Rule number one of hitman movies: if the job can go wrong, it will. Murphy’s law, in a cinematic context. And what we get in director Preston Taylor’s proof-of-concept short Best Day Ever is one very specific instance of that. Though it lacks the bone-breaking, violent thrills its action genre label promises, rest assured that Taylor and co. have the right sensibilities to potentially make that happen in the future. And for what it’s worth, what we have now is a very respectably crafted story, action-heavy or not.
Opening with a tense late-night intro to hired gun Avon’s (Devenaire Curtis) modus operandi, we are immediately dropped into the seedy world of the film. With Avon doing his dirty work in a car wash, the scene would sit right at home in any blockbuster thriller, such is the attention to detail in the lighting, framing, and direction. It’s a full-blown neo-noir for its first three or so minutes and a damn stylish one at that. Though it doesn’t quite maintain this level of technical sophistication in its latter half, you can still see shades of its rich textures in subsequent scenes, like Mafia-run diners and high-rise apartments.
The plot is simple. Avon’s shady boss Mr. Valenti (a charismatic Ryan Bender) wants a rival eliminated and naturally chooses Avon to carry out the hit. Poison is the preferred method, and Avon makes preparations, with specially prepared pastries (cannolis) ready to go for Mr. Valenti’s target. Just when things seem to be picking up, Avon is interrupted by the appearance of his brother-in-law Mike (Sky Crystal), whose antics threaten to undermine the entire operation.
Best Day Ever should tick a lot of boxes for fans of gritty crime thrillers. The cool, stoic assassin portrayed with a surprising level of nuance by Curtis. Distinctively lit, furnished set pieces, gangsters, and enemies lurking around every corner. It does an excellent job establishing these hallmarks and doing so with its own unique flavoring. Despite this, the film struggles to maintain a consistent tone. It certainly makes strides to broaden its scope—understandably so, the creators are trying to showcase as much as they can of their capabilities. However, with Mike in the picture, the transition from dark and brooding to lighthearted and slapstick dangles on the edge of tonal whiplash. Avon also is not exempt from this odd change. Not to critique a killer’s vices, but it’s a touch difficult to take a cold-blooded hitman seriously who’s carelessly slacking off, glass pipe in hand before a job, let alone allowing a family member remotely near their workspace. The film works when it’s not trying too hard to force a comedic angle on its characters, and perhaps these issues will course-correct if a feature-length version is greenlit.
Best Day Ever may be hindered by an uneven narrative, but it lays enough groundwork with its sharp direction and worldbuilding to justify a bigger, bolder version of itself that’s hopefully just around the corner.
