Reviews
No Mercy, Just Megabytes: Justice Goes Digital – Mercy Review
In a movie called Mercy, you’d expect compassion — instead, you get cold algorithms, hard deadlines, and a justice system that wouldn’t know a second chance if it filed an appeal. This near-future sci-fi thriller throws Chris Pratt into a courtroom where the judge isn’t just stern — it’s silicon. And from there, the film makes one thing clear: in this world, “processing your feelings” is less important than processing your data.
Review
The premise is easily the movie’s biggest strength. A justice system run by AI, a detective who helped build it, and a race against time to prove innocence — it’s the kind of idea that instantly pulls you in. The story unfolds with a constant ticking-clock energy that keeps things tense, and the tech-driven way events are revealed — through screens, surveillance, and digital trails — gives the film a sleek, modern edge. It feels like a cinematic cousin to a long Black Mirror episode, built around the fear that technology might be efficient… but not exactly fair.
Chris Pratt delivers a solid, restrained performance. This isn’t his usual wise-cracking, action-heavy role; instead, he carries the movie through urgency, frustration, and quiet desperation. He does what he can with the material, even though the character is often limited by the film’s structure. Much of the story unfolds in confined or static situations, which fits the concept but sometimes makes the movie feel smaller than its big idea deserves.
Rebecca Ferguson plays the AI judge, a character that’s less about emotional nuance and more about what the movie’s central idea looks like in human form. She isn’t a warm or sympathetic presence — she is the embodiment of the system Chris Pratt’s character is up against. That immediately gives her role a kind of gravity: she represents the cold logic of a world where justice is measured in algorithms and milliseconds instead of human deliberation.
Ferguson doesn’t have to carry the emotional weight in the way a traditional judge character might. Instead, her performance leans into stillness and precision — every word, every pause feels deliberate. It’s like she’s calibrated to deliver the law exactly as programmed, without the messy complications of empathy or second chances. That fits the film’s premise really well, because you never forget she’s not just another character — she’s the machine that decides life or death.
Her impact goes beyond just being the antagonist figure. Ferguson’s presence raises the stakes. Every time she speaks, you feel the system’s power in a way that simple exposition couldn’t achieve. She makes you feel the rules of this world — not through anger or theatrics, but through a kind of unemotional certainty that’s almost more unsettling. It’s one thing for a judge to be strict; it’s another for them to be literally incapable of bending or understanding emotion.
The movie doesn’t give her a deep backstory, and it doesn’t turn her into a cliché villain. Her role is functional, but in a smart way: she is the mechanism that keeps the clock ticking. Because of that, Ferguson’s performance becomes an anchor for the entire film — not by stealing scenes, but by giving the audience a clear sense of what the protagonist is fighting against. She sets the tone for the courtroom drama, and her steady, almost robotic delivery makes the tension feel real even when the visuals are just screens and data panels.
In short: Ferguson’s character isn’t there for charm or emotional beats. She’s there to be the system, and she does that with a cool, controlled performance that elevates the movie’s central conflict. If the film had a weaker presence in that role, the whole thing might have felt much less urgent. But because she’s so effective at what she represents, you feel the pressure in every scene she’s in — even if the story around her doesn’t always dig as deep as it could.
Visually, Mercy looks polished. The futuristic design leans more toward believable near-future than flashy sci-fi spectacle, which helps ground the story. The heavy use of screens and digital interfaces adds to the atmosphere, though it can occasionally make the film feel more like you’re watching a very intense system interface than a fully cinematic experience. It’s stylish, just not always immersive in the way you might hope.
Where the movie loses a bit of momentum is in its depth. It raises huge questions about AI, surveillance, and who we trust to decide guilt — but it never digs as deeply into those themes as the setup promises. Some story turns feel familiar, and while the tension keeps things watchable, the emotional and philosophical impact doesn’t hit as hard as it could have. You’re engaged in the moment, but you’re not necessarily haunted afterward.
That’s why this lands at a comfortable 3 out of 5 stars. It’s entertaining, well-paced, and built on a strong concept, but it plays things a little too safely to be truly memorable. Worth a watch if you enjoy technological thrillers and high-stakes tension — just don’t expect a verdict that blows your mind.
By the end, Mercy proves one thing: the movie may be about justice without emotion, but as a film experience, it could’ve used just a little more heart… and maybe a mistrial on some of those missed opportunities.
I walked into the UK multimedia screening not knowing quite what to expect and walked out absolutely blown away. Without a doubt, Hope is easily one of my absolute favorite films of the year so far. It really is that special.
Directed by Na Hong-jin and currently the most expensive South Korean film ever made, every penny shows right there on screen. It begins gently, taking its time in those early scenes. It is slow and careful, building atmosphere like a gathering storm. You settle in, wondering where it is heading, and then it unfolds. Layer by layer, the tension rises, the stakes climb higher, and by the end, it delivers in the most astonishing fashion. I honestly did not see that conclusion coming, and now I am delighted to confirm a sequel is officially in development, which is wonderful news in my opinion.
Watching this felt like witnessing something truly unique, as if Jurassic Park, Resident Evil, and Avatar all came together in one incredible, heart-pounding vision. It sounds wild, and it is, but it works beautifully. Funny enough, there was another major film screening at the very same time, and part of me felt a little guilty choosing this one, but not for long. Every single second was worth it. This was the right place to be.
This is South Korean cinema at its absolute finest. I have long admired how bold, daring, and deeply human these films are. From Parasite to Decision to Leave, they’ve touched me more emotionally than very few other films have in the past.
Cinematographer Hong Kyung-pyo, whose previous work includes Parasite, The Wailing, and Burning, frames every moment with such care. He pulls you right into the heart of the town and the fear gripping it.
