G20. Viola Davis versus the World? [REVIEW]

For Viola Davis—Hollywood icon and recipient of practically every acting award imaginable, who has so far steered clear of popcorn blockbusters—G20 was supposed to be her first full-fledged action-superhero movie, where the fate of the entire world depends solely on a woman. Specifically, the first Black female President of the United States. It’s hard not to interpret the premise of Amazon’s new production as a nod of support for what we now know was Kamala Harris’s failed presidential campaign. Still, G20 plunges us into this alternative, idealistic world where global leaders live in harmony, American society is free of visible divides, and the greatest (and really the only) threat is the rapid development of artificial intelligence. Amidst the constant real-world news of armed conflicts, a lightweight action flick that lets us forget our problems for 90 minutes doesn’t sound like the worst idea. Unfortunately, what undermines the experience is a particularly parodic script, a shallow plot that quickly drains the viewer, and—ironically—Viola Davis herself. Though she saves the world, her character fails to evoke even a shred of audience sympathy.

While the idea of a woman occupying the highest office in the U.S. is no longer unfamiliar to the film industry (think Meryl Streep in Don’t Look Up, Robin Wright in the final season of House of Cards, or Elizabeth Marvel in Homeland), Davis’s portrayal of Danielle Sutton embodies what we might expect of an American leader in a perfect world. A war veteran unafraid of life-or-death combat, she fares far worse in her private life as a wife and mother. After a grueling campaign for the presidency, her entire family—husband Derek (Anthony Anderson), daughter Serena (Marsai Martin), and son Demetrius (Christopher Farrar)—is exhausted by constant travel and the lack of closeness. President Sutton must now prove to her loved ones and political adversaries alike that she truly deserves the title of global leader.

Her first real test comes with a trip to South Africa for the titular G20 summit, which could become either a spectacular diplomatic triumph or a disastrous failure. True to Murphy’s Law, a group of terrorists suddenly cuts the leaders off from the outside world, storms the summit hotel within minutes, takes control of global security systems, and releases AI-manipulated media broadcasts designed to discredit individual leaders in the eyes of the public.

Sound a bit far-fetched? Unfortunately, the entire film is built on such implausibilities, as detached from reality as possible. While the concept of AI as a primary antagonist—manipulating media narratives and sparking a stock market revolution—has real potential for a gripping psychological sci-fi thriller, in G20 it comes off as downright absurd. Instead of a timely commentary on technological advancement, it becomes a flimsy backdrop for revenge and mindless shootouts.

In films like The Ballad of Songbirds and Snakes or The Woman King, no one would question the gravitas or charisma of Davis’s powerful characters. But in G20, her role degenerates into a parody—a mash-up of Liam Neeson and Bruce Willis-style protagonists. Unlike those iconic ’80s and ’90s action heroes, though, Patricia Riggen’s direction gives Davis little space to shine. For much of the film, she’s reduced to a confused, passive victim awaiting rescue. Her survival instinct kicks in surprisingly late—too late for viewers to care about the rest of her journey.

G20 offers no shocking plot twists, clever intrigue, or even minor deviations from painfully predictable, low-budget action flick tropes (despite its sizable Prime Video budget). Once the summit leaders are taken hostage by terrorists led by the enigmatic and borderline psychopathic Rutledge (Antony Starr), and Sutton escapes with the British (Douglas Hodge) and Italian (Sabrina Impacciatore) leaders, the plot falls into a rut of complete predictability, staying there until a pompous yet grotesque finale.

The first female U.S. president, despite the lofty premise, ends up as one of the most unlikeable characters in Davis’s career—an ironic contrast to the film’s clearly feminist intent. Even though she’s the central figure throughout, we leave the movie without really knowing who Danielle Sutton is, what values drive her, or whose survival she’s truly fighting for.

Instead, the spotlight is stolen by Antony Starr’s villain, whose mysterious motives, devilish grin, and intriguing psychological depth make him, ironically, the character we root for most. His final, rushed, box-checking defeat feels almost disappointing.

The characters are so over-the-top and detached from reality that following their arcs becomes an act of viewer masochism—save for a few exceptions, like the fantastic White Lotus star Sabrina Impacciatore. Even Davis—who, to be fair, is genuinely impressive in fight scenes—can’t compensate for the cringe-worthy dialogue, inconsistent script, and lack of any meaningful deviation from formula.

G20 disappoints on nearly every front, which is all the more surprising given it took Patricia Riggen seven years to bring the project to life.

A bloated, formulaic blend of action-movie tropes is not a recipe for success here. In fact, the film’s comedic attempts to mimic classic tough-guy action flicks backfire completely, almost making a mockery of Davis’s character. G20, despite a commendable attempt at flipping the patriarchal narrative on its head, fails in its mission and will likely land on the dishonorable list of 2025 releases we’d rather forget.

Still, for a casual movie night with friends—something to laugh at or marvel at as a middle-aged woman beats up dangerous criminals—it might just do the trick.