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Daylight
Studio: Universal Studios
Year: 1996
US Rating: Rated PG-13 – Disaster Related-Peril, Death and Destruction
Film Length: 1hr 55Mins
Aspect Ratio: 1.85:1
Video: VC-1 1080P High Definition, Special Features 480i/p Standard Definition
Audio: English DTS-HD Master Audio 5.1, French DTS 5.1, Special Features DTS 2.0
Release Date: April 26, 2011
Review Date: April 27, 2011
“You know what, I don't know. I don't know anything. But, the one thing I know is that we're not going to make it another hour unless I shut this thing down.”
Introduction
Daylight was released just after the midpoint of the 1990s, a decade replete with generic action movies and the return of favor toward disaster films (Dante’s Peak, Volcano, Armageddon, etc.). It does not stand out as particularly action packed, intense, dramatic, or containing any performance of note, but it does have Sylvester Stallone and it also has a still-entertaining tunnel disaster action sequence kicking off the film. Derivative plot, melodrama excess, and a script clearly in the first draft phase aside, Daylight is still entertaining. Released on Blu-Ray for the first time (although at a higher price-point for comparable catalogue titles), action fans should enjoy.
The Film: 3 out of 5
In the Holland tunnel, an artery for commuters that links Manhattan with New Jersey beneath the Hudson River, disaster strikes when fleeing criminals - a small band of IQ-deprived thieves, crash into trucks carrying (illegal) toxic waste. This accident produces a series of explosions, trapping the few survivors inside the tunnel when both entrances come crashing down. With the toxic fires burning, air running out, and panic setting in, a disgraced former emergency medical services chief, Kit Latura (Sylvester Stallone) volunteers to take what could be a one-way trip to reach the survivors and help bring them to daylight.
After directing the ‘CGI’ heavy Dragonheart, director Rob Cohen chose to tackle a film that harkened back to the disaster films of the 1970’s. Daylight was inspired by an actual toxic fire tragedy that happened in the Holland Tunnel many decades before and relies upon numerous stock action –adventure trappings (the way out cut off, explosive danger, the tick-tock of a deadly threat) and checks them off with routine melodrama. Daylight is unabashedly a by-the-numbers disaster flick, something of which the 1990s were well stocked, but despite some very good special effects (some good miniature work) and two Academy Award nominations for Best Effects and Best Sound Effects Editing, it never quite comes together.
Daylight begins as many films of its genre do, with the everyday lives of a group of people moving along with relative normality, unaware of the impending doom and danger. The introductions are made quickly as the film is paced to jump into the thick of the action without delay, but enough time is carved out to get to know the individuals that will meet with various fates. We meet the failed playwright (Amy Brenneman) who has just decided to leave the city for good; the stately couple leaving the city after a visit with their dog’s psychologist (Claire Bloom & Colin Fox); the parents (Jay O. Sanders & Karen Young) and their young daughter (Danielle Harris) on their tourism jaunt through the tunnel; the wealthy and cocky business owner (Viggo Mortensen) with more pride than sense; several juvenile delinquents transported on a youth offender bus (Trina McGee, Marcello Thedford, Renoly Santiago and Stallone’s son, Sage) and finally the likeable city employee who works in the tunnel (Stan Shaw). These fairly stock characters, along with their various plot points are all squeezed into the tunnel moments before the catalyst to the disaster happens.
Once the pyrotechnics, model effects and CGI have torn through the screen (and your subwoofer) as both ends of the Holland Tunnel meet a tragic end, Daylight settles in for more dramatic, character oriented pacing as the rag-tag group of survivors work together trying to survive (though the script had no hope of supporting that endeavor).
Daylight, despite its silliness, is a guilty pleasure. By no means a great film - it is fraught with persistent over-acting and melodrama that can be a painful to watch at times – it has certain charms provided in no small measure from Stallone. Where it falters from weak drama, it makes up for it with its entertaining ‘disaster’ sequences that seem grounded in reality. The initial accident that sets off the disaster is a well staged sequence, marrying live action, miniature effects, and the mastery of Industrial Light & Magic’s inexorable talents to good effect. A few of the miniature effects are more noticeable today as we are evermore immersed in the blending of computer generated imagery and reality – though this does not hurt the sequence (the miniature effects were solid when I saw the film theatrically).
