The RIP is… fine. It’s an action film with Ben Affleck and Matt Damon, let’s say that, so a fairly enjoyable time, to say the least. It’s not Narc, and sometimes I wish Joe Carnahan didn’t direct Narc because I know what he is capable of. I know what he’s able to achieve with the look, the feel, the raw, intense grittiness that Narc has. The RIP has the Netflix look, too. A $100 million film, and it looks like that? Sure. I guess I shouldn’t be surprised, but I rarely watch trailers for Netflix films because I’m probably going to watch the film anyway. It’s on Netflix. It’s so easily accessible, so why bother watching the trailers? I don’t need convincing to leave my house. I don’t hate Carnahan’s The RIP; however, it falls short of being anything except a movie you’ll forget after the weekend.

The RIP is a very decent time, especially if you’re in the mood for exactly what you think this film is. It is exactly that. The dynamic duo of Ben Affleck and Matt Damon is fun as hell, and they are on their game here. Steven Yeun is a very present character in the story as well and makes the film better alongside Affleck and Damon simply because he’s Steven Yeun. Arguably underutilized are both Teyana Taylor and Catalina Sandino Moreno, who are kind of present in the film at all times but barely do anything of note.

The biggest strength of The RIP rides throughout the entire film is its ability to manage and deliver stacked tension as the situation unfolds. I wouldn’t call the overall story—which swings in all types of different mystery-filled directions—too clever, but it accomplishes enough to give the audience what they want. It is nice to see Carnahan go back to the serious tone he is so good at, and that is The RIP’s biggest strength from beginning to end. The unnerving force between each of these characters, as trust is put into question and presented methodically to the audience, is the central focus. It almost sticks the landing and is nearly satisfying by the end, but ultimately feels overly cliché and expected.

Maybe I’m being overly harsh here, but does this film not feel “cheap” looking? The typical Carnahan I’m used to looks big and cinematic, and The RIP just looks like it was shot on an iPhone with an expensive lens. Sure, you can do that as a filmmaker, but I am always reminded that this film has a budget of $100 million. Do you understand how many films have half this budget and look great? It’s the Netflix effect, which I understand, but damn do I wish I could get more from it. The presentation of the action leaves a lot to be desired as well. GOD, THIS GUY DIRECTED NARC! The action sequences are nothing special. They don’t feel authentic or quite grounded like you might expect. They are very in line with what Gareth Evans pulls off with some of his lesser films, such as his latest Netflix film, Havoc—reliant on camera work to sell the intensity and shootouts that feel lightweight, with all of the main characters staying safe.

As much as I don’t particularly find The RIP too great, I do think it is still able to stand on its own two legs and hold its own overall. The film is enough to keep me entertained and satisfied with what it provides, and of course, it’s bolstered thanks to Affleck and Damon, because even through their worst films, they make them better. Somewhere out there, there is a far more impressive presentation of The RIP that fires on all cylinders, but this version is not the one to do that.