REVIEW: Run Hide Fight: Infidels (2026 Film) - Starring Jonathan Majors

Review by Jon Donnis

Run Hide Fight: Infidels is not a film interested in sitting quietly in the middle of a political argument. Written and directed by Kyle Rankin, this 2026 action thriller takes a deliberately provocative subject and builds a violent campus siege around it, with an ISIS cell taking control of a university and attempting to establish a new caliphate while holding students hostage.

The story begins with Captain Clay Saunders (Jonathan Majors) leading a Delta Force mission in Somalia to capture ISIS leader Asad al-Madhi. The mission succeeds, but Saunders loses his friend and colleague Reed Shaw. Seven years later, Reed's son Devlin is a student at Laughton University, where he is trying to navigate the usual complications of college life alongside his friends, roommate P.J., crush Lizzy and campus reporter Avery.

At the same time, a pro-Palestine protest encampment has been established at the university. The situation changes dramatically when Syrian ISIS leader Ibrahim Asad Melod launches a terrorist attack during Saunders' appearance at the university. The attackers kill people, take hostages, jam communications and plant explosives, before revealing that their objective is far more ambitious than simply carrying out a mass shooting.

Ibrahim wants his father released and intends to establish a new caliphate at Laughton. The hostages are forcibly converted, women are ordered to wear niqabs and students are made to deliver anti-American statements on Avery's livestream. Anyone who refuses to comply faces brutal consequences.

It is an extremely direct premise, and Rankin makes no attempt to disguise what the film is saying. Radical Islamic terrorism is the central threat, and the film explores what happens when an extremist ideology is imposed through violence on a group of largely unprepared students.

That will inevitably make Run Hide Fight: Infidels a politically divisive film. Some viewers will concentrate heavily on its political message, while others will simply see an action thriller using an intentionally extreme scenario to explore the consequences of terrorism and ideological extremism. Either way, this is not a film that is going to disappear into the background.

Fortunately, there is considerably more to it than its politics.

The film takes its time before the attack, gradually building the atmosphere and introducing the various characters. Once the terrorists take control, however, the pace changes considerably. What begins as a slow burn develops into a fast-moving and often brutal action thriller, with Devlin, P.J. and campus security guard Terrence attempting to fight back and rescue the hostages.

One of the better aspects is that this is not simply a story about a highly trained action hero arriving to save everyone. Devlin is a student, Terrence is a security guard and P.J. has exaggerated his military experience. Their attempts to fight back therefore have an improvised quality, with the group having to make use of whatever weapons, equipment and opportunities they can find.

That gives the action a certain unpredictability. They are not invincible, and the situation continues to go wrong around them. Saunders is injured, P.J. is eventually shot and the remaining hostages are left in an increasingly desperate situation.

P.J.'s storyline is particularly effective because his admission that he lied about his combat experience adds another dimension to his character. He is not the experienced soldier he initially presents himself as, but he still finds himself having to step up when people around him are in genuine danger.

Jonathan Majors is also a major strength. As Clay Saunders, he brings considerable presence to the film. Saunders has already experienced the consequences of fighting ISIS, having lost Reed during the opening mission, and his later involvement in the university siege gives the character a personal connection to what is happening.

Majors gives Saunders the authority required for the role without making him feel completely detached from the people around him. It is a strong performance and one of the more convincing elements of the film.

The rest of the cast are solid, with David Lucas making Terrence an appealing member of the unlikely group of survivors. JC Kilcoyne gives Devlin enough determination to make his progression from student to fighter believable, while Tyler Aser's Lizzy is given an opportunity to play an active part in the final confrontation rather than simply being someone waiting to be rescued.

There are also a few funny moments scattered throughout the film, which help break up the otherwise relentless violence. The action remains the main attraction, though, and there is plenty of it once the siege gets underway.

