Hellfire (2026) Movie Review: A Nostalgic Action Throwback That Delivers Modest Thrills Despite Predictable Formula

Isaac Florentine's Hellfire, set for release on February 17, 2026, represents a deliberate throwback to 1980s action cinema, complete with that era's straightforward morality and emphasis on physical conflict over character complexity. Produced by Skipstone Pictures, Inner Media, and Millman Productions, and distributed by Saban Films, this 95-minute action thriller stars Stephen Lang as a nameless Vietnam veteran drifter who wanders into the fictional Texas town of Rondo in 1988. Written by Richard Lowry and directed by Florentine, who previously helmed direct-to-video action films including the Undisputed sequels, the film positions Lang opposite veteran actors Harvey Keitel as crime boss Jeremiah and Dolph Lundgren as corrupt Sheriff Wiley, with supporting performances from Scottie Thompson, Michael Sirow, and Johnny Yong Bosch.

The premise follows familiar territory: a mysterious stranger arrives in a small community controlled by criminals who exploit local residents, and his presence catalyzes a violent confrontation that will determine the town's fate. Lang's character, nicknamed "Nomada" by saloon owner Owen and his daughter Lena, discovers that Jeremiah's brewery serves as a front for drug trafficking operations that keep the entire town under his thumb. This film matters primarily as a showcase for Lang's continued physical prowess at 73 and as an unapologetic homage to action films from decades past, when plots were simple and heroes solved problems through force. Whether this nostalgic approach succeeds depends largely on audience willingness to embrace derivative storytelling in exchange for straightforward action entertainment.

Story and Screenplay: Familiar Framework Without Fresh Perspective

Richard Lowry's screenplay operates within the established template of the lone warrior defending the powerless, drawing obvious inspiration from westerns and samurai films that explored similar themes. The narrative wastes little time on exposition, establishing Nomada as a proud but humble man who refuses charity from Owen despite being unable to pay for a meal. This brief interaction communicates his honor code: he'll work as a handyman to earn his keep rather than accept handouts. Sheriff Wiley's immediate order that Nomada leave town telegraphs something sinister lurking beneath Rondo's surface, and subsequent encounters with Clyde, Jeremiah's entitled son, escalate tensions toward inevitable violence.

The script's strength lies in its efficiency. At 95 minutes, Hellfire avoids excessive subplots or meandering character development, moving steadily toward confrontation. Lowry includes some clever touches, like naming Jeremiah's beer varieties after the Three Stooges, and he deserves credit for a mystery element introduced in the third act that provides modest surprise. The relationship between Nomada and Lena avoids the expected romantic trajectory, which strengthens both characters by allowing their connection to remain based on mutual respect rather than predictable attraction.

However, the screenplay suffers from crippling predictability and tonal clumsiness. Every beat follows exactly where experienced viewers expect it to go, from Nomada's refusal to leave despite repeated warnings to the revelation of Jeremiah's drug operation to the final showdown. Attempts to add psychological depth through Nomada's PTSD feel superficial, with vague dream sequences and religious imagery that get abandoned once action sequences begin. The script also struggles with basic logic: the entire town supposedly lives under Jeremiah's control, yet his operation seems preposterously easy to infiltrate. Wiley appears to be the only law enforcement officer, and the cocaine-in-beer-cans scheme strains credibility. The film takes place in 1988 according to an opening title, but nothing else about the setting, dialogue, or aesthetics reflects that specific period, suggesting the timeframe was an afterthought.

Acting and Characters: Lang Elevates While Veterans Coast

Stephen Lang anchors Hellfire with genuine commitment that elevates material beneath his capabilities. At 73, he convincingly portrays a physically capable warrior through careful choreography and evident dedication to the role. Lang understands exactly what kind of film he's making and plays it completely straight without condescension or ironic distance. His Nomada communicates primarily through action and meaningful silence, with Lang using small physical details like head tilts and narrowed eyes to convey the character's growing determination. The performance recalls his work as the blind antagonist in the Don't Breathe films, finding similar intensity in a character defined by physical capability and moral certainty.

