Rogue Trooper Review (2026 BFI London Film Festival)
Video games are becoming more and more realistic on what feels like a daily basis. Innovation is pushed to the limit, with technological advancement often viewed more favourably than originality or style. With Rogue Trooper, the latest film from Duncan Jones, he seems to be blending video games and cinema together. Rogue Trooper is completely animated in Unreal Engine, one of, if not the most widely used gaming engines of all time, having powered titles such as Fortnite and Black Myth: Wukong. Jones utilises this technology to bring the beloved 2000 AD comic to life, with varying degrees of success.
The film opens with an impressive credits sequence that utilises images from the comic. We follow genetically modified infantry soldier 19 (Aneurin Barnard), the sole survivor of a failed invasion. He is sent to the surface of Nu Earth to secure a drop site for an impending attack. However, upon landing, he and his squad are swarmed by enemy tanks. Slowly deducing that the operation was a set-up, 19 must find a way to communicate to Southern HQ that the landing zone is not secure.
What is striking right from the get-go is that, despite being animated in a game engine, the film feels tailor-made for interactivity. Whether it’s managing your inventory with Bagman or customising your weapon loadout with Gunnar, it often feels as though I should be playing this story rather than watching it. This becomes a recurring issue throughout the film, with set pieces unfolding in ways that left me wishing I had a controller in my hands.
Read more of our LFF 2026 coverage →
That’s not to say it would make a good video game, as many of the action scenes feel weightless. When the characters run, take hits, or throw punches, they seem to have all the impact of a feather. This lack of weight creates a disconnect with the world. Given that many of the film’s key narrative moments are driven by action, these sequences often feel hollow rather than impactful. That’s not to say there aren’t moments that land. The relationship between 19 and the rest of the crew feels authentic, and we understand that, despite being little more than cannon fodder, they genuinely care for one another and desperately want to survive the conflict.
The voice cast is stacked, something that becomes apparent from the opening credits. From Barnard and Hayley Atwell to the likes of Matt Berry and Diane Morgan, the film is packed with recognisable names. At times, however, it feels more like a collection of star talent than a carefully assembled ensemble. While some of the cast excel, particularly Barnard as the titular 19/Rogue Trooper, others are less convincing. Berry, for instance, largely plays himself, delivering the same vocal performance audiences have come to expect from him. The true standout, however, is Bear McCreary’s score, which consistently elevates the film and gives it a sense of cinematic grandeur that the visuals occasionally struggle to match.
Jones has not delivered a film that is going to set the world on fire. Rogue Trooper is an entertaining enough film that should keep audiences engaged throughout its runtime. However, it does leave you wondering whether Jones would be better suited to fully committing to narrative-driven video games rather than creating this unusual hybrid of cinema and gaming.
★★★
Playing at the 2026 BFI London Film Festival on October 9th, 12th and 16th / Aneurin Barnard, Jack Lowden, Hayley Atwell, Matt Berry, Asa Butterfield / Dir: Duncan Jones / Liberty Films Rebellion
Discover more from
Subscribe to get the latest posts sent to your email.
About the Author
You must be logged in to post a comment.