Heads of State

In the growing wave of action comedies designed for the streaming era, Heads of State stands out as a curious creature: bombastic, erratic, but undeniably entertaining when it chooses to embrace its zany side rather than pose as serious political satire. Directed by Ilya Naishuller, a filmmaker who made his name in the genre with the visceral punch of Hardcore Henry and the deeply cathartic violence of Nobody, this film marks an intriguing detour into buddy comedy territory. Here, chaos isn't just found in the choreography or car chases; it's written into the very DNA of the characters, the concept, and even the broader commentary that lingers in the background, intentionally or not. At the heart of this sprawling and sometimes overloaded adventure are two magnetic performances that serve as both anchor and driving force: John Cena as US President Will Derringer and Idris Elba as British Prime Minister Sam Clarke. Their chemistry doesn't just carry the film, it defines it, giving it a rhythm and a sense of absurd joy that's rare in today's sea of loud action movies made directly for streaming.

John Cena, whose presence in recent years has shifted from the wrestling ring to comedic action films, slips perfectly into the role of Will Derringer, a former action star who finds himself, somehow, at the head of the free world. He's a man whose campaign slogan was “We did it at the box office, now we'll do it in the Oval Office,” and whose understanding of international diplomacy is about as deep as a movie poster. And yet, John Cena doesn't reduce the character to a hollow satire. There's affection here, even warmth. Will Derringer is certainly a walking caricature, but John Cena imbues him with a sincere, almost childlike desire to do good, even if he is woefully ill-prepared for the reality of power. This version of the US president is not clearly inspired by any real-life figure, although one scene towards the end of the film clearly alludes to one of them by giving the villain the slogan “America First.” In a way, the film almost challenges you to project your expectations onto Will Derringer, only to subvert them by giving him the soul of an underdog who is doing his best in a job that requires more than charisma.

This boundless optimism is counterbalanced by Idris Elba in the role of Sam Clarke, an impassive and composed leader who has been prime minister for six years and is clearly weary of the spectacle that modern politics seems to demand. Unlike Will Derringer, who rose to power thanks to pop culture adoration, Sam Clarke is all substance. He is a military man, an academic, a seasoned statesman who looks at camera flashes with disdain. Idris Elba brings both gravitas and a surprising sense of comedy to the role, tempering the ridiculousness with his world-weary charm. One of the film's most powerful exchanges sees Clarke reprimanding Will Derringer in the middle of a press conference: “You're the commander-in-chief, not a DJ in Las Vegas.” This line only works because Idris Elba delivers it with the conviction of someone who has had to deal with more than one diplomatic problem. The central tension between these two characters—celebrity versus experience, optimism versus cynicism—isn't exactly new, but Ilya Naishuller exploits it both to get laughs and, at times, to offer a sincere reflection on the performative nature of modern leadership.

The plot itself, if you insist on following it, is pure popcorn chaos. The two leaders are brought together for a NATO summit and advised by their advisors: Sarah Niles, on the American side, who plays the card of frankness and pragmatism, and Richard Coyle, on the British side, who seems to enjoy the vague and shady side of his character. Their plan? A joint flight aboard Air Force One to symbolize the unity of the allies. Naturally, things go awry when assassins disguised as flight attendants hijack the plane. In a sequence that sets the tone for the rest of the film, the action erupts with stabbings, gunfire, and a last-minute parachute escape that leaves Will Derringer hanging from a tree, literally and figuratively out of his element, while Sam Clarke saves him by gritting his teeth. From there, it's a chase across Eastern Europe with the world believing them dead, and the two men are forced to cooperate despite themselves to uncover the plot and, of course, save the day in time to make a spectacular entrance at the NATO meeting.

One of the standout elements is Priyanka Chopra Jonas as Noel Bisset, an elegant and deadly MI6 agent whose entrance is the film's most visually daring moment: a La Tomatina festival in Spain, covered in tomatoes, that quickly turns into carnage. Chopra Jonas disappears for much of the middle of the film but returns to the story with a commanding presence on screen, executing complex fight choreography with credible finesse. Her character is neither a damsel in distress nor a sidekick: she is often the most competent person in the room, and Ilya Naishuller allows her to steal the show with a combination of tactical skills and emotional composure.

