Mercy (2026) Review!!

Synopsis – In the near future, a detective stands on trial accused of murdering his wife. He has 90 minutes to prove his innocence to the advanced A.I. Judge he once championed, before it determines his fate.

My Take – Personally, I don’t think tech entrepreneur Timur Bekmambetov gets enough credit as a filmmaker. Though, he is best known for directing the fantasy epic Night Watch (2004), the action thriller Wanted (2008), and the underrated historical horror film Abraham Lincoln: Vampire Hunter (2012), he is also the pioneer behind the screenlife filmmaking movement, which resulted in impressive productions like Unfriended (2015), Searching (2018) and Profile (2018).

But while his latest production collaborates both the screenlife and conventional film-making techniques, with bankable names like Chris Pratt and Rebecca Ferguson in the leads, currently, I am having a hard time defending it. Structured as a slick sci-fi thriller/futuristic courtroom drama, the narrative is no doubt well-paced and genuinely keeps us engaged, but somewhere down the line you start realizing that its big ideas about AI justice start feeling dissatisfied.

It doesn’t help that the film has come out at the worst possible time. Not only has the notion of artificial intelligence been taken out of science fiction exclusivity and arrived in reality, but its usage among law enforcement and judiciary systems are already being heavily disputed.

Yes, it’s not entirely fair to criticize writer Marco van Belle‘s script for glimpsing only at the immediate future with little imagination, however, it sure is guilty of not fully developing its concept and for using components of its world-building to justify lazy storytelling choices.

Moreover, the influence of Minority Report (2002) looms heavily throughout, from its visual language to its central idea of preemptive justice. But while the Steven Spielberg directorial was more focused on the moral weight of its premise, this one is largely uninterested in the broader implications of AI in the legal system, despite being perfectly positioned to do so. All questions about bias, data manipulation, human error, and algorithmic prejudice are brushed aside in favor of plot devices and theatrics.

The hollow mystery at the center also does the screenplay no favors. Leaving us with a frustrating experience that keeps reminding how much better it could have been.

Set in 2029 Los Angeles, where the justice system has been rebuilt around Mercy Court, an experimental courtroom that uses AI judges to put defendants on trial for violent crimes. No lawyers. No jury. No appeals. Just data, logic, and a strict ninety-minute countdown before a verdict is reached and punishment is carried out immediately.

The story follows Christopher “Chris” Raven (Chris Pratt), an LAPD detective, who wakes up to find himself strapped to a chair and accused of murdering his wife, Nicole (Annabelle Wallis). There is a certain irony since Raven once championed the very AI system now judging him and made some of the initial arrests that led to charges under the program.

Now with digital clock ticking Raven must reason in front of the AI Judge Maddox (Rebecca Ferguson), and use all tools and evidence at disposal to prove his innocence, before it determines his fate.

From there on, the narrative unfolds almost entirely within the courtroom, though visually it rarely feels confined. Mainly as it switches gears at breakneck speed and introduces a multitude of supporting characters via FaceTime calls, from Raven’s fiery police partner, Jacqueline “Jaq” Dialo (Kali Reis), to his diligent AA sponsor, Rob Nelson (Chris Sullivan), among many others.

Here, director Bekmambetov leans hard into a multi-screen presentation style. Security cameras multiply across the frame. Phone footage overlaps with police files. Social media posts pop up mid-conversation. Documents scroll by as live feeds update in real time. There’s always something moving or refreshing. The constant visual motion creates a sense of urgency that mirrors the ticking clock. It keeps the film from feeling static and gives the investigation a frantic, real-time momentum.

No doubt, it’s an unsettling setup, one that feels uncomfortably plausible especially today, with the evolution of AI. This premise alone is enough to spark anxiety before a single character speaks.

For a brief stretch, the film seems poised to become a genuine interrogation of power and what happens when society mistakes efficiency for morality, then it backpedals from the idea and drills into its futile murder investigation. A mystery that is neither particularly clever nor emotionally resonant.

As a viewer, it becomes increasingly unbelievable to witness the information that Raven is able to access. The most glaring question being why a presumed killer would be given the power to involve himself in the investigation in the first place. He is given no legal counsel, yet is granted unrestricted access to an entire city’s surveillance infrastructure. Even crime scene investigations appear rushed to the point of absurdity.

In addition to that the film oddly changes the position of the AI, from something to fear and question, to more of a narrative obstacle or sidekick, occasionally nudging Raven toward clues. It’s a baffling tonal decision that renders the film strangely pro-AI at a time when skepticism should be baked into every frame. Sure, director Bekmanbetov adds some cool futuristic elements to the film, like a hovering motorcycle, but the advancements aren’t memorable enough.

Performance wise, Chris Pratt, though an obvious miscast, genuinely tries to sell his panic, exhaustion and fear. Barely able to move outside of exasperated tears, the script doesn’t give him much to do with the role. In comparison, Rebecca Ferguson fares better. Controlled and eerily composed, she brings a chilling calmness to the role. Every line sounds calculated and faintly inhuman without drifting into caricature. In supporting roles, Kali Reis, Chris Sullivan, Rafi Gavron, Kenneth Choi, Kylie Rogers and Annabelle Wallis are largely underutilized. On the whole, ‘Mercy’ is an adequate sci-fi thriller that struggles to rise above its dubious artificial intelligence themes.