Mercy (2026)

Chris Pratt spends almost all of Mercy strapped into a chair, and so do you. He plays Chris Raven, a Los Angeles detective who loved the city’s AI court right up until it put him on trial for his wife’s murder and handed him a guilt score to knock down before the clock runs out. That’s a decent hook. The movie turns it into a man yelling at screens: doorbell footage, work emails, his daughter’s social posts, parking lot cameras, all swiped around like he’s shopping for an alibi. Pratt gives it everything, but the role is basically one long, angry phone call. Rebecca Ferguson, as the AI judge Maddox, is stuck reciting rules and percentages. It borrows from Minority Report and Speed and never asks one hard question about a city where every camera reports to a court. It made $54.7 million worldwide on a reported $60M. A 2.9 because a ticking clock can’t save a story with no pulse. $8,106 says you glare at your doorbell camera tonight and wonder what it would testify about you.

What works: The premise of a detective on trial in the court he championed is intriguing, and the screen-based format keeps things visually busy.

What doesn’t: Pratt is stuck in a chair for nearly the entire film, the story is stitched together from other movies, and it never seriously thinks about AI, privacy or state control.

Who it’s for: Fans of screen-based thrillers like Searching who don’t mind a premise that never digs below the surface.