Idiots Review: A Spirited Comedy That Offers More Than It Seems

      Note: This review was initially published as part of our coverage of Sundance 2026. The film is set to release on August 28.

      The road movie, known for its relatable premise and traditional structure, has a rich history in cinema. Its popularity has given rise to various subgenres, including the screwball escort film, where contrasting personalities often clash while aiming for a common goal. Whether it's a journey to the Greek or catching a train to Yuma, this beloved trope recurs every few years. In 2026, writer-director Macon Blair revives this formula in Idiots. He charts a chaotic path for his prisoner-transport comedy that keeps the story engaging while allowing for deeper moments within an otherwise broad comedy. Although the steady two-hander never fully soars, it benefits from a diverse array of supporting roles that inject energy when needed.

      Davis (O’Shea Jackson Jr.) is a rigidly moral, God-fearing individual prone to mistakes. He loses his church job after mistakenly taking the youth group to a certain inappropriate film featuring Willem Dafoe’s "dong." Simultaneously, the high-energy, substance-abusing, silver-tongued Mark (Dave Franco) is let go from his office position. In line with basic elementary science principles, these opposites attract as they join forces at Dorindo Services, an agency that escorts troubled teens to rehab facilities, overseen by strip mall mogul India Dorindo (Grace Junot).

      Their task is to transport Sheridan Kimberly (Mason Thames), the scion of a corporate dynasty. The odd-couple dynamic is quickly set between the meticulous Davis and the unruly Mark. The road-movie structure of Idiots places them in confined settings, allowing their friction to escalate, aided by the cunning Sheridan, who complicates their journey. This intended screwball dynamic is the film's weakest element; while the two excel at arguing, they lack moments of mutual respect or affection that would allow viewers to become invested in their relationship's ups and downs. This might stem from their lack of depth; both are inept characters with an Oscar and Felix-like relationship but lack broader dreams or aspirations—besides securing jobs—that could enable a satisfying redemption arc. Jackson Jr. and Franco’s energetic performances prevent them from feeling one-dimensional, and they shine most when interacting with Blair’s supporting cast.

      As the adventure unfolds, Sheridan reveals himself to be a spoiled sociopath who ensnares his escorts in tumultuous scenarios. Blair crafts Sheridan as a representation of societal issues; his wealth only amplifies his unlikable persona, embodying the worst aspects of online culture. His malicious pranks lead Davis and Mark to cross paths with Irina (Kiernan Shipka), a stripper striving to improve her circumstances, along with her grandmother “Baba” Anastasia (Lynn Wanlass). Kudos to Wanlass for her portrayal of the elderly Baba, who knows how to hold her own while enjoying some fun with Mark.

      Each segment of the journey escalates in an engaging way. Sheridan frequently escapes their grasp and must be recaptured from a group of scruffy grocery store employees, and, later, from a memorable motley crew of bandits led by wannabe militia member Koko (Peter Dinklage), aided by what is arguably Nicholas Braun’s best performance since Cousin Greg, aspiring trap rapper Pricka Bush.

      Alongside its quirky supporting characters, Blair's social commentary enhances this already strong road movie. Similar to his work in Toxic Avenger, the genre is intertwined with reflections on a struggling working class that is exploited and disrespected by the revered elite. Sheridan is a wealthy influencer with a massive online following that glorifies his rebellious behavior as that of a bad boy role model. He complicates life not only for the beleaguered Davis, Mark, and Irina but also for everyone he encounters, leaving chaos in his wake for others to manage. He embodies the troll-like tendencies of edgelord internet celebrities such as the Paul brothers; his sense of entitlement is misinterpreted as a carefree attitude admired by the enabling online masses. Blair concludes this commentary with a “life isn’t fair” message that is both relevant and timeless.

      In the end, Idiots is significantly more enjoyable than it is laugh-out-loud funny. While I didn’t find myself laughing intensely at every joke, I thoroughly enjoyed watching it. For those lamenting the decline of mid-budget comedies: this is your chance to rally for the cause.

      Idiots debuted at the 2026 Sundance Film Festival.