The Rip is a new film premiering on Netflix on January 16. Written and directed by Joe Carnahan, the film stars Matt Damon, Ben Affleck, Steven Yeun, Teyana Taylor, Sasha Calle, Catalina Sandino Moreno, Scott Adkins, Kyle Chandler, Néstor Carbonell, and Lina Esco. When a team of Miami cops uncovers millions of dollars hidden inside a derelict stash house, loyalties fracture and suspicion mounts—putting everything, and everyone, into question.

The cast alone sells the film. Lately, I’ve heard a lot of people claim that the era of the A-list actor carrying a movie on the strength of their face on a poster is over. I don’t buy that here. Anyone who sees this cast will be inclined to watch. Between that lineup and the lack of major competition this weekend, it’s almost guaranteed to be a hit. That said, it doesn’t mean the movie itself is any good.

Between the January release and the title itself, I didn’t have high expectations for the film. Still, I was genuinely looking forward to it because of how much I like the cast. Damon and Affleck reuniting felt promising, as if they were truly invested in something substantial. The supporting cast only heightened that excitement, with standouts like Steven Yeun and Teyana Taylor. When you hear about a lineup like this coming together, it’s hard not to be intrigued.

My one lingering concern was director Joe Carnahan, whose track record hasn’t exactly inspired confidence. After watching the film, it’s clear the potential was there, but it’s ultimately weighed down by messy direction, absurd storytelling, and an unappealing color palette and visual style.

The first half of the film is actually not that bad. It throws you into the story during an interesting point that allows you to quickly understand the characters and the story. It wasn’t great. The dialogue was definitely dated and messy, but I couldn’t help but see some comparisons to Carnahan’s earlier film, Smokin’ Aces – a film I personally loved. Once the story centers around this house, I really enjoyed the build up. Unfortunately, when chaos ensues is when the film became very messy.

Developed from a story by Joe Carnahan and Michael McGrale, the screenplay itself was written entirely by Carnahan. I’m not sure what happened along the way, but at one point Carnahan was reportedly set to remake The Raid, and you can see traces of that influence here—almost as if this film became a substitute for that project. The core issue is that Carnahan likely should have served as either the writer or the director, but not both. While some of the plot twists do land, the longer the film goes on, the more implausible they become. It feels like the project needed another creative voice to rein the story in, because there’s a lot of unrealized potential that could have made this a much stronger film.

I can understand why a cast like this signed on. With Damon and Affleck attached as producers, it’s easy to imagine much of the supporting cast committing without even seeing the full script. The best-case outcome is that the film at least helps the supporting actors build relationships that may allow them to flourish later in their careers. Looking at Carnahan’s filmography, his work doesn’t exactly have a reputation for elevating performances, even though his earlier projects were notably stronger.

The first half of the film is arguably its best, largely because it subverts expectations. Once the story begins to unravel in the second half, however, it becomes clear the film believes it’s far smarter than it actually is, resulting in performances that feel exaggerated and over-the-top.

The film adopts a visual style that’s initially interesting but steadily deteriorates by the finale. The washed-out, light-blue color palette is especially unappealing, resembling the kind of look that would be mocked in a satire like The Studio. The camera work is frequently shaky and keeps the action at a distance, preventing any real sense of immersion. By the end, the visual effects are outright poor—relying heavily on CGI instead of practical locations, with results that barely look finished. Hopefully, Damon’s upcoming work on The Odyssey will serve as a reminder of how effective strong visual storytelling can actually be.

Most of the action is held back for the second and third acts. When it finally arrives, I expected something closer to the chaotic energy of Smokin’ Aces. Instead, it’s underwhelming and short-lived. By the time the film reaches its third act, it becomes clear it’s relying on its twists to compensate for the lackluster action. Even with all the gunfire, the film offers nothing new in terms of set pieces or spectacle—it’s territory we’ve seen covered countless times before.

Overall, The Rip is ultimately disappointing because of how much potential it squanders. It leans far too heavily on its twists, to the point that they undermine the film’s believability. The visual presentation is off-putting, from the color palette to the overreliance on CGI in place of practical locations, and the action offers little of note. If you’re a fan of the cast, it may still be worth a watch. At best, audiences may enjoy it for what it is—but it’s likely to be quickly forgotten.

VERDICT: 2/5 – Bad