The finale in particular, despite an ambitious set piece, doesn’t really gel, the swell of emo romance proving to be less tasty than the reckless horror that came before. The young cast manage well enough, with Short Term 12 and Atlanta breakout Stanfield of particular interest (his shadowy, sleep-deprived pursuer deserving of his own origins tale), but they deserve more than what they’ve been left to work with. The runaway plot also means that the characters are left frequently underserved, shifts in motivation and morality happening within the blink of an eye. There’s enough here for a 10-part series, not hugely surprising given the breadth of Death Note material that’s come before, and rather than making us eager for a sequel, we’re left breathless and frustrated that so much of the establishing narrative has been so carelessly rushed (one particular montage is so stuffed with intriguing imagery that it demands a rewind).
While not hampered by certification, Wingard is held back somewhat by the framework of a film. As Light gets accustomed, and soon addicted, to his nihilistic superpower, there’s fun for the viewer in the art of his discovery although the relentless pace soon becomes problematic.
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The setup allows for a series of frantic Final Destination-esque set-pieces and unlike this summer’s shoddy, similarly themed Wish Upon, there’s no teen friendly rating restraining Wingard from going full Grand Guignol with the gore.
Director Adam Wingard (inexplicably adored for overstylized throwback thrillers You’re Next and The Guest, and understandably loathed for his regrettable Blair Witch sequel/reboot/assault) has a nifty eye for the macabre and, working on a larger scale than ever before, he successfully creates a distinctive universe to house the mayhem at play. While Okja dazzled, War Machine fizzled and Death Note arguably lands somewhere between the two. What’s initially noteworthy about Death Note is that it’s a proud, flashy member of Netflix’s latest wave of slick, bigger-budget original movies and it lands amid mixed company. The pair become avenging angels, targeting those who have harmed others and their global killing spree soon grabs the attention of eccentric detective L (Lakeith Stanfield) who is determined to uncover the method behind all of the madness. Initially starting off small (so long, school bullies!), Light starts to expand the death toll, with the help of overeager classmate Mia (Margaret Qualley). After flipping open the pages, he’s greeted by Ryuk (voiced by Willem Dafoe), a death demon who informs him of the power that’s new been bestowed upon him: if Light writes someone’s name in the book, they will die. So when one day a mysterious notepad quite literally falls into his hands, emblazoned with the words “Death Note”, he’s eager for whatever change it might bring. He’s picked on at school, largely friendless and still hasn’t forgiven his cop father for failing to bring his mother’s killer to justice.
Light Turner (Nat Wolff) is a high schooler living in the background. In trying to translate so much mythology into just one 100-minute movie, an awful lot is lost but given the sorry state of the horror genre, even the vaguest of glimmers is worth something. There’s a juicy wish fulfillment concept that’s easily tweakable for sequels and a wise-cracking villain who leaps out from the screen further than most of his contemporary peers.
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Death Note, a multi-strand saga spawned from a manga series that’s led to movies, video games and a TV show in Japan, has always seemed like prime real estate for a US intervention (rights were purchased by Warner Bros in 2009 and at one point Shane Black was attached).
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