Wardriver (2026) Review!!

Synopsis – A young hacker is lured into heisting the bank account of an unsuspecting woman.

My Take – Despite its title echoing Edgar Wright’s Baby Driver (2017), I approached this film with modest expectations—hoping for a fresh spin on the crowded “hacker” sub-genre. My curiosity grew when I learned the title isn’t just trendy jargon but refers to the real practice of “wardriving”: searching for Wi-Fi networks and cell towers from a moving vehicle to gain unauthorized access to private data.

As a Millennial, I still recall the cartoonish depictions of hacking in the ’90s—endless neon grids and frantic typing. In reality, most hacking today looks more like installing an app, which makes cinematic portrayals tricky.

Yet, I went in looking for that specific kind of tension that comes with these kind of narratives, and I was interested to see if this one would lean into the spectacle or find something more intimate to explore. However, rather than being a high-octane digital heist, this film unfolds as a moody, character-driven drama.

Directed by Rebecca Thomas (Electrick Children) and written by Daniel Casey (10 Cloverfield Lane, F9), it leans into neo-noir aesthetics but often feels visually restrained, missing the cinematic punch that could elevate its suspense. The pacing drags at times, and certain beats feel familiar, but thankfully, the film really comes together in its final act, giving a satisfying conclusion with some interesting twists and turns. Add to that some strong performances, and we are left with story—even with its uneven rhythm— that’s a ride worth taking.

The story centers on Cole (Dane DeHaan), a nomadic hacker who prowls city streets at night, pulling off small but clever scams. His methods range from hijacking Wi-Fi networks to planting fake card readers on ATMs, allowing him to siphon funds without leaving a trace. By keeping his scores modest, he avoids law enforcement attention, and he even donates part of his earnings—perhaps to ease the loneliness of his isolated existence.

Cole’s quiet routine shatters when Oscar (Mamoudou Athie), a violent ex-con, breaks into his home, beats him, and coerces him into a million-dollar cyber-heist. Oscar, working as a doorman at a luxury hotel restaurant, has spotted Sarah (Sasha Calle) dining with an older man he assumes is her father. Convinced Sarah’s account holds $8 million, he demands Cole drain it.

What Cole doesn’t realize is that the man is Mark Bilson (Jeffrey Donovan), a mob lawyer with deep political ties—and Sarah isn’t his daughter but his mistress. When the money vanishes, Bilson plans to pin the blame on her, forcing a guilt-ridden and slightly smitten Cole to confront the real-world consequences of his supposedly “harmless” code.

While the film never reaches the raw intensity of a classic like Taxi Driver (1976), it does succeed in evoking a strong sense of isolation. Much of the first half lingers on Cole drifting through Salt Lake City—driving, hacking, vaping, and sucking on lollipops. Screenwriter Daniel Casey effectively immerses us in his lonely existence, though the drama often feels understated. However, this deliberate pacing is both a strength and a weakness. On one hand, it builds atmosphere and underscores Cole’s detachment; on the other, the repetition of hacking sequences—despite their realism—can test the audience’s patience.

The film also introduces contradictions in Cole’s moral code. He claims to target corporations rather than individuals, yet abandons this principle when helping Sarah, suddenly exploiting ordinary ATM users despite his proven ability to siphon larger sums from businesses.

Fortunately, the third act shifts gears, delivering a far more dynamic and suspenseful payoff. Twists that re-frame earlier events, transforming the slow-burn setup into a gripping cat-and-mouse thriller. Here, the digital stakes finally spill into the physical world, and Cole’s choices carry tangible consequences. It’s in these final moments that the narrative tightens, and the emotional weight of his journey lands with real impact.

Performance-wise, Dane DeHaan once again proves his skill, carrying the narrative with a turn that’s light on dialogue but rich in physical nuance. Through subtle shifts in expression, he conveys Cole’s guilt and his misguided “Robin Hood” impulses, grounding the character’s moral ambiguity in something authentic rather than scripted. Sasha Calle brings both vulnerability and quiet strength to Sarah, ensuring she feels like a fully realized character rather than a plot device. Their chemistry provides the film’s emotional core, giving weight to the consequences of Cole’s choices.

Mamoudou Athie is a standout as Oscar, exuding menace with a volatile, no-nonsense presence that makes him a genuinely intimidating antagonist. Jeffrey Donovan, though given less screen time, makes a sharp impression as the mob lawyer Mark Bilson, while William Belleau also leaves his mark in a smaller role. On the whole, ‘Wardriver‘ is a modest but engaging atmospheric thriller elevated by its strong performances.