The main weakness is the budget. The small production does show at times, particularly when the film attempts to portray the scale of a major terrorist attack on a university. Some sequences lack the polish and scale of a much larger production, and there are moments where the limitations are obvious.

The screenplay can also be very heavy-handed. Characters are sometimes written primarily to represent particular political viewpoints rather than as fully developed individuals, and some dialogue exists to make the film's argument rather than simply move the story forward.

That is probably the biggest question surrounding Run Hide Fight: Infidels. How much you get from it will depend to a considerable degree on how willing you are to engage with a film that has such a clearly defined political perspective.

But it is important to separate that from what works as an action movie. The film is entertaining. The action is frequent, the situation continually escalates and the central group provides enough variety to keep things moving. There is a genuine sense of urgency once Devlin, P.J. and Terrence begin trying to take the university back.

The final act delivers the expected confrontation. Saunders becomes increasingly involved, the remaining terrorists are targeted and Devlin and his allies make their final attempt to rescue Avery, Lizzy, Maya and Kwan. P.J.'s decision to protect Avery despite being badly injured gives his storyline a satisfying conclusion, while Lizzy gets the opportunity to play a crucial role in the final showdown with Ibrahim.

It is not subtle, but again, subtlety is clearly not the objective here.

Run Hide Fight: Infidels is an action thriller with a political argument at its centre, and that argument is likely to be what attracts as much attention as the film itself. Its depiction of radical Islam is deliberately uncompromising, while its portrayal of the university and some of its students is equally blunt.

The small budget shows, and the screenplay occasionally prioritises its message over character development. Nevertheless, the film delivers what it sets out to deliver. It has a slow-burning opening, plenty of action once the attack begins, some entertaining moments and a strong performance from Jonathan Majors.

It is also tackling a subject that is generally not explored in this particular way by mainstream Hollywood action films. Whether viewers agree with its political perspective or not, there is no mistaking what Rankin is trying to say.

For me, the message is ultimately more effective than some of the filmmaking used to deliver it. The film can be heavy-handed, but it is also intense, entertaining and willing to tackle an uncomfortable subject without attempting to soften its position. And often when mainstream critics are either refusing to review a film, or are just giving it blanket bad reviews to appease their own audience and be "woke", that is probably your cue to actually watch the film and make up your own mind.

Run Hide Fight: Infidels is far from perfect, but there is enough here to make it a worthwhile action thriller. The budget limits it, the politics will divide audiences and the writing occasionally lacks subtlety, but the action works, the story keeps moving and Jonathan Majors gives the film a strong central performance.

I score Run Hide Fight: Infidels a solid 8.5 out of 10.

Watch at https://get.dailywire.com/infidels/

REVIEW: Runner (2026 Film) - Starring Alan Ritchson and Owen Wilson

Review by Jon Donnis

Alan Ritchson and Owen Wilson are an odd pairing on paper, but that is probably what makes Runner work as well as it does. Ritchson plays Hank Malone, a former Army Special Forces soldier who now earns a living transporting goods for clients. Wilson is Ben Bishop, the man who unexpectedly becomes attached to Hank's latest delivery.

What starts as a routine collection quickly becomes a fight for survival when Hank discovers the importance of what he is carrying. The pair are pursued by a Colombian cartel, forcing them through a succession of car chases, shootouts and increasingly desperate attempts to stay alive while getting the delivery to its destination.

The action is where the film earns most of its entertainment value. There is very little waiting around, with Hank constantly having to find another way out of trouble. A few of the set pieces stand out, particularly when he turns the cartel's own attempts to track them against them. The violence is also handled with enough impact to give the confrontations some weight.

Ritchson is well cast as Hank. He has the physical presence for the role, but the character is not simply presented as an indestructible killing machine. His history with his daughter Isabel, who died from leukaemia, explains some of his decisions and gives his attempts to learn French a personal reason.

