Screens! Aargh! There’s the bane of modern life, for many in the older generations (guilty, as charged), and the source of a new challenge to parents (as they must battle their offspring over “limiting screen time”). Well, according to this new thriller set in the not too distant future, the “screen reliance” will only strengthen. That’s because, in this story’s plot, they can literally be the deciding factor between life and death. By legal execution. Yes, this is a science fiction-tinged tale of crime and really quick punishment. And with this “ice cold” tech advance, there’s little room on the legal system’s “hard drive” for even a gigabyte of MERCY.
Before the mystery really kicks in, we’re treated to a brief prologue explaining this radically new and improved (?) world of 2029. It seems that crime was overwhelming the “city of angels” with entire “ever-expanding” blocks cordoned off as “red zones”, packed with the dregs (addicts, career criminals) of society. To stem the tide, the court system is given an extreme “overhaul” for those accused of capital crime (mainly murder). Every device (phones, security cameras, monitors) are linked to the “cloud” so that when a suspected assailant is observed, the police scoop them up, and whisk them to the monolith Mercy building in downtown LA. They are strapped to a chair in front of a huge screen that lets them interact with an AI judge (and no jury of their peers). They are given 90 minutes to reduce the probability of guilt icon to 92%. If that number can’t be reached, the prisoner is given a lethal shock through that chair. As the backstory ends, the main action shifts to a large empty room where a groggy Chris Raven (Chris Pratt) awakens in that dreaded chair. He is then told by digital Judge Maddox (Rebecca Ferguson) that he is accused of killing his wife Nicole (Annabelle Wallis). Raven is stunned, since he has no memory of that or of being arrested. Oh, and he’s a cop, the police detective that brought in the first person to be tried and found guilty by Mercy (which has reduced the murder rat, so far, to 68%). Things don’t look promising for him as he sees various screen grabs of him getting into a heated argument with her before “falling off the wagon” and being violently subdued (hence the poor recall) at a local “watering hole”. That ninety-minute clock is ticking fast, so Raven gets “up to speed” by contacting his AA sponsor Rob (Chris Sullivan) and his angry teen daughter Britt (Kylie Rogers), who discovered her mom’s body. With help on those mean streets from his current LAPD partner Jaq (Kali Reis) can Raven untangle this twisty “frame job” before his “trial time” runs out, and he is roasted and toasted by “ole’ Sparkey’?
Though he’s “the guy in the chair”, Pratt ably holds our interest, communicating the plight of Raven though his vocal intonations and facial expressions (no body language to read here). Plus, he’s not cruising by with his engaging charm, giving us the dramatic heft missing with much of his post-Starlord roles in direct-to-streaming shows. He can even keep us in doubt as to Raven’s guilt (most of the time). Now “the lady on the big monitor screen” (accented in black naturally), is the terrific Ferguson who we just saw reacting to screens in A HOUSE OF DYNAMITE. Here’s she’s almost as limited as Pratt, since the AI judge is incapable of expressing any emotion (to a point). Yet, she intimidates with her strict adherence to protocols (and her programming), and stubbornness with Raven (raising the guilt percentage ruthlessly), though she almost smiles when called “your honor”. Sullivan embodies the caring sponsor/pal who wants to help, but thinks Raven is guilty. Ditto for Rogers, though she’s full of rage and tears. And much of that is true for Reis, who will fly into the fire for her partner, despite her pessimistic persona. There’s also some strong supporting work from Kenneth Choi as raven’s former partner and BFF, along with Jeff Pierre as a slippery stranger with a link to Raven’s wife.
Now, here’s a nifty idea on the police procedural/crime “whodunit”. Perhaps it may be the only months away dystopian future that recalls MINORITY REPORT, ROBOCOP, and the various incarnations of JUDGE DREDD (comics and films) that makes the plot seem fresh. That cynical take on tomorrow’s lawmen even provides a knowing satirical wink at the current political climate. The use of the various screens is pretty inventive as we watch Raven furiously figuring out a way to exonerate himself while tracking down the killer. Director Timur Bekmambetov juggles the various images (much like his last computer thriller PROFILE), with some reality TV-like dust-ups and some nifty gadgets (there are single-sized police copter/drones). Unfortunately he tosses these elements aside in the last twenty or so minutes to indulge in some “destruction porn” out of the FAST & FURIOUS franchise, with a dash of THE BLUES BROTHERS (I image Michael Bay telling him to “reign it in” a bit). Any semblance of subtlety and drama is replaced by near non-stop carnage and urban mayhem. It’s quite exhausting, and a real shame since there are some interesting concepts and commentary for much of MERCY.
2 Out of 4
MERCY is now playing in theatres everywhere
