A Mythology That Stays Just Out of Reach

Read Time:5 Minute, 16 Second

MOVIE REVIEW
Worldbreaker
–

Genre: Science Fiction, Action, Thriller
Year Released: 2025, 2026
Runtime: 1h 35m
Director(s): Brad Anderson
Writer(s): Joshua Rollins
Cast: Luke Evans, Milla Jovovich, Billie Boullet, Mila Harris
Where to Watch: in select theaters January 30, 2026

RAVING REVIEW: What happens when a film has all the pieces of a compelling sci-fi genre story but never quite figures out how to assemble them? WORLDBREAKER opens with a premise that feels deliberately pared down: a father and daughter living in isolation after a global catastrophe, training for a “threat”. Directed by Brad Anderson, whose past work has shown an aptitude for psychological tension and claustrophobic dread, the film aims to blend post-apocalyptic survival with an intimate coming-of-age arc. The ambition is clear; the follow-through is less consistent.

The worldbuilding arrives in fragments rather than foundations. The Breakers, creatures that infect and mutate their victims, are described with enough specificity to suggest a larger mythology. Yet, the film rarely commits to exploring them in meaningful depth. Their presence is felt more through dialogue and implication than direct engagement, which might have worked if the human drama filling that space had carried greater momentum. Afterall, one of my favorite sayings is that “you don’t always have to see the scary.”

Luke Evans plays the father as a man defined by preparation. His character exists in a perpetual state of readiness, training his daughter not just to survive, but to expect violence as a constant. Evans brings a seriousness to the role, and his performance is one of the film’s more foundational elements. He understands the emotional stakes of a parent trying to shape a child for a future he hopes she’ll never actually face.

Billie Boullet, as Willa, is tasked with carrying the film’s emotion. She’s positioned as both student and inheritor, absorbing lessons while questioning the cost of a life built entirely around survival. Boullet handles the role with commitment, but the script gives her limited room to develop beyond reaction. Her internal conflict is more of a suggestion than a dramatization, leaving the character feeling underwritten rather than understated.

Milla Jovovich’s role looms larger in concept than in execution. Positioned as a legendary frontline warrior within the film’s mythology, her presence is intentionally withheld for much of the runtime. While this choice fits the story’s perspective, it also creates an imbalance, especially given how prominently her involvement is foregrounded in the film’s marketing. When she does appear, Jovovich brings the expected physical authority as a reminder of how much she held the RESIDENT EVIL franchise together. Still, the emotional aspect of her role never fully materializes.

The father-daughter relationship is clearly intended to be the film’s center. At its best, WORLDBREAKER finds moments of quiet connection that hint at a more personal story struggling to emerge. Unfortunately, those moments are often interrupted by narrative detours that don’t escalate tension or deepen character.

Pacing is where the film struggles most. At ninety-five minutes, WORLDBREAKER feels both underdeveloped and overstretched. Large stretches are devoted to waiting for something to happen, but when action does arrive, it feels rushed and incomplete. The balance between atmosphere and payoff never quite settles, leaving the film feeling like a prologue to a larger story rather than a self-contained experience.

The island setting offers natural isolation and texture, yet it’s rarely used to build sustained tension. The cinematography favors muted tones and controlled compositions, reinforcing the film’s somber mood but doing little to elevate it beyond functional genre aesthetics.

WORLDBREAKER gestures toward ideas about inheritance, survival, and the weight of legacy in a broken world. These ideas are present in the film’s structure and backstory, but they’re rarely interrogated in the present tense. Instead of allowing Willa to actively challenge or redefine what she’s been taught, the film keeps her largely within the boundaries established by others.

By the time the story reaches its conclusion, there’s a sense that the most interesting version of this film exists just outside the frame. The setup promises a larger reckoning that never quite arrives, and the emotional arcs conclude more by necessity than by resolution. What remains is a watchable film, occasionally engaging, but ultimately frustrating for the potential it leaves unrealized.

WORLDBREAKER isn’t without merit. The performances are sincere, the premise has weight, and the director’s instincts are visible even when they’re restrained by scale or structure. But as a finished piece, it settles into a middle ground that’s difficult to root for. It’s not a failure, but it’s not a fully realized success either. For viewers drawn to contained survival stories and family dynamics, there’s enough here to justify a look. Just don’t expect the world actually to break in ways that feel earned or lasting.

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[photo courtesy of AURA ENTERTAINMENT, AMASIA ENTERTAINMENT, 23TEN, GRAMERCY PARK MEDIA, STUDIO 507, VOLTAGE PICTURES]

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