Neo-Noir by Way of Constraint
MOVIE REVIEW
Misdirection
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Genre: Thriller, Crime
Year Released: 2026
Runtime: 1h 24m
Director(s): Kevin Lewis
Writer(s): Lacy McClory
Cast: Frank Grillo, Olga Kurylenko, Oliver Trevena
Where to Watch: debuts on Digital and Video on Demand on February 10, 2026
RAVING REVIEW: What does a home-invasion thriller owe its audience when it’s built almost entirely on escalation? MISDIRECTION answers that question with a focus on nostalgia while creating its own path forward, if not always with depth. This is a lean, tightly wound genre piece that understands its limitations and chooses momentum over overstatement, even when that choice occasionally exposes thin character shading or narrative shortcuts.
Directed by Kevin Lewis, whose previous work leaned heavily into heightened tone and conceptual novelty, MISDIRECTION plays things straighter and more controlled. The setup is familiar, almost aggressively so: a desperate couple, a target that turns out to be anything but passive. From there, the film pivots into a contained cat-and-mouse exercise in which space, timing, and shifting power dynamics do most of the storytelling.
Frank Grillo is very much in his wheelhouse here, and the film knows it. He carries himself with the kind of physical conviction that immediately communicates threat, even when he’s restrained or on the back foot. Grillo has built a career on playing men who look like they’ve already survived three worse versions of whatever situation they’re in, and MISDIRECTION leans into that shorthand without apology. He doesn’t need much dialogue to sell control or danger, and the film is smart enough not to force it.
Olga Kurylenko brings a colder, more measured presence that balances Grillo’s brute-force energy. Her performance is less about dominance and more about calculation, which adds grain to a role that could have easily been reduced to reaction shots and cliches. The film’s strongest moments come when it allows these two performances to play off each other without overexplaining motivations or emotional beats.
Where MISDIRECTION excels is in its use of space. This film understands the inherent tension of confinement and exploits it. Rooms become traps, corridors become countdowns, and the house itself functions less as a setting than as an active participant in the conflict. The cinematography emphasizes angles and distance, reinforcing the sense that control is constantly shifting, often without warning.
That said, the film’s commitment to pace occasionally works against its credibility. Certain plot turns arrive not because they feel inevitable, but because the runtime demands them. The script prioritizes forward motion over logic, which can pull viewers out of the experience if they stop to question how or why certain information is revealed when it is. This is not a film that wants to be dissected beat by beat, and it’s at its weakest when the mechanics become too visible.
There’s an honesty in how MISDIRECTION operates, though. It doesn’t pretend to be more than it is. It’s a genre exercise built on pressure, timing, and performance rather than thematic ambition. The twists are functional rather than revelatory, designed to keep the story moving rather than to redefine it. That restraint is refreshing in a landscape where thrillers often overreach in search of significance they haven’t earned.
The neo-noir branding fits better on the aesthetic side than on the narrative side. While the film borrows the mood and moral ambiguity associated with the label, it ultimately plays closer to a stripped-down survival thriller than a full-blown noir reflection. There’s no grand commentary on fate or corruption here, just people making bad decisions under escalating pressure and dealing with the consequences.
Kevin Lewis’s direction reflects a filmmaker who has learned the value of economics. Violence is abrupt rather than indulgent. The film trusts the audience to keep up without constant exposition, which works more often than it doesn’t. At 84 minutes, MISDIRECTION understands that lingering would only dilute its impact.
The film’s biggest limitation is that it rarely pushes beyond its basic capabilities into surprise. Everything works well enough, but a few moments truly sit with you once the credits roll. That’s not a fatal flaw for this kind of release, especially one designed for digital platforms, but it does cap how memorable the experience ultimately becomes.
MISDIRECTION knows its lane and stays in it. It’s tense without being exhausting, violent without being gratuitous, and efficient without feeling rushed. Fans of thrillers and Frank Grillo’s particular brand of controlled menace will find plenty to appreciate, even if the film doesn’t reinvent the genre.
In the end, MISDIRECTION earns its keep by knowing exactly how much story it has and refusing to overstay its welcome. It’s not a game-changer, but it is a solid, well-paced thriller that respects the audience’s time, which in today’s bloated landscape might be its best move.
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[photo courtesy of CINEVERSE]
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