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I need everyone in the movie industry to listen up and repeat the following pact: “I solemnly swear to never make a film told through the lens of social media ever again. Never will I sit my main character in front of a screen, digesting the rest of the storyline through open internet tabs, Instagram feeds and MacBook files. I will only include digital elements if it effectively serves the plot.”
Agreed? Great, because Chris Pratt’s new AI sci-fi thriller Mercy is the latest victim of this heinous crime. With a 101 minute runtime, Pratt spends 90 of those sitting in the same chair, wrongly accused of a murder he didn’t commit. Instead of being given a defense lawyer like a normal society would, he has to face off against an AI-generated judge in a ‘mercy’ courtroom (who conveniently looks exactly like Rebecca Ferguson).
After about 15 minutes of this, the gimmick wears off pretty quickly. Pratt himself is clearly loving it (possibly due to the ease of his character also being called Chris) but unsurprisingly, this doesn’t translate offscreen. Mercy is mundane in its own unique way, but there are few surprises – it’ll hit you over the head with its ambivalent AI messaging.
Mercy refuses to call AI a hero or a villain, and that’s a missed opportunity
“Maybe humans and AI both make mistakes” is a line of dialogue in Mercy that I’ve only slightly paraphrased, and it sums up the movie’s moral vagueness in one nifty sentence. Sure, we’ve just spent an hour and 40 minutes watching an AI-generated court judge nearly kill Chris over a wrongful conviction, but we all make mistakes, right?
This was Amazon MGM Studios’ chance to lay down the AI line by deciding what side of the industry argument they’re on. Instead, they’ve chosen to sit on the fence, and that transforms any vim and vigor Mercy did have into pure monotony. If we’re not using storytelling to send home a powerful message, especially about something so ever-changing, then what’s the point?
Of course, the point is to make a bit of money at the box office by seeming to touch on a topical subject. It’s the same way that a social media influencer might look like they’re supporting a social campaign, but are actually doing the surface-level bare minimum to help it. Mercy could have been an industry-changing heavyweight piece of art, but no – let’s play around with some CGI graphics instead.
For a big-budget studio, these graphics feel incredibly cheap. This is where the most obvious connection to Prime Video‘s take on War of the Worlds, starring Ice Cube, comes into play. Both have the same function and aesthetic look – almost as if Amazon is ashamed that is uninspired slop is all it’s got to offer.
Rebecca Ferguson is our one and only savior
Almost no movie (perhaps with the exception of 2023 thriller Missing) can use tech, screens and social media as its sole method of storytelling to its advantage – the concept is as lame as lame comes. But our AI-fashioned Rebecca Ferguson is the jewel in our crown of criminal offenses.
Even as a non-human entity, Ferguson shines. She’s far from a voice of reason, but seeing the cracks in her generated facade is easily the most satisfying payoff in this otherwise faltering farce. She’s also the only source of continuity when Mercy decides to finally let Chris out of his chair for an unhinged 15-minute duration, abandoning all of its narrative mechanics without warning.
You get where I’m coming from here. ChatGPT could probably have written a much stronger script and overarching plot, while watching any other takes on AI or the digital world would be a more shrewd use of your time. Our best case scenario is hoping Mercy is popular enough to finance more Guardians of the Galaxy or Star-Lord content, and then never speak of it again.
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jasmine.valentine@futurenet.com (Jasmine Valentine)
