One thing that defines sci-fi blockbusters is their accessibility to general audiences. This balancing act of brains and brawn left us with some of the most memorable action flicks ever produced. Unfortunately, that balance is a lost art these days. Enter Mercy, a pleasant surprise from the legend of “screenlife” films, Timur Bekmambetov. Not only does it offer a fresh new take on the winning formula of high-concept sci-fi from the ‘90s, but it also resonates perfectly with our modern tech anxieties, to an unexpected degree.
In a market that’s so averse to risk-taking, Mercy chooses to use Bekmambetov’s “screenlife” technique, just after Ice Cube’s War of the Worlds dilemma. That alone proves Bekmambetov’s trust in his narrative technique, which uses digital screens and recordings to weave a story.
Unlike War of the Worlds, Mercy actually benefits from being a screenlife film. The idea of digital surveillance and overbearing control is central to the plot, and seeing the vast amount of “electric eyes” permanently fixated on the most minuscule details sounds frighteningly more realistic as we delve deeper into the new age of AI.
Back in the ‘90s, even the most “macho” action flick had some substance to it that made them feel grander than they were. Demolition Man was a critique of PC culture that felt way ahead of its time; Dark City dealt with the illusion of truth in a manufactured society (and also looked pretty cool). The point is, movies had something to say, even if they were loud blockbusters.
Mercy rolls with that idea in a way that we haven’t really seen in a while. As a society that’s just learning how to interact with our (future) AI overlords, the idea of an “all-knowing” AI judge doesn’t sound too bizarre.
One thing that’s absolutely refreshing about Mercy is how unapologetically it embraces its status as an action flick. While some films like this might aim for a “higher” standard or idea that they’re something more “sophisticated” than just a blockbuster, Mercy leans into the chaos with all that rad ‘90s flair we’ve been missing for decades.
Even the “See It in 3D” tagline looks like a relic from a bygone era. This is the first screenlife movie released on IMAX 3D, and considering the early test screenings, that 3D experience is more than worth the extra charge.
As high-concept as Mercy may be, it remains a solid action flick with more brawn than brain, which is great for those looking for a nice wind-down type of movie. While the plot holes might start to show if you squint too hard (which isn’t easy with those 3D glasses), Mercy succeeds because it doesn’t overthink itself, delivering the high-concept punch of the ‘90s without sacrificing the adrenaline.
Add to that the outstanding performances by Chris Pratt and Rebecca Ferguson as the merciless AI judge, and what you get is the perfect continuation of that ‘90s rebellious spirit that’s desperately needed as AI draws us closer to our own version of a new Y2K moment.
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