Mercy, the new sci-fi thriller starring Chris Pratt and Rebecca Ferguson, arrives in Brazilian theaters this Thursday, January 22, 2026, as one of the month's major releases. However, the production that promised a tense reflection on justice and artificial intelligence ends up becoming a true test of endurance for the viewer. Set in a near-future Los Angeles, the film follows detective Chris Raven (Pratt), who wakes up strapped to an electric chair and has only 90 minutes to prove his innocence to an AI judge played by Ferguson.
The premise, which could have sparked a fascinating debate about ethics and technology, gets lost in a confusing and sluggish execution. Due to a lackluster direction from Timur Bekmambetov and a script full of conveniences, the film turns a powerful idea into a tedious experience. The countdown clock, which should generate suspense, ends up being a constant reminder of how much time is left until the movie ends, frustrating the expectations of Brazilian audiences seeking quality entertainment at the start of the year.
A Poorly Explored Dystopian Future
In the universe of Mercy, the judicial system has adopted artificial intelligence to speed up processes, presuming the guilt of the accused until they prove otherwise. Expected to be a worthy companion to classics like Minority Report, the film, however, does not develop its moral questions with the necessary depth. Instead, the plot relies on the protagonist's memory gaps and a drinking problem, elements that feel more like gimmicks than genuine drama.
One of the most questionable choices is having a flesh-and-blood actress, Rebecca Ferguson, play the AI judge. The decision, which could have been bold, results in a performance devoid of emotion, making the audience feel as if they are on an endless call with a robotic customer service agent. Meanwhile, Chris Pratt tries to carry the film alone, but his character lacks layers, limited to reacting to screens and information that appear in his field of vision.
Despite the participation of fighter Kali Reis as an agent who tries to help Raven from the outside, most of the action is seen through video calls and bodycam recordings. Thus, the viewer is as confined as the protagonist, watching the investigation unfold across a multitude of screens inside the empty room. In the end, Mercy leaves the feeling of a missed opportunity—a film that could have spoken about the dangers of automating justice, but instead settles for a shallow and unengaging suspense.