 There's also a romantic subplot between Clarke and Bisset, suggested rather than explored, which adds just enough texture without slowing down the pace. The supporting roles are played by a talented cast of actors, most of whom are underused but occasionally get a chance to shine in brief but memorable appearances.
 Paddy Considine plays Viktor Gradov, a caricatured evil arms dealer whose motivations are as vague as his screen time is limited. Jack Quaid gets the film's most absurd comic moment as an overzealous CIA agent who gets carried away by the situation while firing a semi-automatic rifle to the soundtrack of the Beastie Boys. Carla Gugino is particularly understated as the Vice President of the United States, while Steven Root appears as a morally ambiguous hacker who seems to have been imported from a more serious film. The film is full of familiar faces, but most of them are used as glorified cameos, collateral damage in a script that often cares more about moving on to the next scene than deepening the whole.

Stylistically, Ilya Naishuller injects flashes of talent and inventiveness into what could have been a lazy streaming movie. There are creative transitions, drone shots that fly with an almost reckless abandon, and at least one chase involving a limousine driven in reverse that truly deserves a place in the best-of list. At the same time, the film is haunted by its PG-13 rating: it clearly wants to go further, let the blood flow and the profanity fly, but it holds back in a way that slightly undermines the credibility of the action. Some scenes seem to have been shortened from a more intense version, and this restraint sometimes dampens the impact of Ilya Naishuller's trademark energy. Nevertheless, compared to other recent streaming flops like Freelance or Back in Action, this film packs a punch.

Beneath the explosions and punchy dialogue, Heads of State flirts with ideas about modern political leadership: the absurdity of image-based governance, the disconnect between charisma and competence, and the strange way in which history is now written not in speeches but in memes. The dynamic between Will Derringer and Sam Clarke serves as a metaphor for the clash between entertainment and execution. One wants to inspire, the other wants results. One expresses himself through slogans, the other through bullet points. And the film suggests, perhaps not very subtly, that leadership in today's world requires a balance between the two. It's a smarter thesis than you might expect from a film that includes a barn fight with breakdancing militiamen.

Heads of State doesn't pretend to be anything more than it is: a mainstream movie with two stars who understand their mission. But in a landscape cluttered with forgettable streaming content, it at least knows what tone it wants to strike and sticks to it with conviction. John Cena and Idris Elba are always watchable, even when the script gives them clumsy explanations or gags that fall flat. Priyanka Chopra Jonas is a true action headliner, and Ilya Naishuller proves once again that he knows how to direct chaos, even if the emotional resonance gets lost in the smoke of explosions. This isn't a movie that's going to spark debates about world peace, but it's a movie that understands the cathartic value of watching two world leaders jump out of a plane together while arguing over diplomatic etiquette.

Heads of State is a celebration of genre clichés, a nod to the slapstick comedies of the 1990s, and a slightly acerbic critique of the absurdity of 21st-century politics. It's neither profound nor perfect, but it's refreshing and unpretentious. And sometimes, in a world saturated with stories that take themselves too seriously and algorithm-generated mediocrity, a film that simply aims to entertain, with style, stars, and a touch of satire, is more than enough.

Heads of State
Directed by Ilya Naishuller
Written by Josh Appelbaum, André Nemec, Harrison Query
Story by Harrison Query
Produced by Peter Safran, John Rickard
Starring John Cena, Idris Elba, Priyanka Chopra, Jack Quaid, Paddy Considine, Stephen Root, Carla Gugino
Cinematography: Ben Davis
Edited by Tom Harrison-Read
Music by Steven Price
Production companies: Metro-Goldwyn-Mayer, The Safran Company, Big Indie Pictures
Distributed by Amazon MGM Studios (via Prime Video)
Release date: July 2, 2025 (United States, France)
Running time : 115 minutes

Seen on June 27, 2025 (press screener)

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