Misdirection (2026) Movie Review: A Tepid and Unimaginative Misfire

Share it

Starring veterans like Olga Kurylenko (“Black Widow”), Frank Grillo (James Gunn’s “Superman”), and Oliver Trevena (“Red Sonja”), “Misdirection” attempts to infuse flair into an otherwise uninspiring rehash of dozens of thriller films. For it is the experience of the cast that elevates the somewhat B-movie nature of the Kevin Lewis directorial. The script, written by Lacy McClory, layers multiple plot devices that transform this film from a heist-gone-wrong, home-invasion affair to a revenge thriller. Exciting as it sounds, unfortunately, it just isn’t. Let us analyze why.

Sara (Kurylenko) and Jason (Trevena) are planning one last ‘job’ before they bid adieu to their criminal life – as do most protagonists in heist movies like this. Apart from being the literal partners in crime, there is a hint of romantic entanglement between them, to be explored later. So far, the premise feels solid, if predictable. However, as we would see, a story like this needs more than just going through the expected motions. The couple’s final target is one David Blume (Grillo), eminent defense attorney and a socialite. David’s luxurious house brims with riches. A single watch from his closet could mean eternal financial security for Sara and Jason. So, they hit the place on the night David is supposed to be away at an event.

Things, however, do not go as smoothly as they hoped for. David returns earlier than Sara’s plan had us believe. From the moment David is introduced, there is an air of formidability around him that undermines his role as a hapless victim. And we soon find out why. David, realizing there’s an ongoing robbery, turns the tables. He tries to lock Jason in a room while grabbing his gun. Then, he hunts for Sara. Fortunately, Jason escapes and confronts him in the nick of time—but his distraction backfires when David shoots him in the arm. Sara seizes the opening to knock David out. Jason survives as the bullet hits his arm, missing any vital organs.

This is where McClory’s script pulls off its titular misdirection. Up to now, the film’s events have suggested David is the victim—as if we’re meant to root for him defeating the invading criminals. But it becomes clear we’re not here to cheer for David. To the credit of writer McClory and director Kevin Lewis, the sense that David isn’t our protagonist permeates the familiar premise from the start. So, it does not come across as a clumsy twist when the idea of Sara and Jason being the ‘good guys’ start to materialize. The true decoy in ‘Misdirection’ lies in the dynamic between Sara and Jason, and why David is not the hero, despite being the victim.

Without spoiling the climax, Sara’s choice to hit David’s house has a deeper purpose beyond his collection of luxury watches. Unbeknownst to Jason, she hatches this plan for vengeance. The swift shift into revenge-thriller territory is intriguing. However, Misdirection overlooks one gaping hole as it veers there: the dreary characterization of its central players.Sara, Jason, and David are as soulless as puppets. And without the innovatively deft hand of a master puppeteer, they stay that way throughout. As noted earlier, “Misdirection” brings nothing new plot-wise. Its only hope was making us care for the characters.

Sadly, it is a task that the combined force of Lewis and McClory fails at. We do not care if Jason survives. We do not hate David enough, despite his abhorrent behaviour. And then there is the cardinal sin of revenge stories: we do not care about Sara’s revenge at all. It is simply not evocative enough. And this is despite a fairly strong showing from the central cast. Trevena is the one you feel the most for, as he puts his weight behind this vehicle the most. It is not say the Kurylenko and Grillo did not. However, one could notice their interest dissipating, ever so slightly, as the film progresses. Still, there is no severe lack of commitment from any of the cast members.

The film’s better moments stem from familiar twisty tropes. There are fleeting moments where “Misdirection” manages to create tension. For instance, David’s Casanova lifestyle comes to his rescue as his conquest of the night (his acquaintance’s wife) knocks at the door just as Sara and Jason decide to kill David. These interruptions and revelations are passably engaging, piquing our interest as it starts to flag. But you can only coast so long on moments like those. Despite spacing those moments well in the story, they are still few and far between. When your characters fall flat, you need a much tighter, tauter script packed with innovative misdirections. Fail at that, and it feels like an elaborate stalling exercise—just like David’s ploy while trapped. It works for him to some extent in the film, but “Misdirection” gets no divine intervention to reward its dilly-dallying.