It’s fair to say that many of 2025’s most anticipated superhero films have left fans underwhelmed. Titles like Superman, Thunderbolts*, The Old Guard 2, and Captain America: Brave New World weren’t disasters, but somewhere, strayed from fan expectations in ways that didn’t land. As a result, scepticism has set in among movie lovers. Before hitting play, many fans spend time scanning trailers, dissecting reviews like this one, checking ratings, and studying the cast list before deciding whether to commit.
That’s exactly what I did while considering The Fantastic Four: First Steps (2025). As I scanned the cast list, I noticed Vanessa Kirby had a mid-August release on Netflix—a good title, Night Always Comes. That’s the one I chose, and here I am with an unsolicited review. Using the same vetting process, starting with the official trailer on YouTube, I couldn’t ignore the comments section flooded with spam, a red flag that didn’t stop me from pressing play.
Directed by Benjamin Caron, Night Always Comes (2025) opens with a blunt reminder of economic frustration in the U.S.
“Everything’s going up except our paychecks.”
This is a risky choice for an opening, one that could exhaust viewers before the story begins. Judging from online comments and discussions, specifically Reddit, it did for some. Fortunately, the film quickly shifts gears into a taut, 24-hour thriller.
The story follows Lynette, played by Vanessa Kirby, who lives in a crumbling home with her brother Kenny (Zack Gottsagen) and their erratic mother Doreen (Jennifer Jason Leigh). The family has just enough saved, $25,000, to keep the house until Doreen spends it all on a new car. Furious and desperate, Lynette scrambles for help, turning to her co-worker Cody (Stephan James), her friend Gloria (Julia Fox), and a wealthy hookup, Scott (Randall Park, best known from Marvel’s Ant-Man franchise). When every door slams shut, Lynette is pushed into a spiral of reckless and increasingly criminal acts. This is where the film really kicks in.
Film director Benjamin Caron stages the film with deliberate pacing and gritty, atmospheric cinematography. It recalls Dan Gilroy’s Nightcrawler (2014) night scenes, while carrying the relentless tension of Collateral (2004); constant obstacles, no relief, and a city so hostile it feels like Gotham without Batman.
“I think Americans are trained from birth to hate poor people. Even poor people hate poor people; that’s the DNA of this country.”
With a touching ending, the film doesn’t dwell on character backstories, except for the brief, fragmented flashes at the start. I believe this is a creative choice, one that avoids the obvious. Such scripts may not explore much at the early stages, but as the story unfolds, it gradually fills in the gaps, revealing what you need while leaving space for imagination, the essence of storytelling beyond mere entertainment.
With predatory figures and a dark past woven into the story, including Eli Roth as a menacing power player, the cast elevates the material. Kirby gives a commanding performance as Lynette, channelling her rage and desperation with raw intensity. Gottsagen brings warmth to Kenny, and supporting players like Jennifer Jason Leigh and Michael Kelly make sharp impressions in limited screen time.
Night Always Comes (2025) isn’t flawless, but by Netflix’s recent track record, it’s a strong offering. Some performances feel stiff, yet Caron’s direction and Vanessa Kirby’s commanding performance keep the film grounded. By the end, you may even find yourself wishing for a sequel.
“Loose lips sink ships.”
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The film contains strong language, tense criminal situations, and adult themes, including sexual references and predatory behaviour. It’s best suited for adults.
