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Movie Name: Onslaught
Directed by: Adam Wingard
Starring: Adria Arjona, Dan Stevens, Eric Wareheim, Reginald VelJohnson, Michael Biehn, Alex Pereira, Drew Starkey, Rebecca Hall
Genre: Action, Thriller, Horror
Running Time: 99 Minutes
Release Date: September 04, 2026
Rating:
Languages: English
Production House: A24, Lyrical Media, Ryder Picture Company, Breakaway Civilization, 828 Productions
Budget: $- million
When a rogue squad of genetically engineered super soldiers break loose in the desert, a badass Army sniper must unleash hell to protect her young daughter.
Onslaught: Movie Overview
Onslaught is an upcoming American action thriller film directed by Adam Wingard and written by Simon Barrett. The film’s ensemble cast features Adria Arjona, Dan Stevens, Eric Wareheim, Reginald VelJohnson, Michael Biehn, Alex Pereira, Drew Starkey, and Rebecca Hall.
Onslaught is scheduled to be released in the United States by A24 on September 4, 2026.
A mother living in a trailer park struggles to protect her family from a threat that has escaped from a secret military facility.
Onslaught is scheduled to be released in the United States by A24 on September 4, 2026.
Movie Trailer:
Movie Review:
A stylish throwback that pulls its punches
Story:
An elite Army sniper must unleash her lethal skills when a rogue squad of genetically engineered super soldiers breaks loose in the desert, threatening her young daughter and forcing her into a deadly fight for survival.
Review:
Adam Wingard and Simon Barrett, the director-writer duo behind You’re Next and The Guest, return to the low-budget genre filmmaking that defined their early careers with Onslaught. A mix of action, horror and thriller, the film is an affectionate throwback to 1980s genre cinema. It has the right ingredients for a wild, bloody ride, but never fully embraces its own potential.
The film follows Celeste (Adria Arjona), an Army veteran who runs a trailer park and shares custody of her young daughter, Daisy (Blake Kennedy), with her ex-husband. Still dealing with the trauma of her military past, Celeste is forced back into action when three genetically engineered super soldiers escape from a secret military facility and descend on the trailer park. Protecting her daughter means confronting the violent skills she thought she had left behind.
Onslaught makes a strong first impression. Its explosive opening establishes Celeste as a formidable protagonist without unnecessary exposition. Freeze-frame title cards, a retro-styled credits sequence and Matthew Pusti’s pulsating synth score immediately set the tone. A recurring countdown adds suspense, creating the expectation that something big is about to happen.
Unfortunately, the film struggles to sustain that momentum. After an engaging first act and an intriguing turn in the story, the middle section slows down considerably. Much of it focuses on Celeste’s military past and the origins of the super soldiers, leaving the central conflict waiting in the wings. The backstory is interesting enough to keep things moving, but the film takes too long to get to the confrontation it has been promising.
When the action finally arrives, there are some satisfying bursts of violence and impressively gory practical effects. Yet the set pieces are often over too quickly. Given its outrageous premise, Onslaught could have been far more inventive and ferocious. Instead, it frequently plays things safer than expected.
The film does benefit from striking visuals. Cinematographer Oren Soffer makes effective use of the isolated trailer-park setting, giving it an eerie, desolate quality. The night sequences are particularly atmospheric, while the strong lighting and compositions add a polished edge to the otherwise pulpy material.
Arjona is the film’s biggest asset. She brings both physicality and vulnerability to Celeste, making her a convincing action hero while giving the character an emotional dimension. Her relationship with Daisy also adds warmth to the story, with Kennedy delivering an endearing performance. The supporting cast adds colour, although most of the characters could have been developed further.
On the whole, Onslaught is an entertaining but uneven genre throwback. Wingard and Barrett recreate the look and feel of their earlier work with confidence, but the film lacks the sustained energy and reckless spirit its premise demands. Arjona’s performance, atmospheric cinematography and flashes of bloody action make it worthwhile, even if the film never quite delivers the explosive genre spectacle it promises.