Harvey Keitel and Dolph Lundgren bring name recognition without substantial screen presence. Keitel plays Jeremiah with surprisingly little menace, appearing soporific when the role demands intimidation. His limited screen time prevents him from establishing the villain as a formidable force, leaving subordinates to carry the antagonist duties. Lundgren similarly underutilizes his action movie credibility, with Wiley functioning more as plot device than character. Neither veteran gets involved in significant action sequences, suggesting physical limitations or filming schedule constraints. Michael Sirow does heavier lifting as Clyde, providing the physical presence Keitel can no longer deliver, though his character remains a one-dimensional bully. Johnny Yong Bosch makes an impression as lead henchman Zeke, bringing martial arts credibility to his fight with Lang.

Scottie Thompson delivers the film's second-best performance as Lena, creating nuance within limited parameters. Known for her recurring role on NCIS, Thompson makes Lena difficult to read initially, appearing suspicious of Nomada before gradually warming to him. The script gives her an interesting backstory as a widow who believes her late husband will send her an angel, providing spiritual context for Nomada's arrival. Thompson and Lang develop genuine chemistry without romantic overtones, suggesting friendship born from shared understanding of loss. The supporting cast functions adequately within the constraints of a low-budget production, though most characters serve archetypal purposes rather than feeling like fully realized people.

Direction and Technical Aspects: Budget Limitations Consistently Visible

Isaac Florentine's direction reveals both his stunt coordinator background and the production's financial limitations. He stages fight sequences with professional competence, showcasing Lang's physical work through clear framing and steady cameras that allow viewers to appreciate the choreography. The hand-to-hand combat between Lang and various opponents maintains spatial coherence, avoiding the rapid-fire editing that often obscures action in bigger-budget films. Florentine wisely keeps action grounded and personal, emphasizing brutal close-quarters fighting over elaborate set pieces the budget couldn't support.

However, technical execution suffers throughout. The cinematography features flat, overlighting that makes locations feel like television productions rather than cinematic experiences. Several scenes appear filmed in broad daylight with minimal atmospheric lighting, creating what one observer described as looking "shot in the aisle of a pharmacy." The production design fails to evoke 1988 Texas convincingly, with Jeremiah's ostentatious villa feeling anachronistic against the town's poverty. The brewery set and action locations like an abandoned factory provide functional spaces for violence without creating memorable visual environments.

The editing maintains basic continuity without creating rhythm or building tension effectively. Extended chase sequences on rural roads and shootouts in empty spaces expose the budget constraints, as the film struggles to make limited locations feel varied. Car chases particularly suffer, lacking the kinetic energy that might compensate for their obvious cost-cutting. The stunt work deserves credit for allowing Lang to perform extensive physical activity without relying heavily on obvious doubling, though the overall aesthetic remains firmly in direct-to-video territory. Florentine demonstrates competence within severe limitations, but the film never transcends its small-scale origins to create genuinely compelling visual storytelling.

Trailer Hellfire (2026)

Music and Atmosphere: Generic Score Undermines Period Setting

Stephen Edwards's score attempts to evoke spiritual resonance through "Wayfaring Stranger"-inspired themes, positioning Nomada as a wandering savior figure. The music works toward creating melancholic atmosphere around the character's journey while building tension during action sequences. However, the score suffers from generic quality that multiple observers noted sounds like it could have been generated through artificial intelligence. The music rarely feels organic to scenes, instead sitting on top of them as obvious emotional manipulation that draws attention to itself rather than enhancing moments.

