UK | USA 2026
Opening May 21, 2026

Directed by: Guy Ritchie
Writing credits: Guy Ritchie
Principal actors: Jake Gyllenhaal, Henry Cavill, Eiza González, Rosamund Pike, Gonzalo Bouza

Bullets fly amidst off-camera chaos and commands, “Just stay in the car with your head down,” on the greedy billionaire Manny Salazar’s (Carlos Bardem) private island as Rachel Wood (Eiza González) grabs the reins of the narrative. An attorney, she strides the middle of any road between the moral and the immoral, the legal and the illegal, the black and the white accompanied by shadow players. Operating in the grey is strategically enterprising. Quick-witted, clever, audacious and keen, Rachel’s verbal fencing with Bobby (Rosamund Pike) negotiates a hard deal; smoldering looks and caustic commentary underline mutual animosity.

First, she gets their attention, “Someone is fucking with us.” Rachel, with Bronco (Jake Gyllenhaal) in tow, an appointment with Mr. Horowitz (Fisher Stevens), Salazar’s attorney, is iffy; Horowitz then pays a call on Salazar. Salazar then meets Rachel… “She’s a monster.” Despots, particularly thieving ones, feel invincible when encircled by their police force, their private army, their competent, careful accountant (Mohammed Al Turki) and their formidable head henchman (Kristofer Hivju). Rachel has no qualms turning Bronco and Sid (Henry Cavill) loose to proceed with the next phases; with their covert buddies Baker (Kojo Attah), Gucci (Jason Wong), Moreno (Christian Ochoa Lavernia), and Mick Dunne (Emmett J. Scanlan) tedious on-location training begins. Three plans, i.e., extraction routes, are stamped onto their psyches. Subsequently, and again working through Bobby, dealing with Salazar is a walk in the park vis-à-vis dealing with Sullivan.

A Trojan Horse and a Trojan Rat vie for importance in writer-director Guy Ritchie’s capricious thriller’s unremitting action. In the Grey’s sassy dialogue is thick with double entendres and wisecracks, plus numerous visual jokes. There is nothing covert about the talented all-star cast performances and, without a doubt, Eiza González’s stiletto clipped interpretation runs circles around the guys. Nor any grey areas in production values: Academy Award winners editor Martin Walsh and Christopher Benstead’s nail-biting percussion laced score, Ed Wild’s unerring camerawork filming on Tenerife in the Canary Islands, and Martyn John’s production design are notably set-off by special effects supervisor Pau Costa and visual effects under Marco Rolandi, Ian Sargent and Chris Lunney. Guy Ritchie’s newest film is par for the course of his signature-style thus providing the next-level of fun entertainment. “Ram it, Janet.” 98 minutes (Marinell H.)