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.
“Mercy” unfolds in a near-future society where individuals convicted of serious crimes are granted only 90 minutes to prove their innocence before execution. Within this system, the accused are restrained in a chair, their fate determined by Judge Maddox (Rebecca Ferguson)—an artificial intelligence judge who presides over proceedings with access to the city’s entire surveillance network. All citizens are required to link their devices, allowing Judge Maddox to monitor and reconstruct holographic environments as part of this experimental justice system. She functions as judge, jury, and executioner, relying solely on data and logic, which lends her both an imposing and efficient presence, though her unwavering adherence to information is not without its flaws.
Chris Pratt stars as Detective Chris Raven, a staunch supporter of the AI-driven “Mercy Court” system after losing his partner to a criminal who evaded justice on a technicality. Ironically, Raven finds himself ensnared by the very system he championed when he is accused of murdering his wife. He is given precisely 90 minutes to clear his name, or he will be executed.
The film’s trailer may not have initially inspired much enthusiasm, but the stylistic choices—particularly the use of hand-held camera work—serve the narrative well. While it may seem limiting to have Pratt’s character confined to a chair for the film’s duration, director Timur Bekmambetov leverages this constraint to create genuine suspense. Bekmambetov, known for “Night Watch,” “Wanted,” and “Abraham Lincoln: Vampire Hunter,” demonstrates once again his ability to breathe new life into familiar formulas. Surprisingly, the tension remains high throughout, making the film far more gripping than one might expect.
Pratt delivers a compelling performance, conveying emotion primarily through facial expressions and eye movement, a challenging task given the physical restrictions of his role. He demonstrates considerable range, portraying a character who is not the archetypal heroic detective, but rather a flawed individual struggling with alcoholism and a turbulent family life. This complexity adds uncertainty to his situation: when surveillance footage shows him returning home in a rage and leaving soon after—coinciding with his wife’s murder—the audience is left questioning his innocence. The film resists easy answers, echoing the ambiguity found in works such as “Memento,” “Shutter Island,” and “The Invisible Man” (2020).
Rebecca Ferguson is equally impressive as Judge Maddox. She embodies the AI’s calm, authoritative logic, initially displaying no emotion or empathy. Yet, as she is exposed to Raven’s case, even her programming shows signs of strain when confronted with contradictory evidence.
The pacing is brisk, aided by the virtual courtroom’s expansive capabilities. Raven can summon documents, witnesses, and surveillance footage instantaneously, allowing the narrative to move swiftly while exploring the implications of advanced investigative technology.
The film also raises timely questions about artificial intelligence and surveillance in modern society. Its depiction of Los Angeles as a dystopia where the government has access to every detail of citizens’ lives is unsettling—and uncomfortably plausible, given contemporary trends in personal data collection and digital interconnectedness.
Pratt and Ferguson share remarkable onscreen chemistry, making their scenes together particularly compelling. While “Mercy” does not explicitly set up a sequel, the world it establishes offers ample opportunity for future installments, potentially featuring new characters and fresh cases. Whether the film succeeds commercially or not, it stands as a thoughtful and entertaining exploration of justice, technology, and human fallibility.
In Theaters Friday, January 23rd
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