Ben Affleck's latest directorial effort, Animals, now streaming on Netflix, is a film that desperately wants to be about something big. It wants to be a kidnapping thriller, a political drama, a meditation on marriage, and a commentary on immigration. Unfortunately, it never fully commits to any of these, leaving audiences with a muddled, unsatisfying experience.
Affleck stars as Mark Kimbell, an independent candidate for Los Angeles mayor who is trailing in the polls. To close the gap, he secretly drains his family's savings for a final campaign push, much to the chagrin of his wife, Abigail (Kerry Washington), who is having an affair with Ron (Ray Fisher) and considering leaving Mark after the election. Their marriage is already on the rocks when their son, Denny, is kidnapped during a Halloween carnival outing with the housekeeper's son.
Instead of calling Liam Neeson, the Kimbells turn to Dayle (Gillian Anderson), a mysterious fixer who fronts the $7 million ransom but demands a hefty 20% fee. From there, the film takes a sharp turn that upends the typical kidnapping narrative, attempting to morph into a "big idea" movie about American politics, lies, and the plight of undocumented immigrants. But as the plot twists pile up, the film's messages become muddled and occasionally out of touch.
One of the most jarring moments comes near the end, when an undocumented immigrant peacefully surrenders to ICE so he can be safely transported back to his home country to live happily ever after. In 2026 America, that feels like a fantasy, and it undermines any credibility the film might have had as a political statement. It's a prime example of how Animals pulls its punches, afraid to truly confront the issues it raises.
Affleck has proven himself a capable director with films like Gone Baby Gone, The Town, and Argo, all of which balanced genre thrills with character depth. Even Air, his previous directorial effort for Amazon, knew exactly what it was. But with Animals, he seems to have lost his storytelling instincts. The kidnappers are barely characters, the political commentary is half-formed, and the family drama never reaches the emotional heights it aims for.
It's a shame, because the cast is uniformly strong. Washington brings gravitas to a underwritten role, and Anderson chews scenery with relish, even if her vaguely British accent is a distraction. But they can't elevate a script that doesn't know what it wants to say. The film's structure, which awkwardly mimics a whodunnit without the payoff, further muddies the waters.
In the end, Animals is neither thrilling enough for genre fans nor thoughtful enough for those seeking substance. It's a film that will likely be forgotten quickly, a misfire from a filmmaker who usually knows better. For those keeping track of Affleck's directorial career, this one is a minor blip, but a blip nonetheless.
If you're looking for a more satisfying thriller, you might want to check out Josh Hartnett's underwater chiller or revisit Matt Damon's Oscar-winning crime drama. As for Affleck, here's hoping his next project, the Artists Equity indie film arm he launched with Damon, yields better results.