Set in the quiet, remote town of Hope, things begin with a grisly discovery: a mutilated cow found on the road. Police Chief Ko Beom-seok, played superbly by Hwang Jung-min, slowly uncovers something far worse than any wild animal, something entirely other. Zo In-sung stars alongside him as Sung-ki in the fight that follows. What starts as a mystery hunt becomes a fight for survival against visitors no one saw coming. The tension in that first hour is masterful, and that early car chase is pure cinema at its best. The finale is absolutely spectacular.
Beyond the thrills, there is real heart and meaning here. It asks a vital question: When we face the unknown, do we reach out, or do we reach for a weapon? Too often, we shoot first and never learn the truth, and that truth runs through every powerful moment of this film.
Hope is spectacular, thrilling, and unforgettable. A genuine highlight of 2026.
Selected for Official Competition at the 2025 BFI London Film Festival, this is a bold and thought-provoking film set in a typical British primary school. Saoirse Ronan plays Maria, a teacher who is doing her very best but feeling the weight of a system that is failing both her and the children in her care.
When one particular pupil, Danny (Eddie Waller), becomes increasingly disruptive and difficult to manage, Maria starts out with good intentions and firm boundaries. But as the situation worsens, she finds herself making decisions that go further and feel far more extreme than she ever thought possible.
What begins as a story about classroom discipline slowly twists into something much deeper and darker, making us question who really gets to decide what is right and wrong.
Maria (Saoirse Ronan) and Danny (Eddie Waller) in Bad Apples. [Pulse Films]
This film looks closely at the labels we put on people and how easy it is to point a finger without ever truly understanding the full picture.
It is a movie that asks us to look at power and accountability and makes us wonder who the real bad apples actually are.
Saoirse Ronan gives us another powerhouse performance. She truly shines in every role she’s appeared in over the years, especially in this latest role, where she transforms into a teacher. She carries every heartbeat of Maria’s journey with a burning intensity that is terrifyingly real.
You will feel the emotional journey she goes through with the character she portrays in this hard-hitting film. Amazingly, Jonatan Etzler directs with confidence, crafting a world that feels familiar yet increasingly surreal, where every creak and glance hints at something darker beneath the surface.
That being said, the tone falters when it leans too hard into allegory. Some of the narrative leaps stretch credibility, and the balance between satire and thriller does not always land smoothly. It provokes in all the right places, refusing easy answers or tidy closure.
This movie will make you ask yourself uncomfortable questions and let them linger in your mind. It is another example of masterful, bold, daring filmmaking at its finest. Definitely a film to open your eyes widely and a must-watch, especially for the fabulous acting performances of the whole cast.
The first reactions to Zach Cregger’s Resident Evil have arrived, and the filmmaker behind Barbarian and Weapons may have another horror hit on his hands.
Early reactions to Sony Pictures’ latest attempt at bringing the iconic video game franchise to the big screen are overwhelmingly enthusiastic, with critics praising the film’s gore, humor, scares and commitment to the survival-horror atmosphere of the games.
Cregger’s Resident Evil follows Austin Abrams as a medical courier who finds himself caught in a zombie outbreak while attempting to make a delivery to Raccoon City General Hospital. Cregger co-wrote the screenplay alongside Shay Hatten, with Zach Cherry, Kali Reis and Paul Walter Hauser also starring.
While the film tells an original story rather than adapting one of the games directly, the early word suggests Cregger has captured what makes Resident Evil work.
Flickering Myth critic EJ Moreno called the movie a “true horror blockbuster,” adding:
“Zach Cregger goes bigger, scarier, and at his most fun.”
Moreno also said Resident Evil is the type of movie that should be experienced “on the biggest screen with a big crowd.”
Mark Cassidy offered similarly strong praise, arguing that despite not featuring familiar characters or storylines from the games, the movie successfully taps into their relentless tension.
Director Zach Cregger (right) and Austin Abrams on the set of Constantin Film and Columbia Pictures Resident Evil DUŠAN MARTINČEK/SONY PICTURES
“Zach Cregger has actually delivered the most faithful take yet.”
Cassidy described the film as “very bloody, very funny” and revealed that it managed to make him jump three times.
Kellvin Chavez was even more enthusiastic, praising a movie that apparently wastes little time getting started.
“Zach Cregger delivers relentless suspense, gloriously gory action.”
Chavez also highlighted what he described as twisted, The Thing-like creature designs and called the movie “pure survival horror.”
Film critic Tristian Circa ‘89 praised the balance between horror and comedy, saying the movie is “just as intense and horrifying as you’d expect” while still incorporating humor. He also singled out Abrams as an everyman protagonist whose natural charm makes him easy to root for.
Variety’s Jordan Moreau delivered perhaps the strongest reaction of the bunch, calling Resident Evil:
“One of the best video game adaptations ever made.”
Austin Abrams in ‘Resident Evil’ (2026). Credit : Dušan Martinček/Sony Pictures
Moreau also called it one of the best recent horror movies and praised Abrams’ performance as he stumbles his way through the zombie outbreak.
One of the biggest questions surrounding Cregger’s take on the franchise has been his decision to tell an original story.
The new movie does not center on established Resident Evil characters such as Leon S. Kennedy or Jill Valentine. Cregger has previously acknowledged the criticism surrounding that decision, but these early reactions suggest his film may compensate by remaining faithful to the atmosphere, tension and survival-horror experience of the games.
The franchise has already produced seven live-action theatrical films, beginning with the Milla Jovovich-led Resident Evil in 2002 and most recently returning to theaters with Resident Evil: Welcome to Raccoon City in 2021. The films have collectively earned more than $1.2 billion worldwide.
Now Cregger gets his opportunity to take audiences back to Raccoon City.
Resident Evil hits theaters September 18.
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