In what could have simply been just another action vehicle, Daylight tries to add a little more depth to the events and in doing so creates a non-traditional hero role for Sly. His Kit Latura character is a flawed man, who deals with dire situations with a healthy dose of realism, facing survivors that react with varying degrees of stress and panic. He also has inner demons that he has carried with him since the tragedy that made him the ‘former’ emergency services chief. Stallone manages a few moments of genuine acting. He may have stumbled a few times with some weak dialogue and scenes filled with others over-acting, but despite all of that, this is a likeable and enjoyable character. He has been better (Rocky Balboa was a real gem), but he has been much, much worse (Assassins anyone?) Stallone is a likeable actor, creating likeable and interesting characters out of the most generic of templates. He is hit or miss though. At times he can make a role unique in a way no other actor can (Rocky, Rambo) while other times he can draw yawns with dull portrayals of characters crafted from those same stock templates (The Specialist, Assassins). His Kit Latura character falls somewhere in between.
Of note is Randy Edelman score, a surprisingly energetic piece with good, melodic heroic themes; it really belonged in a better film
The Video 3.5 out of 5
Daylight is correctly framed at 1.85:1 and is VC1 encoded. As with the previous HD release on HD-DVD, this Blu-Ray version is a distinct improvement over the DVD. There are times, especially during the second half of the film where the amount of fine detail in during close-ups and the like are impressive. Color balance is good, and film grain is healthy. The bad news is there are times where edge enhancement is noticeable and where the image is dark and muddy. This could be native to the film (poor lighting) but I don’t recall this complaint during its theatrical run. Black levels aren’t particularly strong but those who waited to upgrade to high definition during the HD format wars would do well to jump in now that Daylight has finally seen a release on Blu.
The Sound 3.5 out of 5
The DTS-HD Master Audio 5.1 track is crisper than the punchy DVD version released a number of years ago (and about on par with the HD-DVD version). The audio has always been thoroughly immersive with overactive surrounds and sub-woofer action that rips almost indiscriminately. As much as I love the rambunctious audio, there are some issues. During some of the earlier scenes shallow points in the audio are apparent and some inconsistency in the levels when the characters are talking with each other is noticeable. Despite these issues the audio is still pretty solid; active and engaging particularly in the surrounds and the low-end.
The Extras 3 out of 5
The extras presented here are ported over from the Standard DVD and HD-DVD release. Presented here – absent from the aforementioned HD-DVD release, is the return of The Daylight Archives, presented in slideshow mode. The cast and crew bios from the DVD release are still missing.
The Making of Daylight (33:25): This is a nicely produced making of, covering the characters, effects and the crew through conversations with director Rob Cohen, main star Stallone and the various effects masters behind the technically excellent elements of the film. This is my favorite kind of special feature, filled with plenty of answers to the “how’d they do that” questions.
The Featurette (6:26): Forgettable ‘promo’ featurette.
Music Video “Whenever There Is Love” – Why a film like ‘Daylight’ needed an accompanying song boggles the mind. The inclusion of this lackluster music video, comprising of clips from the film spliced with silly footage of the singers, adds nothing at all unless of course you really like the unremarkable song.
The Daylight Archives – A collection of action and effects sequence story boards
Feature Commentary Director Rob Cohen – This commentary is a little dry but still contains some interesting insight, including the fact that this director survived a hotel fire that claimed lives and allowed him to use what he witnessed as inspiration for some things that he put into the film. Cohen shares some worthwhile anecdotes from making this film and he comes across as a likeable nice guy.
2 Theatrical Trailers
Pocket Blu – Compatible with smartphones or tablet devices with the Pocket Blu App installed that allow access to features and content streaming, etc.
Final Thoughts
If you are anything like me - a sucker for average quality action films that either hold some sentimental value or simply have at least one worthy action sequences - you could do much worse than Daylight. The less-than-stellar acting is distracting at times (poor script handled poorly), but the frequent layering of disaster events during the film – that drive the characters through and beneath the tunnel begging the question “what else could possible go wrong?” – help keep Daylight a fun little film that’s so bad at times its good.
Overall 3 out of 5
Neil Middlemiss
Kernersville, NC
I need to watch this movie as I do have the BD.