Wilson gets the more amusing material, and the contrast between the two characters is easily one of the film's better features. Ben is inquisitive and talkative, while Hank is considerably less patient. Their arguments are often funny, and their relationship develops as their situation becomes more dangerous.

The emotional material works better than I expected. Hank's failed marriage to Monica and the loss of his daughter give the character something beyond the usual action-hero motivation. The film does not overplay it, which helps.

Unfortunately, the story is considerably less interesting than the two leads. Runner follows a very familiar buddy-action structure, and there are few genuine surprises. Once Hank and Ben become targets, the various obstacles and betrayals arrive pretty much as expected.

The film also sits awkwardly between action and comedy. There are laughs, mainly through Wilson, but the story is much more concerned with the chase and its consequences. I would have liked either a little more comedy or a slightly darker approach, rather than hovering somewhere between the two.

At around 90 minutes, there is at least no unnecessary padding. The film gets through its story quickly, gives its two leads plenty to do and finishes before the formula has time to become particularly tiresome.

There is nothing especially new here, but Ritchson and Wilson make the familiar material considerably more enjoyable than it deserves to be. The action delivers, the characters have enough personality to keep things interesting and the emotional elements give Hank a reason to care about more than simply surviving the day.

Runner will not stay with me for long, but I enjoyed watching it.

I score Runner a fair 7.5 out of 10.

In Cinemas Now, and not to be confused with the other film with Gal Gadot that I reviewed recently.

PREVIEW: Knightfall (2026 Film) - Starring Geoffrey Moore

Preview by Jon Donnis

Geoffrey Moore, son of James Bond legend Roger Moore, returns to the big screen in Knightfall, a new British spy thriller that takes a distinctly old-school approach to espionage, packed with undercover missions, deadly weapons and a siege that puts its central characters in serious danger.

Jeanine Nerissa Sothcott stars as Ros Knight, an MI5 weapons technician who is unexpectedly drawn into a dangerous black ops mission alongside her field-agent boyfriend Hugh, played by Moore. Their task is straightforward enough: intercept a deadly bioweapon before it can reach British soil. Unfortunately, the operation quickly goes disastrously wrong.

With Ros suddenly on the run and enemies closing in, she and Hugh head to her childhood home, where they seek help from the one person she believes she can trust. That turns out to be her estranged father Charles Knight, a legendary retired spy catcher played by Ian Ogilvy.

The reunion is hardly a quiet one. A heavily armed mercenary squad soon arrives, forcing Ros, Hugh and Charles to put their differences aside and fight to defend the house. As the situation escalates, survival becomes only part of the problem. They also need to keep the bioweapon out of enemy hands and work out exactly who they can trust.

Alongside Moore, Sothcott and Ogilvy, Knightfall features Nick Moran and Michael Paré among its cast, bringing together a mixture of familiar British talent and international action-film experience.

The film looks set to deliver a throwback espionage adventure built around practical action, secret agents, mercenaries and a dangerous conspiracy, with the story moving from covert operations to a full-blown fight for survival.

Knightfall is released digitally and on Blu-ray in the UK on 14 September 2026.

PREVIEW: Run Hide Fight: Infidels (2026 Film) - Starring Jonathan Majors

Preview by Jon Donnis

Run Hide Fight: Infidels is set to bring another high-stakes action thriller to The Daily Wire this September, with writer-director Kyle Rankin returning for a standalone follow-up to 2020’s Run Hide Fight.

The 2026 American action thriller moves the action to a college campus, where a pro-Palestine encampment is hijacked by Islamic terrorists seeking to impose Sharia law and execute students they consider infidels. As the situation rapidly descends into violence, a group of students, a security guard and a Delta Force veteran are forced to put aside their differences and work together to fight back.

Jonathan Majors leads a cast that also includes David Lucas, JC Kilcoyne, Tyler Aser, James Bingham and Savanna Leigh James. Rankin once again takes charge behind the camera, both writing and directing the film.

