The Shitheads (2026) Movie Review: A Grimy, Absurdist Road Trip That Asks If The World Is Just One Big Pile Of Garbage

The cinematic landscape of 2026 has already delivered its first polarizing cult hit in the form of "The Shitheads." Directed and written by Macon Blair, this 98 minute odyssey of errors made its debut at the Sundance Film Festival on January 23, 2026. Produced by a trio of heavy hitters—Gramercy Park Media, Peachtree Media Partners, and Rough House Pictures—the film represents a return to the gritty, idiosyncratic storytelling Blair first showcased nearly a decade ago.

The premise is deceptively simple: two men at the absolute end of their ropes, Mark (Dave Franco) and Davis (O’Shea Jackson Jr.), are hired for what should be a routine transport job. Their cargo is Sheridan Kimberley (Mason Thames), a wealthy, entitled teenager who needs to be delivered to a rehabilitation center. Naturally, because this is a Macon Blair project, the journey quickly devolves into a chaotic nightmare fueled by narcotics, criminal desperation, and a series of increasingly bizarre encounters. While classified as a comedy with sci-fi elements, the film is more of a descent into a very specific kind of American backwoods madness. Featuring a cast that includes Kiernan Shipka as a disillusioned stripper, Peter Dinklage in a mysterious role, and Nicholas Braun as a SoundCloud rapper with a lycanthropy obsession, the film arrives at a time when its cynical, "the world is falling apart" energy feels particularly pointed.

Story and Screenplay: A Picaresque Descent into Modern Despair

The narrative foundation of "The Shitheads" relies on the classic road trip structure, but Blair subverts the tropes of the genre by stripping away any hope of sentimental redemption. Usually, in these types of films, the "screwups" learn a valuable lesson from their charge, or vice-versa. Here, the screenplay leans into a much darker reality. Mark and Davis are not just unlucky; they are "rock bottom" individuals whose survival instincts are constantly at odds with their moral compasses.

The pacing of the first two acts is relentless and kinetic. Blair manages to weave together the mundane frustrations of low-rent transport work with the sudden, jarring explosions of violence and absurdity that have become his trademark. The dialogue is sharp, often profane, and imbued with a sense of weary realism that grounds the more outlandish plot points. However, the story takes a significant turn when Sheridan, the teenage passenger, shifts from a passive nuisance into a central antagonist. This "villain arc" is where the screenplay begins to feel a bit more fractured. While the shift is daring, it causes the film to lose some of the focus that made the early interactions between the three leads so compelling. The script eventually settles on a thematic message that suggests the world is fundamentally broken and that pushing forward is the only option, even when it feels patronizing. It is a story about the "little guys" digging through the muck while the elite remain untouched, a sentiment that resonates strongly in today's social climate but might leave some viewers feeling more exhausted than entertained.

Acting and Characters: A Dynamic Trio Anchored by High-Energy Eccentricity

The heart of the film lies in the chemistry between Dave Franco and O’Shea Jackson Jr. Franco plays Mark with an "unbothered scumbag" energy that is both frustrating and weirdly charismatic. He leans into the character’s lack of ambition, making his moments of accidental competence all the more surprising. On the opposite side of the coin, O’Shea Jackson Jr. provides the film’s moral (or at least spiritual) center as Davis. As a "God-loving striver," Davis is the one trying to maintain some semblance of dignity in the face of total degradation. The friction between Mark’s nihilism and Davis’s desperate hope is the engine that drives the film’s best moments.

Mason Thames, as Sheridan, has perhaps the most difficult task. He has to balance being a spoiled, "wealthy teen" archetype while slowly revealing a much more dangerous and calculating interior. It is a performance that requires a lot of heavy lifting in the film’s second half, and Thames largely succeeds, even when the script moves into more heightened, almost cartoonish territory.

The supporting cast is where Blair’s penchant for "weirdness" truly shines. Nicholas Braun steals nearly every scene he is in as "Pricka Bush Da Werewoof." Playing a SoundCloud rapper who wears a rubber werewolf mask, Braun captures a very specific, modern brand of delusional confidence. Kiernan Shipka’s Irina adds a layer of weary cynicism to the mix, serving as a reminder that everyone in this world is just trying to survive the next ten minutes. Even the director himself makes a memorable, somewhat disturbing appearance as a drug dealer with a penchant for exposing his thighs, adding to the film’s overall sense of "backwoods weirdness."

