Film Critique – Onslaught (2026)

      Onslaught, 2026.

      Directed by Adam Wingard.

      Featuring Adria Arjona, Dan Stevens, Eric Wareheim, Reginald VelJohnson, Michael Biehn, Alex Pereira, Drew Starkey, Jacob Scipio, and Rebecca Hall.

      SYNOPSIS:

      When a rogue group of genetically modified super soldiers escape in the desert, a formidable Army sniper must unleash chaos to safeguard her young daughter.

      A film with modest ambitions should not be dismissed or judged harshly if it effectively accomplishes its intended goals. It’s not surprising, then, that Adam Wingard’s Onslaught (in the same universe as 2014’s The Guest, co-written with regular collaborator Simon Barrett) delivers intense grindhouse violence and thrills with a dark sense of humor. To be clear, it doesn't reach the exhilarating heights of The Guest and instead operates on a vaguely similar premise without significantly expanding this fictional universe.

      Nonetheless, it makes an effort, featuring Dan Stevens (returning as a different character) and Rebecca Hall as a pair overseeing a secret project that conducts genetic experiments on deceased U.S. soldiers. Drew Starkey is also involved as a sort of fixer, called in to manage and clean up the aftermath left by the mind-controlled super soldiers without directly intervening. The film aspires to delve deeper than being a straightforward action slasher (with a fitting electronic score from Matthew Pusti), attempting to address social issues faced by injured ex-soldiers who, out of justified paranoia toward their government, opt to live in a trailer park equipped with an array of assault weapons. Additionally, it touches on PTSD and the unsettling fact that these battle-scarred individuals are reincarnated as invincible super soldiers.

      In a particularly inspired casting choice that may lead to more roles in the genre, Adria Arjona’s ex-soldier Celeste is heavily armed and practices shooting in the New Mexico desert every morning. She is also the mother of her young daughter, Daisy (Blake Kennedy), unexpectedly dropped off at the trailer park by her separated ex-partner, who has urgent work commitments and couldn’t find a sitter. Disturbed by the situation (though notably not by her daughter), Celeste becomes further unsettled upon learning that her ex is planning to move away with Daisy after filing for full custody, which he is likely to win.

      From the mad scientist ambition of Dan Stevens’ Hans Kammler—who must embody the quirky European eccentricity of Wingard's films—to Drew Starkey’s eccentric government contractor Cyrus, who frequents underground dominatrix clubs when not on duty to handle cleanup, and Michael Biehn’s Baylor, who threatens to shut down the experiments unless results are evident (his character feels superfluous, seemingly added only to provide a recognizable 1980s face in line with the nostalgic chaos), Onslaught ultimately fails to deliver a cohesive narrative. It concludes with a “that’s it” feeling, even with its splattered blood and escalating violence, which, following John Carpenter’s model, is built up slowly; however, it feels like a fleeting moment of intensity. While it indeed packs a punch, this element fades almost as quickly as it begins.

      The film's saving grace is Wingard’s proficient understanding of this style. Structured like chapters and operating with a countdown to an unknown event, the first half wisely focuses on character development among the trailer park and research facility inhabitants, interspersing time jumps throughout the day. Eventually, as the super soldiers break free, chaos ensues, with “mommy grabbing her guns” and unleashing “a lot of bad words” to protect her daughter and their tight-knit, perceived-as-disposable community. Chainsaws also grotesquely factor into the mayhem.

      Working with cinematographer Oren Soffer, the film capitalizes on darkness with wide-angle shots featuring the three super soldiers (played by Alex Pereira, Dave Campbell, and Tyler Hall), all nicknamed by Hans based on their behaviors prior to losing their mental faculties, standing together in formation illuminated only by their night vision. Cloaked in layers of tactical gear, they may not be particularly fast-paced, which seems counterintuitive, yet they do generate jolts of fear and bursts of violence (a mass murder at a gas station serves as an example of their cold-blooded lethality). Though the film avoids relying heavily on jump scares, the few present are cleverly woven in, one occurring amidst a throwaway joke.

      Once the super soldiers invade the trailer park, a wave of delightfully gory action unfolds alongside spectacular kills, providing Adria Arjona the chance to shine (the film works best when leaning into the notion that moms are the true super soldiers). The outcome is less a showcase for a signature performance and more a potential stepping stone for her future projects. Onslaught serves as a nostalgic throwback that definitely packs a punch, but it ultimately falls short of its title regarding