Riding on the coattails of director Chris Morris’ success with 2010’s Four Lions, and his time on Armando Ianucci’s Veep, The Day Shall Come is a strange mix of both pieces, attempting a satire of two story styles in the same production. In the meantime, Morris has picked his side to support, even though overarching satires only work at their best when the viewer has the ability to make up their own mind.

In a rundown corner of Miami, Florida, Moses Al Shabazz (Marchant Davis) runs his tiny religious sect: ‘The Star Of Six’; a four member organisation worshipping a number of deities, as they strive to fight back against the white members of society, oppressing the black communities. Tricked into becoming part of a secret FBI plot, Al Shabazz fails to realise his error before it’s too late.

The Day Shall Come 2

The bias that comes from Morris’ choice of side does often get in the way of the feature’s genetic make-up, seeming forced and, at times, irritating. Realistically it should be easy to pic Al Shabazz’s side – The FBI are annoying in and of themselves; but Morris’ attempts to hit home how much injustice stems from the story often feels too much. There’s absolutely a good film within the story, but it hasn’t quite been tapped into in the same way Ianucci could have done with his ‘The Thick Of It’ style. 

The Day Shall Come isn’t a bad film at any stretch, but it is a flawed film, with the flaw glaring through, it stomps all over the comedy and the drama that the piece strives to live through. Marchant Davis is wonderfully naive in the lead and Anna Kendrick stresses the difficulties of FBI pressure excellently well, but they both come across as mere tools for the piece’s most vital message. A message that is absolutely not the one The Day Shall Come needed in order to properly succeed.


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