Onslaught (2026)

Three government-built super soldiers escape a secret desert lab by slowing their hearts until everyone thinks they’re dead, and that’s the cleverest trick Onslaught ever pulls. After that, it’s a siege. The trio heads for a New Mexico trailer park, where Adria Arjona’s Celeste, a former Army sniper raising her daughter Daisy, has to hold the line. Adam Wingard stages the action with real style and clearly loves his old-school practical effects. The problem is the title. It promises fury and delivers a checklist. The villains are nicknames with muscles, the cover-up storyline with Rebecca Hall’s Hanna goes nowhere, and Reginald VelJohnson and Eric Wareheim get roles thinner than a trailer wall. At least it runs a brisk 92 minutes. Audiences handed it a C CinemaScore, which feels generous. A 4.4 because the craft is sharp and the story is a straight line from the lab gate to the last fight. $7,917 says you rearrange your living room this week for clear sight lines to the door and call it decorating.

What works: Wingard’s stylish action and old-school practical effects give the siege real punch.

What doesn’t: The story is thin, the villains have no personality beyond their nicknames, and the title promises far more fury than it delivers.

Who it’s for: Late-night action fans who want a straight-ahead siege movie and don’t need it to mean anything.