A futuristic courtroom where an AI decides your fate—sounds like a nightmare, right?
That exact dread is what the freshly released trailer for Mercy serves up, and it’s already sparking heated debate. The sci‑fi thriller, slated for a January 26, 2026 theatrical debut, reunites director Timur Bekmambetov with star Chris Pratt—the duo’s first collaboration since the high‑octane Wanted over a decade ago. The clip premiered at New York Comic‑Con, and you can watch the full trailer right in the embedded player above.
What the trailer reveals (and why it matters)
In the opening minutes, Pratt’s character finds himself handcuffed to a chair while a cold, calculating AI pronounces him guilty of murdering his own wife. The machine acts as judge, jury, and executioner, leaving our hero with no traditional legal recourse. His only lifeline? A shaky internet connection and a cache of security‑camera footage that might prove his innocence.
And this is the part most people miss...
The film leans heavily into the Screenlife aesthetic—think “person stares at screens”—a visual language that has become a bit over‑used for some viewers. While Bekmambetov is known for pushing the envelope, the question now is whether the novelty of a whole movie told through monitors can still hold our attention.
Production tech that feels straight out of tomorrow
Mercy utilizes The Volume, a cutting‑edge virtual‑production set built from massive LED panels that act as real‑time backdrops. This method, popularized by series like The Mandalorian, lets filmmakers capture realistic lighting and environments without the need for green‑screen compositing. The result is a sleek, neon‑drenched world that feels plausibly 2029—the year in which the story is set.
The screenplay comes from Marco Van Belle (known for Arthur & Merlin). He crafts a near‑future narrative where capital crimes have surged, forcing a detective—played by Pratt—to become the accused. The stakes are high: prove your innocence before an algorithm decides you’re dead.
Who else is in the mix?
- Rebecca Ferguson (Dune) — brings her trademark intensity to a pivotal role.
- Annabelle Wallis (Malignant) — adds a touch of horror‑genre grit.
- Kali Reis — the WBC middle‑weight champion who recently shared the screen with Jodie Foster in HBO’s True Detective: Night Country.
These diverse talents suggest the film will blend action, suspense, and emotional weight.
Inside the set: Pratt’s “stage‑play” approach
During the NYCC panel, Pratt (as reported by Deadline) revealed that the production was shot in 60‑minute, full‑length takes, essentially treating each scene like a theatrical play. This method demands intense rehearsal and tight coordination—a risky gamble that could pay off with a more immersive, continuous performance.
Producer Charles Roven added a thought‑provoking perspective:
"We first read Marco’s script at a time when AI was merely a buzzword. By the time we started filming, corporations were already wrestling with real AI ethics. Setting the movie in 2029 feels less speculative each week—every new development makes Mercy feel eerily prescient."
But here's where it gets controversial…
Some critics argue that leaning on current AI anxieties risks dating the film quickly. Others believe it gives Mercy a pulse‑checking relevance that mainstream sci‑fi often lacks. What’s your take?
A quick look at Bekmambetov’s résumé
If you’re unfamiliar with Timur Bekmambetov, his filmography reads like a crash course in modern genre cinema:
- Director: Wanted (with Angelina Jolie & James McAvoy, where Pratt made a memorable cameo as an office worker), Night Watch, Day Watch, Abraham Lincoln: Vampire Hunter, V2. Escape from Hell, The Irony of Fate 2, Yolki 1914, Yolki 5, Escape from Afghanistan, The Arena, Nochnoy Bazar, Peshawar Waltz.
- Producer: 9, Apollo 18, Unfriended and its sequel, Hardcore Henry, The Snow Queen series, Searching, Missing, entries in the Yolki franchise, the recent War of the Worlds (2025), and many more.
A Wanted sequel lingered in development for years but never moved past the planning stage—a reminder that even high‑profile projects can stall.
What do you think?
The trailer is dripping with tension, tech‑savvy visuals, and philosophical questions about AI’s place in justice. Are you excited to see Pratt battle a digital overlord, or does the over‑used “screen‑life” formula leave you skeptical?
Leave your thoughts in the comments below—agree, disagree, or propose a completely different interpretation. Let’s spark a conversation!
