Stallone in a collapsing tunnel under the Hudson. On paper, that’s a premise with enough pressure to move by itself. In practice, Daylight somehow defuses most of the tension before it can do any damage.
The set pieces deliver in flashes — the opening explosion has proper disaster-movie heft — but the characters exist purely to panic at each other before meeting their allotted fates. Nobody gets a personality. They get one trait, one fear, and a place in the casualty queue.
A film this loud should feel more alive. The Towering Inferno understood that a disaster film lives or dies by its ensemble. Daylight mostly gives you people-shaped obstacles. Watchable in a damp Sunday afternoon way, but calling it thrilling would be daylight robbery.