Director: Patricia Riggen

Writers: Caitlin Parrish & Erica Weiss, Logan Miller & Noah Miller

Cast: Viola Davis, Anthony Anderson, Marsai Martin, Ramón Rodríguez, Douglas Hodge, Elizabeth Marvel, Sabrina Impacciatore, Christopher Farrar, Antony Starr

Rating: 2.5 stars

In G20, Viola Davis takes on the role of President Danielle Sutton, a wartime hero who unexpectedly finds herself in the spotlight during a hostage crisis at an international summit. The premise draws clear inspiration from films like Air Force One and Olympus Has Fallen, where leaders become unlikely heroes. However, in this age of entertainment defined by post-truth narratives, G20 doesn’t really innovate; instead, it feels like a flashy, loud rehash of familiar tropes that lacks substance.

Under Patricia Riggen's direction, G20 starts off with potential. A global conference in Cape Town spirals into chaos as mercenaries launch an attack, forcing President Sutton and her squabbling family into a fight for survival. There are vests, guns, intense hand-to-hand combat, and the obligatory speech about bravery. In less capable hands, this scenario could have fallen flat. Yet, Viola Davis shines through, bringing a fierce determination and a strong emotional core to her character, even when the script doesn’t fully support her. If the film has any real energy, it’s thanks to her performance.

However, the movie seems unsure of its own direction. It hints at satire but never fully embraces it. There are glimpses of socio-political themes—like deepfake misinformation and crypto-driven chaos—but they feel more like superficial touches than integral parts of the story. What could have been a sharp, relevant thriller ends up relying on clichés. The antagonist, portrayed with a jittery intensity by Antony Starr, comes off as a one-dimensional villain straight out of a generic terrorist playbook, and his motivations are so unclear that they fall apart under even minimal examination.

The action is dynamic but lacks consistency. There are a few memorable moments—like a hallway fight illuminated by flickering chandeliers and a playful “Let’s dance, Madame President” line before a brawl—that showcase Riggen's flair for the dramatic. However, for every exciting scene, there are awkward cuts, random camera movements, and a confusing sense of space. The action feels like it was choreographed by a formula—never completely nonsensical, but seldom thrilling.

There's also a persistent feeling that G20 aspires to be more memorable than it actually is. Some scenes drag on just long enough to seem like they were designed for GIFs or trailers. For instance, Davis slipping into red sneakers under a tattered presidential gown? That feels more like a marketing gimmick than a significant plot point. A teenage daughter who’s a tech whiz? Check. Comedic foreign leaders? Check. A snarky press corps and a noble Secret Service agent with a secret crush? Double check. All the clichés are there, but none are given a fresh twist.

Interestingly—though perhaps unintentionally—G20 sheds light on the current state of the action genre in the streaming era. It doesn’t feel like a blockbuster; rather, it resembles a faded memory of one, pieced together with shiny production values and familiar faces, designed for casual viewing on a Thursday night. It hints at seriousness while playfully acknowledging its own ridiculousness, but it never fully commits to either camp or sincerity. It doesn’t push boundaries or excite; it simply imitates.

Davis is undeniably a powerhouse. Even in a movie that follows a predictable formula, she dominates every scene. Her performance carries a sense of dignity, even when the storyline struggles. While films like Widows and The Woman King allowed her to reshape the image of an action heroine, G20 merely lets her don the genre's outdated attire. She enhances every line, every look, and every confrontation, but she can't save the film from its lackluster goals.

G20 feels more like an expensive imitation of a presidential thriller than the real deal. Viola Davis brings authenticity and passion to a film that only sometimes merits her talent. For those who love nostalgic action or are die-hard fans of Davis, it might be enjoyable. For everyone else, it serves as a reminder that even the most talented actors have their limits when the narrative is lacking.

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