With its contained college setting, survival-focused premise and emphasis on resistance against an organised terrorist threat, Run Hide Fight: Infidels promises to deliver a tense and confrontational action experience. As a standalone sequel, it also offers an opportunity for the franchise to explore a new scenario and new characters while retaining the hard-edged approach of its predecessor.

Run Hide Fight: Infidels is scheduled to premiere on The Daily Wire on 16 September 2026.

The success of Citizen Vigilante has demonstrated that audiences are increasingly hungry for films willing to confront the fears and tensions of the real world rather than retreat into pure escapism. Run Hide Fight: Infidels looks set to build on that appetite, taking contemporary political and social anxieties and turning them into a visceral action thriller. By placing its characters in a scenario that deliberately reflects fears many people recognise from the world around them, the film has the potential to feel particularly immediate and provocative, while offering audiences the kind of uncompromising, high-stakes entertainment that can make a thriller genuinely resonate.

REVIEW: Motor City (2026 Film) - Starring Alan Ritchson, Ben Foster, Pablo Schreiber, Lionel Boyce and Shailene Woodley

Review by Jon Donnis

Motor City is the kind of action thriller that immediately stands apart from the crowd. While the story itself follows a familiar path of betrayal and revenge, director Potsy Ponciroli presents it in a way that feels remarkably fresh. With very little dialogue, the film leans almost entirely on visual storytelling, expressive performances and an expertly curated rock soundtrack, creating an experience that often feels closer to an extended music-driven fever dream than a conventional Hollywood action film.

Set in a grimy, industrial 1977 Detroit, the film follows John Miller, played by Alan Ritchson, a factory worker whose life is destroyed after he is framed for a crime he did not commit. Sentenced to decades behind bars, he eventually escapes and embarks on a relentless mission to hunt down the gangster responsible, Reynolds, portrayed with trademark menace by Ben Foster. Along the way, Miller leaves behind a trail of destruction as he battles his way through Reynolds' criminal empire in search of justice for himself, Sophia and the friends who sacrificed everything to help him.

Motor City deserves praise simply for taking creative risks. American action films often rely on endless exposition and constant quips, yet this film strips almost all of that away. Instead, it trusts its audience to follow the story through visuals, facial expressions, action and music. It is an approach that feels bold rather than gimmicky, and for the most part it works brilliantly.

Alan Ritchson carries the film almost entirely through physical performance. Without lengthy speeches or dramatic monologues, he communicates John's anger, heartbreak and determination through body language alone. His imposing presence makes him entirely believable as an unstoppable force of vengeance, while quieter moments reveal enough vulnerability to stop the character becoming a one-dimensional action hero.

Ben Foster once again proves why he remains one of the most dependable screen villains. Reynolds is cold, manipulative and utterly ruthless, providing exactly the sort of antagonist needed to fuel the film's revenge narrative. Pablo Schreiber also makes a memorable impression as the corrupt officer Savick, particularly during one of the film's most savage and brutally choreographed fights.

The action itself is consistently impressive. Every confrontation feels impactful, with bone-crunching violence and inventive staging. Rather than relying on excessive computer-generated spectacle, the film favours grounded brutality that gives every punch, gunshot and explosion genuine weight. The explosive final act delivers exactly the payoff the film has been building towards, with several standout sequences that rank among the year's most entertaining action set pieces.

Equally important is the soundtrack. Setting much of the film to existing rock songs gives Motor City a distinctive rhythm and identity. Combined with the limited dialogue, it creates the feeling of watching a violent mixtape unfold on screen. There are echoes of silent cinema mixed with classic 1970s vigilante films, yet the finished result still feels original rather than nostalgic imitation. It is refreshing to leave an action film feeling as though you have genuinely seen something new.

That originality does not completely disguise the familiar framework underneath. At its core, this is still a fairly standard revenge story featuring many of the genre's well-established tropes. Betrayal, prison escape, corrupt criminals and bloody vengeance all play out much as expected. The presentation may be unique, but the narrative itself rarely surprises.

