Mercy

Grade: C+

We have a long way to go in 3 years, if we’re to have a future resembling what’s portrayed in Mercy – set in 2029. I hope this doesn’t happen, but in the world of the movie, there’s a fairly new system called a “Mercy court.” The defendant is strapped in a chair and given 90 minutes to prove their innocence or be executed. The only logical reason for such a time limit is to allow the film to play out in real time over its 100-minute runtime.

These “Mercy” trials aren’t in a physical courtroom with any real people. They are overseen by an A.I. being. In this case, it’s Judge Maddox, played by Rebecca Ferguson, from The Greatest Showman, and the Dune and Mission: Impossible movies. It’s not quite like Minority Report, which dealt in “pre-crimes” (arresting people before they did something) – but the accused is already waking up for his trial just a few hours after the murder. He is Chris Raven (Chris Pratt). His wife Nicole has just been killed, and it certainly looks like he did it. The movie’s first act forcefully contorts itself to paint Chris as someone we’d believe would be capable of such an act. He, of course, maintains his innocence. He’s done some things, sure, but wouldn’t do that.

He can use the hour and a half he has to browse Ring camera footage, call/text/social media history from friends and family’s phones (primary or burner), court records, police body cam video, his behind-the-house neighbor’s garden cam feed… – anything he can get his virtual hands on to gather evidence that would potentially exonerate him. He can even virtually tour his house to analyze the crime scene (blood, fingerprints, broken glass, hair samples, etc). All of that exists and is available to him – yet somehow, inconveniently, there’s nothing of the actual murder.

The upside to that is the 3D format creates an immersive experience. I largely avoid 3D, but this is one of the better uses of it. With the glasses on, you get numerous screens and windows pop up all around you in various depths. Some of the unused ones whiz by you. Pratt performs well despite his limited mobility. It must be interesting, and perhaps flattering, to be cast as a digital being, and Ferguson is effective and fun. Memorable supporting performances come from Chris Sullivan (This Is Us) and especially 21-year-old Kylie Rogers (Landscape With Invisible Hand, Beau Is Afraid).

Mercy can be classified as a “screenlife” movie – where most or all of the events are shown on a digital interface, like a tablet, TV, phone, or computer. Ultimately, it suffers from a common detriment of this genre: the ending is robotic and unfeeling. After an overwhelmingly labyrinthine information dump to bring us to the conclusion, it lacks a final emotional button or period. The visuals are striking, but not enough to sustain the movie. I was seated in a chair, given 100 minutes to determine Mercy’s quality, and here is my verdict.

Grade: C+