Violent Ends is a new film now playing in theaters. Written and directed by John-Michael Powell, the film stars Billy Magnussen, James Badge Dale, Kate Burton, Ray McKinnon, Nick Stahl, and Alexandra Shipp. It follows Lucas Frost, an honest man raised in a crime family whose only legacy is violence. Determined to forge his own path with his fiancée, Emma, Lucas is suddenly pulled back into the family business he despises when his cousin Eli commits an armed robbery at a local scrap yard—leaving an innocent life caught in the crossfire.

As with most films I watch, I went in knowing nothing about it. I vaguely remembered seeing a trailer, but I had no idea it was releasing so soon. Like many IFC films, it feels like it flies under the radar until it hits streaming. While I got an early screener of the film, I saw that my local there was playing it. The fact that no one was in the 10:30 PM opening night showing says something about its initial visibility. Nonetheless, I love IFC films. I’ve said it before: they are as original as A24 productions and give filmmakers the freedom to fully realize their vision. That creative freedom is on full display here, and the film is elevated by an incredibly talented cast.

When I saw Billy Magnussen’s name attached to this project, I was all in. Sometimes viewers might overlook a film like this, distracted by other releases—but for me, if an actor has impressed me before, I’ll follow them wherever they go next. Game Night is one of my all-time favorite films, so of course I had to see whatever Magnussen does.

The film carries a low-budget feel, which makes it all the more impressive that John-Michael Powell was able to assemble such a strong cast. In many ways, it feels like a filmmaker striving to be taken more seriously through a dramatic, gritty story. I had no idea it was going to unfold as a revenge narrative, so the early portions of the film—with their careful build-up, momentum, and character development—felt fresh and engaging. By the time the revenge element kicks in, however, it does tread familiar ground, following beats we’ve seen before.

Billy Magnussen truly disappears into his role. On a small-scale production like this, it’s often difficult to get a well-established cast fully committed—but that’s not the case here. Almost everyone delivers at 100%. Even James Badge Dale, who sometimes feels like he’s inhabiting a slightly different tone, still gives it his all. Magnussen and Alexandra Shipp share genuinely compelling chemistry, while Nick Stahl continues to be a standout scene-stealer. Overall, the casting is one of the film’s strongest achievements.

As the film begins, we’re immediately introduced to some on-screen exposition—a plot device I usually find clunky. Yet here, it works beautifully, efficiently conveying a decade of backstory. We quickly understand who this family is and how they operate, which makes the contrast with Billy Magnussen’s character all the more striking. Everything leading up to the revenge element of the story builds tension and investment, so when the narrative suddenly turns into a revenge tale, I was genuinely shocked. That said, once it does, the film begins to settle into familiar territory.

Revenge stories are about as basic as it gets, and few manage to stand out. Here, the film feels like it’s built around a simple premise: a man forced to confront and inflict violence on his own family. What elevates it is all the groundwork laid beforehand—the character development and family dynamics. Since the revenge aspect initially took me by surprise, I didn’t mind it. But the way the film handles it left me conflicted. For someone so markedly different from the rest of his family, it strains credibility to see him adapt so comfortably to violence. Rather than exploring how a family steeped in violence must eventually reckon with its legacy, the film often seems to endorse it, which feels somewhat at odds with its earlier themes and characterization.

As the film progresses, it remains entertaining to watch Billy Magnussen explore a completely different side of his acting—even if the level of violence occasionally feels excessive. Given the number of other storylines at play, the revenge angle still feels somewhat unnecessary. The film might have been just as compelling if it focused on this character doing everything he could to break free and build a better life. That approach would have provided him with a clearer moral compass and allowed for a deeper exploration of the emotional complexities of his choices.

That said, it’s easy to see why such a likable and established cast signed on. Director John-Michael Powell demonstrates not only a strong command of story and character development but also a distinct visual vision. One sequence toward the end absolutely floored me—it’s visually inventive and unlike anything I’ve seen recently. It’s the kind of moment that makes me glad I watched from home, so I could revisit and appreciate it more than once.

Overall, Violent Ends shines as an acting showcase, particularly for leading man Billy Magnussen. The film demonstrates that John-Michael Powell is a capable and confident storyteller, even if the narrative occasionally drifts into familiar territory. While the exploration of violence can feel contradictory at times and the multiple storylines require careful attention, the film remains consistently riveting and engaging from start to finish.

VERDICT: 3.5/5 – Pretty Good