“Mercy” Zooms and Lurches Forward

Mercy (Timur Bekmambetov, 2026) 3 out of 5 stars

One can only imagine a world where artificial intelligence determines the fate of a person accused of committing a serious crime. Such is the plot behind Timur Bekmambetov’s Mercy, with actor Chris Pratt (Jurassic World: Dominion) playing the role of Detective Chris Raven, one of the engineers of the “Mercy” A.I. Judge program of the future, who is accused of murdering his wife and sentenced to a trial by that same program. He faces Judge Maddox (Rebecca Ferguson, Dune: Part Two), who will determine whether Chris actually murdered his wife, using statistical facts of the case, allowing Chris to access databases, video footage, and archived files to prove his innocence. But the clock is ticking and Chris must discover the truth behind his wife’s murder while trying to save his own life.

Mercy has an adequate, if not conventional, dystopian premise, with law enforcement in Los Angeles shown as high-tech with drones, helicopter police bikes, and Ferguson’s omnipresent A.I. judge. Pratt’s performance is riveting, strapped to a form of electric chair delivering essentially monologues for the bulk of the runtime, balancing out a rather static performance by Ferguson with his own dynamic range. The sci-fi elements of Mercy are fun throughout, mixing a familiar metropolitan LA with nuanced technological advancements. And as much as Bekmambetov’s story is rooted in incredible circumstances, Mercy is also grounded in fast-paced and riveting suspense, with immense detail to visual effects and production design that immerses the viewer. 

Sadly, Bekmambetov (Profile) relies heavily on coincidence, at times, with Judge Maddox able to conveniently, and without any apparent jurisdiction, tap into favorable camera angles for scenes as well as data and information that seems unlikely to be accessed at the ease the viewer sees it obtained. But by far the most cringeworthy moments are saved for last, as the film starts to unravel during its finale. Bekmambetov changes the dynamic of the film significantly, with the tension and suspense taking it to the streets, literally, and the action ramping up to a more ludicrous point. He also throws in an additional set of plot twists that cheapen the conclusion’s value, feeling forced rather than earned.

While Mercy remains an imperfect film, it does raise some highly entertaining questions. Will artificial intelligence ever play a part in judicial proceedings? Will police officers get to ride on cool hover scooters to dodge traffic? Will crime in society skyrocket enough to force major changes in society? The answers that Bekmambetov provides are enlightening and entertaining, even when the storyline for Mercy stumbles. But mixed with Pratt’s great performance, solid action scenes, and visual appeal, the overall film is a fun time.

Adam Vaughn

Adam Vaughn is a graduate of the Film & Moving Image program at Stevenson University, with a focus in Cinematography and Production. He also has a minor in Theater and Media Performance. Adam works as a freelance photographer and videographer, focusing his craft on creating compelling photographic and cinematic imagery. Adam is excited to join the Film Festival Today team and explore the world of cinema and visual arts.