an at-home engagement. Part of the appeal here is certainly that the opening act wastes very little time putting the actions of the characters to motion, where Troy’s invasion of Nick’s world is within the opening twenty-five minutes of the movie, but just as much appreciation truly emanates from a superior second half of introspective exposition that injects unforeseen amounts of dimensionality to the introspection of its characters, as a result of their unforeseen difficulties of living in a communist dictatorship. It taps into some of that preconceived paranoia that persists outside of the borders of this movie’s focus, but beyond that gives the audience plenty of world-building substance to chew on beyond the intended beats of the narrative, which made this such an entertaining and even enlightening experience to the kinds of afforded freedoms that we as Americans tragically and inevitably take for granted everyday.

NEGATIVES

While Mayday effectively triggers the right kind of silly escapism that will find its way into the hearts of many of its adoring audience, it isn’t without glaring flaws in the execution of Daley and Goldstein’s bold ambition, particularly in the lack of transformative emphasis to the intended period piece setting, that isn’t realized with any kind of vintage staging to the production. Being that this is 1987, set between two worlds that ideally and geographically couldn’t be any more different, there’s very little attempt to Barry Peterson’s presentational cinematography, or even the wardrobe choices, to stand out tangibly from one setting to the next, and with the exception of some on-the-nose obvious uses of the movie’s Springsteen heavy soundtrack, there were multiple moments throughout the engagement where I legitimately forgot that this movie took place in the 80’s, even as my familiarity with the Russian setting never wavered, and in a movie that takes so many creative chances with its cerebrally sleek action and geographic framing, there’s little left for the textural presentation to find a weathered grittiness that looks so unlike anything that Apple has previously made, in turn wasting away so much endless potential from a distinguished setting that other productions would clamor for. In addition, there’s also ample evidence to the script and corresponding editing that some of these supporting character arcs served a much grander purpose to the original concepts, as much of the faithful focus on their initial introductions fails to surmise anything meaningful to what ultimately comes from them. Such examples certainly pertain to Maria Bakalova’s wasted role as Nick’s daughter, with a conflict that is resolved just as quickly as its introduced, but also very little development in the arc between Troy and his terminally ill father, with only a tacked-on resolution serving as the only follow-up, and while I dearly commend the film’s pacing for moving fluidly throughout one set piece to the next, with very little lingering along the way, there is some internalized regret that some of these necessary arcs didn’t serve a more meaningful purpose to the movie’s long-term execution, especially with so many of them demanding a thoroughly fleshed out discussion about the elasticity of dedicative patriotism. Finally, as to where urgency finds a tangible consistency to so much of the movie’s pacing, it isn’t as fortunate towards the complexion of the conflict, which too constantly relies upon convenient resolutions and clunky contrivances to overlook the danger that is directly staring its characters in the face. For my money, I could’ve definitely used more temporary suspense in overcoming such overwhelming odds, as even while our characters quite literally steer a nuclear weapon down a parade of Russian people, there’s very little materialized tension to keep the audiences from speculating about their well-being, leaving so much of Troy’s dreaded disposition feeling easily resolvable, as a result of the script constantly conveying it.

OVERALL
Mayday is a ‘what you see is what you get’ kind of no frills buddy comedy, in that the radiantly intoxicating dynamic chemistry between Ryan Reynolds and Kenneth Branagh earnestly elicits a rip-roaringly and imaginatively indulging experience that serves as a refreshing addition to Apple TV’s library of otherwise listless content. While the movie’s foundation depends heavily upon the affectionately gentle connection of its opposing-worlds characters, it’s made transfixingly soaring with stylistically sleek action sequences that breeds innovation among its elaborately experimental filmmaking, offering a more than entertaining diversion from the real world without leaving the comforts of home.

My Grade: 7.2 or B-