Infinite (2021)

Infinite has the kind of high-concept hook Hollywood rarely commits to anymore: an action thriller built on the dizzying idea that your skills, fears, and flashes of memory might be echoes from lives you’ve already lived. Antoine Fuqua stages that premise with glossy, globe-trotting momentum—sleek visuals, punchy set pieces, and a sci-fi mythology that’s easy to sink into even when it gets delightfully pulpy. Mark Wahlberg sells the scramble of a man trying to outrun his own mind, while Chiwetel Ejiofor brings sharp, relentless intensity that gives the spectacle real bite. If you’re craving thoughtful, talky science fiction, this may feel more like a big, silly summer ride than a meditation—but if you want inventive world-building wrapped around propulsive action, it’s an easy ticket to punch.

Infinite is clearly trying to mash big reincarnation sci-fi ideas with slick, globe-trotting action, and on paper that’s a fun hook. The problem is it plays like a collage of better movies, with rules that get muddy fast and characters who feel more like plot delivery systems than people you’ll actually care about. Wahlberg’s grounded presence helps and a couple of set pieces have real energy, but the screenplay keeps sprinting past emotion and logic in favor of noisy momentum. If you’re happy to switch your brain off for PG-13 shootouts and high-concept jargon, you might get a decent time; if you want coherent world-building, memorable characters, or anything resembling depth, this will likely frustrate you.