Direction and Technical Aspects: The Gritty Aesthetic of the Low-Life

Macon Blair continues to prove that he has a unique eye for the "bottom of the barrel" aesthetic. His direction here is confident, emphasizing the dirt, the grime, and the physical toll that this journey takes on the characters. The visual composition often feels cramped and claustrophobic, reflecting the interior of the transport vehicle and the limited options available to our protagonists. There is a "high-floor" quality to the filmmaking, where even the most chaotic scenes are handled with a clear sense of geography and intent.

The cinematography highlights the stark contrast between the sterile, wealthy environments Sheridan comes from and the crumbling, drug-infested landscapes Mark and Davis inhabit. This visual storytelling reinforces the film’s themes of class disparity without needing to spell them out in the dialogue. The editing is equally sharp, particularly during the more frantic sequences where the "simple job" starts to spiral out of control. However, there is a "tonal crater" that occurs in the latter stages of the film. The shift from a dark comedy to something more somber and villain-focused feels like a car hitting a brick wall. While Blair is clearly passionate about this transition, it disrupts the flow of the narrative in a way that some might find jarring. It feels like a love letter to his past work, but perhaps one that needed a bit more refinement in its final execution.

Music and Atmosphere: SoundCloud Rap and Tonal Dissonance

The auditory experience of "The Shitheads" is integral to its mood. The score and soundtrack lean heavily into the chaotic, DIY energy of the characters. With a SoundCloud rapper as a prominent supporting character, the music often reflects a certain kind of modern, low-fi aggression. This choice enhances the feeling of being stuck in a specific time and place—one that is both desperate and slightly ridiculous.

The sound design effectively captures the environmental hazards of the road trip, from the hum of a failing engine to the sudden, shocking crack of a gunshot. These sounds are layered to create an atmosphere of constant, low-level anxiety. The overall mood is one of "bad times getting worse," and the audio work ensures that the audience feels that escalation. There is a sense of atmospheric dissonance throughout the film, where the comedy is often undercut by a score that feels heavy and ominous. This works well for the most part, though it contributes to the feeling that the film is constantly fighting with its own identity. It is a bold approach that succeeds in making the world of the film feel lived-in and authentic, even when the plot points lean toward the absurd.

Strengths and Weaknesses

Strengths

• The lead performances by Dave Franco and O’Shea Jackson Jr. create a compelling "odd couple" dynamic that carries the film through its slower patches.
• Nicholas Braun delivers a hilariously bizarre, scene-stealing performance that provides much of the film’s best comedic relief.
• The visual style and production design perfectly capture the "gritty" and "low-rent" atmosphere of the story’s setting.
• Macon Blair’s sharp, cynical dialogue is frequently funny and feels authentic to the characters' desperate situations.
• The film’s early pacing is excellent, building tension and humor in equal measure as the situation begins to unravel.

Weaknesses

• The second half suffers from a tonal shift that feels like a "crater," disrupting the momentum established in the first hour.
• The transition of Sheridan into a primary villain feels a bit forced and causes the film to lose its narrative identity.
• The underlying social message about the "world sucking" can come across as patronizing rather than profound.
• Some of the sci-fi elements feel underdeveloped or tacked on to a story that functions better as a straight dark comedy.
• The ending may leave viewers feeling unsatisfied, as it prioritizes a bleak outlook over a cohesive character resolution.

Final Verdict: A Messy, Memorable Odyssey for Fans of Dark Indie Cinema

Rating: 4/5 stars

"The Shitheads" is a film that wears its flaws on its sleeve, much like its protagonists. It is a high-energy, often hilarious, and deeply cynical look at survival in a world that feels increasingly rigged against the average person. While it doesn't quite reach the heights of Macon Blair’s previous directorial effort, "I Don’t Feel At Home In This World," it remains a clear example of his unique voice and passion for storytelling. The film is at its best when it focuses on the chemistry of its leads and the sheer absurdity of their situation, but it falters when it tries to pivot into a more traditional villain-driven narrative.

This is a movie for viewers who enjoy dark, indie comedies that aren't afraid to get their hands dirty. If you are a fan of Blair’s previous work or movies that find humor in the absolute worst-case scenarios, there is a lot here to appreciate. However, those looking for a traditional "redemption" arc or a clean, feel-good ending will likely find this experience frustrating. It is a movie that challenges its audience to look at the "crap" of the world and keep pushing on, even if the destination isn't exactly where we hoped to go.

Recommendation: Definitely worth a watch for anyone who appreciates the "Rough House Pictures" brand of humor or wants to see Nicholas Braun in a rubber werewolf mask. Just be prepared for the tonal shift in the final act, which might leave you feeling like you’ve been run off the road.