The overall atmosphere aims for the straightforward morality and kinetic simplicity of 1980s action cinema, and Hellfire succeeds in capturing that era's lack of ambiguity if not its energy. The tone maintains steady grimness punctuated by bursts of violence, avoiding humor or lighter moments that might provide tonal variety. Sound design proves particularly problematic, with effects that feel cartoonish and artificial, undermining attempts at gritty realism. The combination of weak audio production and overlighting creates an atmosphere more reminiscent of 1990s television action shows than the theatrical films Florentine aims to evoke. The film captures the nostalgic appeal of simpler action storytelling without successfully recreating the visceral excitement that made those films endure.

Strengths and Weaknesses

What Works Well:

• Stephen Lang delivers a committed, physically impressive performance that provides the film's primary reason to watch.
• The 95-minute runtime keeps things efficient without excessive padding or meandering subplots.
• The relationship between Nomada and Lena avoids predictable romantic complications, strengthening both characters.
• Fight choreography is clearly staged and spatially coherent, allowing action sequences to be followed easily.
• Scottie Thompson creates genuine nuance within limited screen time and character development.
• The straightforward approach avoids pretension, delivering exactly what the premise promises without false sophistication.

What Doesn't Work:

• The screenplay offers zero surprises, following every expected beat of the lone warrior template without variation.
• Technical execution remains consistently weak, with poor lighting, generic music, and cartoonish sound effects.
• Harvey Keitel and Dolph Lundgren waste their presence in underwritten roles that give them nothing substantial to do.
• The 1988 setting serves no purpose and isn't convincingly realized through production design or period details.
• Attempts to add psychological depth through PTSD and religious imagery feel superficial and get abandoned quickly.
• The villain's operation and the town's complete submission to criminal control strain basic credibility.
• Limited budget shows throughout, from repetitive locations to stretched action sequences that lack genuine excitement.

Final Verdict: Nostalgic Comfort Food for Undemanding Action Fans

Rating: 2.5/5 stars

Hellfire earns 2.5 out of 5 stars for being a competently executed but ultimately unremarkable action film that succeeds primarily as a vehicle for Stephen Lang's continued physical prowess. The rating reflects a production that understands its limitations and stays within them, delivering straightforward action entertainment without pretending to offer more. Lang's commitment elevates material that would feel threadbare without his presence, and Florentine stages fights with professional clarity even as technical aspects consistently disappoint. This is the definition of modest achievement: a film that accomplishes exactly what it sets out to do while never approaching anything approaching genuine distinction.

This film will appeal to audiences with strong nostalgia for 1980s and 1990s action cinema who appreciate straightforward storytelling and physical combat over complex narratives. Fans of Stephen Lang will find his performance worth watching, particularly those who enjoy seeing older action stars prove their continued capability. Viewers who grew up on Chuck Norris, Jean-Claude Van Damme, and similar action heroes of that era will recognize and possibly embrace the familiar formula. The film also works for audiences seeking uncomplicated entertainment that requires minimal attention, functioning adequately as background viewing. Those interested in low-budget direct-to-video action filmmaking will find Hellfire a reasonable example of the genre's current state, demonstrating both what dedicated professionals can accomplish with limited resources and the inevitable compromises such constraints demand.

Conversely, audiences seeking originality, narrative surprise, or thematic depth should look elsewhere, as the film offers none of these qualities. Viewers expecting modern production values will be frustrated by the consistently weak technical execution across lighting, sound, and music. Those who want substantial roles for Harvey Keitel and Dolph Lundgren will be disappointed by their minimal screen time and lack of meaningful action involvement. Anyone hoping for period authenticity or logical world-building will find the 1988 setting unconvincing and the villain's operation implausible. The film's straightforward conservative ideology regarding individual action and violence as problem-solving may also alienate viewers seeking more complex moral perspectives. Hellfire ultimately functions as comfort food for a specific audience willing to overlook substantial flaws in exchange for watching Stephen Lang demonstrate that age doesn't necessarily diminish action movie capability. It's a modest achievement that neither embarrasses itself nor distinguishes itself, content to occupy the middle ground between complete failure and genuine success.