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The Day Shall Come | Review

Fooling the Children of the Revolution: Morris Returns with Dark, Political Satire

Stakes are perhaps too high for writer-director Christopher Morris’s sophomore film following the success of his provocative terrorist comedy Four Lions, one of the best films of 2010, which is perhaps one of several reasons why it’s taken so long for a follow-up feature. Arriving nine years later is The Day Shall Come, an equally perverse portrait of our modern corrupt world.

Another reason for the lengthy delay (besides his contributions to “Veep”) might be expectation, both for how much further Morris could push absurdist boundaries under the guise of so-called good taste as well as who the intended audience should be, something which makes his latest a unique marketing challenge.…

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