Film Review: ‘Animals’ is a Dark and Twisty Thriller from Ben Affleck

I’ve long said that a film helmed by Ben Affleck runs like a machine. The actor turned multi-hyphenate, when he steps behind the camera, just knows how to pace his movies in a way that some never figure out. With Animals, Affleck is not just returning more to his crime thriller roots, when he debuted as a filmmaker with Gone Baby Gone, but also doing his riff on the Akira Kurosawa film High and Low (which, yes, was just last year made into a Spike Lee flick with Highest 2 Lowest). The result is far from Affleck’s best, to be fair, but a work that does more than enough to warrant my recommendation and your time.

Animals is a dark and twisty thriller from Affleck, one that’s lean and mean. There’s an efficiency on display here that keeps things moving, both to distract from some of the sillier elements, but also to keep your blood pumping. It’s hard not to see the better film that lives within this one, especially since there’s a sense that Affleck could have either leaned into more of High and Low (and credited it as the source material), or gone in more of a different direction. Splitting the difference keeps the movie from really reaching its full potential. Still, I’d be lying if I didn’t admit to having a very good time with this nasty little work.

Mark Kimball (Affleck) is an Independent mayoral candidate in Los Angeles, poised to potentially win the election in just a few weeks. Mark had a wealthy father who he worked for, but also served in the Gulf War, was a teacher, worked with the LAPD, and after the wildfires of 2025, helped environmental groups rebuild. In theory, he should be everything the city wants and needs. Of course, to win an election takes time and money, something he’s running low on. Campaign manager Sam Allison (Steven Yeun) pushes him to mortgage his mansion as the final piece of the financial puzzle, while keeping it from his therapist wife Abigail (Kerry Washington). That would hardly be the only secret in their marriage, as she’s in the midst of an affair with Ron (Ray Fisher). The secrets will have to come out, however, as they’re about to have the worst night of their lives.

When the Kimballs send their son Denny (Christopher Woodley) out to a Halloween event with his nanny Cecilia (Adriana Paz), they’re a bit surprised to find that it’s not just them, but also Ramon (Luis Gerardo Méndez), who Cecilia is in a relationship with, and Ramon’s son Hector (Jacob Estrada). Denny still goes, and it should be fine, at least until they receive a phone call telling them that their son has been kidnapped. If they don’t pay the kidnappers $7 million, Denny will be killed. Falling apart, the Kimballs accept the offer of Sam to contact mysterious fixer Dayle Burton (Gillian Anderson). She specializes in these sorts of situations for rich and private clients. For an additional $1.4 million fee, nonrefundable, she’ll provide the money. She also needs them to reveal all of their hidden secrets, given that this could be someone they know with a grudge. They’re set to do it, even after learning some damning things about each other, at least until Denny walks in the door. You see, the kidnappers took Hector by accident, given that they were in matching costumes. The threat still stands, though now it’s a question of what Mark and Abigail will do. While they continue to work with Dayle, who proposes some alternate options for solving the problem, Cecilia and Ramon worry, with the latter willing to take matters into his own hands. It all turns into something surprisingly convoluted in the end, but in just a silly enough way that I found myself enjoying the ridiculousness of it all.

Initially, Matt Damon was going to be Mark, and he probably would have been a better choice, though Ben Affleck is still good in the role. He leans into the low key ways that Mark can be an asshole, which fits the commentary about politicians being made here. It’s not a defining performance from Affleck, to be sure, but it’s a role he’s well equipped to handle, and he handles it well. Jennifer Garner was actually originally going to be in Kerry Washington’s role, which would have been fascinating, though Washington playing Abigail gives the story some racial undertones. Washington is good in the role, though her infidelity subplot doesn’t go anywhere particularly interesting. Affleck and Washington also have a muted chemistry which fits a stained marriage, but doesn’t create any sparks. Steven Yeun is a bit wasted, though a welcome presence, while Ray Fisher is barely there. Luis Gerardo Méndez and Ariana Paz get the most effective emotional beats to play, while Gillian Anderson plays the ice queen role perfectly. More of Anderson actually would have been to the film’s benefit. In addition to Jacob Estrada and Christopher Woodley, the cast includes Taylor Cooper, Chris Gann, and more.

Ben Affleck directs a screenplay he co-wrote with Connor O. McIntyre, and Billy Ray. While no one will mistake this for Air or Argo, Animals is still well made. Affleck has crisp visuals from cinematographer Robert Elswit, keeps the pacing tight, and knows when to raise or lower the tension. The script is a bit more of an up and down measure, as Affleck, McIntyre, and Ray don’t fully find a new way to tell this story. The politician elements are well handled and the ending is crazy enough to work, at least for me, though the kidnapping itself feels standard issue. There’s also a fumbled metaphor in regards to the title, which just never lands. This is a good movie to me, overall, it’s just not a great one, and with the exception of Live by Night, that’s all Affleck has ever made.

Animals isn’t on the level of Gone Baby Gone or The Town, in terms of Affleck’s prior crime flicks, but considering what the genre puts out on Netflix almost weekly, this is still very solid and worth a watch. In theaters, it may have felt like lesser Affleck, and it somewhat is, but as a streaming option, it’s still easy to recommend.

SCORE: ★★★