The pacing is another area where the film could have been stronger. At around 100 minutes, Motor City is not especially long, but it occasionally feels as though it is stretching material that would have benefited from a tighter edit. Several slow-motion sequences linger longer than necessary, reducing the momentum rather than enhancing the emotion. Trimming a few of these moments could have made the film even more effective.

Despite those shortcomings, Motor City succeeds because it fully commits to its unusual vision. It demonstrates that action films do not need endless dialogue to engage an audience, trusting visuals, music and physical performances to tell the story instead. The revenge plot may be familiar, but the stylish execution, brutal action and confidence behind its storytelling ensure it never feels routine.

Motor City is refreshing, exciting and unapologetically different. It proves there is still room for experimentation within mainstream action cinema, delivering a visually striking revenge thriller that leaves a lasting impression long after the credits roll.

Score: 7.5 out of 10

Out Now in Cinemas.

REVIEW: Mortal Kombat II (2026 Film) - Starring Karl Urban

Review by Jon Donnis

Picking up the threads from the 2021 instalment, this sequel leans fully into the tournament chaos, throwing Earthrealm’s champions into a darker, louder, and more unashamedly video game version of interdimensional war. At its centre is Johnny Cage, a washed-up martial arts actor pulled into Raiden’s desperate defence of Earthrealm, and Karl Urban gives the role a wry, self-aware edge that helps hold the film together even when everything else is flying fists and fractured alliances.

The strongest part of the film is its action. The combat sequences land with impact, staged with a clarity and aggression that suits the source material. There is a rough, physical energy to the fights that feels intentionally old school, closer in spirit to 1990s martial arts cinema than modern glossy fantasy action. That choice works in its favour. The film never tries to sand down the brutality, and fans of the games will find plenty of familiar moves, characters, and finishing blows brought to life with a willingness to go as far as the material demands.

There is also a clear sense of fun running through the whole thing. Mortal Kombat II never takes itself too seriously, and that balance of gore and humour gives it a strange but effective rhythm. Johnny Cage’s presence adds levity without undermining the stakes, while the wider ensemble cast keeps the energy moving even when the story threatens to become overloaded. For fans of the franchise, the sheer density of characters and references will feel like a reward in itself, with more fighters and deeper cuts from the lore than any previous film in the series.

Visually and tonally, it embraces its identity fully. It is loud, bloody, and deliberately a bit rough around the edges, like a studio production that has decided polish is less important than personality. That aesthetic choice will not appeal to everyone, but it gives the film a distinctive texture that sets it apart from more restrained modern action releases.

That said, it is not without problems. The pacing is uneven, with stretches that feel slightly stretched out before snapping back into intensity. At around an hour and forty five minutes, it still manages to feel longer in places, particularly when the narrative shifts between multiple factions and betrayals. The story itself is dense, occasionally overstuffed, and can lose momentum as it juggles too many character arcs at once.

It is also very clearly a film that will divide opinion depending on familiarity with the source material. Fans of the games and the genre are likely to embrace its excess, while mainstream critics who are less invested in the franchise may find it noisy and chaotic. It does not make much effort to soften its edges or explain itself to newcomers, and that will inevitably narrow its appeal. (Basically ignore the mainstream critics, for what do they know).

Even so, the overall experience lands firmly on the positive side. Mortal Kombat II understands its identity, embraces its brutality, and commits fully to being a spectacle-driven martial arts fantasy. It is gory, it is playful, and it looks and feels like a throwback in the best possible way. Despite its uneven pacing, it delivers enough energy and entertainment to justify its existence.

On balance, it is a strong sequel that knows exactly what its audience wants and delivers it with conviction. A solid 8.5 out of 10.

Out In Cinemas Now!

