MOVIE REVIEW
Bad Genius
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Genre: Thriller
Year Released: 2024
Runtime: 1h 36m
Director(s): J.C. Lee
Writer(s): J.C. Lee, Julius Onah
Cast: Callina Liang, Benedict Wong, Jabari Banks, Taylor Hickson
Where To Watch: releasing on October 11, 2024

RAVING REVIEW: BAD GENIUS dives right into the thick of an intellectual battleground where school tests aren't just paper—they're the safes our protagonists crack in this slick academic heist. Directed with a unique vision by J.C. Lee, this remake of a Thai film not only reimagines the story for a Western audience but drills deep into the modern adolescent psyche, grappling with the ethics of right versus wrong in a system stacked against them.

Lynn Kang, brilliantly brought to life by Callina Liang, whose authentic and riveting performance is at the center of this whirlwind, is a top student propelled by economic necessity and family expectations. Lynn orchestrates a complex cheating ring, turning standardized tests into her playground. As she navigates this morally grey world, the film smartly swaps traditional heist gadgetry for the sharp wit and quicker thinking of its youthful cast, keeping us on the edge of our seats. Very much in the style of the NOW YOU SEE ME franchise, the film uses what you don’t see to its advantage.

BAD GENIUS isn't just about the thrill of the cheat; it's a probing look into the disparities that define contemporary education. Through Lynn's interactions with her wealthy peers, Grace, played by Taylor Hickson, and Samuel Braun’s portrayal as Pat, the film explores the vast chasms between privilege and need. Hickson's Grace, a foil to Lynn's desperation, highlights the film’s sharp critique of societal divisions, pushing the narrative beyond simple suspense to thought-provoking drama.

Certain plot twists come off as predictable, and secondary characters like Bank, played by Jabari Banks, are crying out for further development. His crucial yet cursory storyline suggests the untapped potential that could have lent even greater complexity to the film’s rich tapestry.

The film's editing is crisp, courtesy of Franklin Peterson. The score, a collaborative creation by Marius De Vries and Matt Robertson, tightens the tension, drawing viewers into the palpable pressure cooker these students inhabit. It’s an experience that simulates the high stakes of elite academic performance with visceral impact.

For a deeper dive into the visual style, BAD GENIUS leverages dynamic camera work that accentuates the tension and drama inherent in its plot. Andrew Dunn's cinematography uses a vibrant and specific color palette with strategic lighting to differentiate between the world of privilege and the stark realities of Lynn's life. His use of close-ups captures the characters' internal conflict, while wide shots emphasize their isolation or integration within their various social spheres.

The film concludes on an incredibly appealing note; its optimistic finale veers from the original's more nuanced moral landscape, sparking debate about the appropriate resolution for such a layered tale. This choice indicates Lee’s broader directorial strategy: to craft a film that resonates universally while challenging viewers to question the metrics by which we measure success.

Overall, BAD GENIUS sends the heist movie genre into a narrative rich with social commentary and ethical quandaries, offering a mirror to the cutthroat world of academic achievement. It doesn't merely match its predecessor but boldly interrogates meritocracy and moral compromise in pursuing education.

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[photo courtesy of VERTICAL ENTERTAINMENT, STEWART STREET LLC]

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