Mercy 4K 2026 Ultra HD 2160p

The story is set in the future, where crime rates have risen. The protagonist, a detective, is accused of a crime he did not commit. He must prove his innocence to an artificial intelligence acting as the judge.

User Review

The new film by the great and terrible Timur Bekmambetov, with the passionate title *Mercy*. Critics have, as usual, torn "Mercy" to shreds, pointing out every conceivable and inconceivable flaw while revelling in their own superiority.

At the same time, those same critics are raving about “Anora” and “Sinners” (16 nominations, even for best visual effects), which should make the thinking population of Earth question their preferences. Timur Bekmambetov’s work, of course, doesn’t claim to be a sci-fi classic or simply a blockbuster. Yes, and the mediocre, at times derivative, footage sometimes flashes before your eyes so vividly that it’s enough to drive you mad. A rating of a B- from ordinary American viewers boldly confirms the low quality of this detective thriller. Now imagine that, given all this background information, you’re faced with a choice: to watch or not to watch. We personally didn’t blindly believe everything; we got up at 9 a.m., had breakfast, and walked to the theater...

We bought the coveted ticket and settled comfortably into our seats. The show began! In short, we don’t aim to prove the opposite, quote critics, or tear down everyone who disagrees. We’ll just explain why we liked it, without the usual calls to action or loud slogans. First off, Rebecca Ferguson—our weakness. See her on a poster or in a trailer, and that’s it—we want to watch a spectacular movie. Not all her films are worth watching, but we’ve never had any complaints about her personally. If we were rich and mingled with the high and mighty, we’d definitely ask Miss Ferguson to bear our children (yes, she’s a Mrs. now, but it doesn’t hurt to dream). Here, she plays the avatar of a powerful AI that white Americans have integrated into the judicial system in the near future to deliver...

Fair verdicts, of course, in full compliance with all procedures, such as proving charges, analyzing evidence, and reviewing case files. They wanted to implement it because, according to the script, crime in cool Los Angeles had risen to unprecedented levels, prisons were overcrowded, and they couldn’t seem to lower the crime rate no matter what. Suddenly, miraculously, the tech gadget “Mercy”—with the face and body of Ms. Ferguson—began to bear fruit, until a law enforcement officer found himself in the defendant’s chair, the very man who had actively advocated for removing self-serving and greedy people from the court and handing justice over to algorithms. The man, played without much enthusiasm by Chris Pratt and also named Chris...

He’s in the throes of a terrible hangover, remembers practically nothing, and is utterly terrified by what’s happening. He’d better snap out of it fast, because he’s accused of inflicting a fatal wound on his own wife, causing her to die on the spot. The probability of his guilt is cheerfully pegged at around 96%; he’s given an hour and a half to defend himself and prove his innocence. Could he really have so cold-bloodedly killed someone so close to him? Secondly, the intimate setting is interrupted by various video calls and searches for information in the cloud. For once, Timur Bekmambetov has made a more or less traditional film, though he clearly couldn’t resist his beloved screen-life style, which still hasn’t revolutionized Hollywood. Nevertheless, all the clunky clips from gadget screens are woven smoothly into the plot.

No doubt, some will find it annoying—it happens. The main thing is that all the shots and scenes are shot quite decently, without giving the impression that we’re watching some kind of slapdash production. And thirdly, there’s an interesting investigation alongside the main character, with AI helping the guy as much as it can. At first, it seems like our brave Chris has finally found the perfect suspect to clear himself of guilt, but that thread unravels easily when one inconvenient truth comes to light. The honest cop gradually opens up and even admits the possibility that he might be the one who did it. But the guy just can’t be taken down without a fight; after a while (with the help of a compassionate AI), he catches a burst of enthusiasm and starts looking for new leads that will lead to a terrible secret. He gets active help from a police officer played by...

Kali Reiss, who was recently seen in “Perestroika”; the lady has a colorful appearance (she removed her cheek piercings for the sake of the police). The clock is ticking, there isn’t enough evidence yet, and he can’t get out of this mess. But this is an American movie, so the script has surely stashed away some interesting ways for the protagonist to get out of this predicament. The only question is whether they’ll lead to the desired rescue. Fourth, we personally like this theme of AI, which could potentially become both judge and executioner in the future if people finally get fed up with unchecked injustice in courtrooms. After all, you can’t bribe it or make a deal with it. We’re all for this state of affairs, but there’s always a “but,” right? How can we be sure the system will be flawless?

What are the odds that a single person or group of people could influence the soulless machine of justice? Could the AI make a mistake after analyzing all the facts provided?
When you watch it through to the end, another “twist of the year” will follow the main one, one that will address precisely those questions of ours. Whether you like it or not isn’t the point; at least the motive will be revealed, and you can then voice any complaints that arise from this in separate posts later. No one’s arguing that the script is particularly brilliant, but it does the job of distracting and entertaining—it doesn’t claim to be anything more. A harmless, cola-fueled pop-corn action-thriller that keeps you on the edge of your seat until the very end. It doesn’t force you to love it. Just give it a chance.

Plus, during the end credits, they played Son Lux and Rafiq Bhatia’s “Easy,” which made me not want to jump up and try to forget what I’d just seen. A great contender for the title of guilty pleasure.

Info Video

Codec: HEVC / H.265 (63.9 Mb/s)
Resolution: 4K (2160p)
HDR: Dolby Vision, HDR10+
Aspect ratio: 2.20:1
Original aspect ratio: 2.20:1

Info Audio

#English: Dolby TrueHD with Dolby Atmos 7.1
#English: Dolby Digital Plus with Dolby Atmos 5.1
#German: DTS-HD Master Audio 5.1 (48kHz, 24-bit)
#French: DTS-HD Master Audio 5.1 (48kHz, 24-bit)
#French (Canada): Dolby Digital 5.1
#Spanish (Latino): Dolby Digital 5.1
#Japanese: Dolby Digital 5.1

Info Subtitles

English SDH, Arabic, Bulgarian, Chinese (Mandarin Traditional), Czech, Danish, Dutch, Filipino, Finnish, French, French (Canadian), German, Greek, Hebrew, Hindi, Hungarian, Indonesian, Italian, Japanese, Kannada, Korean, Malay, Malayalam, Norwegian, Polish, Portuguese, Portuguese (Brazilian), Romanian, Spanish (Castilian), Spanish (Latin American), Swedish, Tamil, Telugu, Thai, Turkish, Vietnamese.