REVIEW: Tom Clancy’s Jack Ryan: Ghost War (2026 Film) - Starring John Krasinski

Photo Credits: Amazon MGM Studios

Review by Jon Donnis

Turning a successful streaming series into a feature film can be risky. Television allows characters and political intrigue to breathe, while films often lean harder into spectacle and momentum. Tom Clancy’s Jack Ryan: Ghost War lands somewhere in the middle. Directed by Andrew Bernstein and written by Aaron Rabin and John Krasinski, the film delivers an entertaining and polished espionage thriller, even if it occasionally feels too comfortable playing by the numbers.

John Krasinski returns as Jack Ryan, once again stepping into the role with confidence. Ryan is pulled back into the world of covert operations after an international mission collapses and exposes a deadly conspiracy involving a rogue black-ops unit. With the threat escalating by the hour, the story pushes Ryan into a desperate race against time alongside trusted allies Mike November, played by Michael Kelly, and former CIA boss James Greer, played by Wendell Pierce. Sienna Miller also makes a strong impression as MI6 officer Emma Marlow, bringing fresh energy to the established dynamic.

The film’s biggest strength is easily its presentation. Ghost War looks fantastic throughout, with glossy cinematography and a scale that gives it a genuine cinematic feel rather than simply resembling an extended episode of the television series. The action scenes are particularly well handled. Fight sequences feel grounded and believable, avoiding the exaggerated style that often weakens modern action thrillers. There is real weight behind the violence, and the tension remains consistent across the film’s larger set pieces.

The music also deserves praise. The score keeps the pace moving while adding an extra layer of urgency during the film’s more suspenseful moments. Combined with the sharp editing and strong visual style, it helps maintain momentum even when the story itself starts becoming familiar.

The explosive finale is another highlight. After steadily building pressure across the runtime, the final act delivers the kind of large-scale payoff fans will likely want from a Jack Ryan film. It is chaotic, tense and satisfying without completely abandoning the grounded tone that made the series popular in the first place.

The returning cast continue to work well together, particularly Krasinski, Kelly and Pierce. Their chemistry carries much of the film, and there is an easy sense of history between the characters that helps the emotional moments land naturally. Sienna Miller also fits into the world surprisingly well, giving Emma Marlow enough intelligence and presence to avoid feeling like a generic late addition to the franchise.

That said, Ghost War does not entirely escape criticism. One of the strongest aspects of the Jack Ryan television series was its intelligence. The show often focused on political tension, surveillance, analysis and slow-burning espionage. The film moves away from that approach in favour of brute force action and constant urgency. While that certainly keeps things entertaining, it also removes some of the depth that made the series stand out from other spy thrillers.

There is also a lingering sense that the film was designed mainly for existing fans rather than newcomers. The relationships, callbacks and character dynamics rely heavily on audience familiarity with the series. Anyone jumping into the franchise for the first time may feel as though they are missing part of the bigger picture.

Despite ticking all the right boxes for a modern espionage blockbuster, Ghost War never quite shakes the feeling of being a very safe production. The rogue operatives, ticking-clock tension and global conspiracy elements are all competently handled, but very little feels fresh or unexpected. At times, the film comes across as another polished, algorithm-driven streaming action thriller rather than something truly memorable.

Still, it remains entertaining throughout. The pacing rarely drags, the action is strong, and the performances are consistently solid. As part of the wider world of Tom Clancy adaptations, it comfortably earns its place and should satisfy fans looking for another tense mission with these characters.

As someone who enjoyed the Jack Ryan series, I had a good time with Tom Clancy’s Jack Ryan: Ghost War. Unfortunately, the film plays things so safely that it becomes difficult to remember once it is over.

Worth watching for fans of the series, even if it never fully reaches the intelligence or freshness of the show itself.

I score Tom Clancy’s Jack Ryan: Ghost War a safe but entertaining 7.5 out of 10.

Out Now on Prime Video - https://amzn.to/4tGGJ7z