Taking a break from the horror genre she has so effortlessly cornered over the majority of her exciting career thus far, Samara Weaving exudes her expected charm and badassness as the titular Eenie Meanie in writer/director Shawn Simmons‘ ode to the 70s action movie, an irreverent, fast-paced actioner that blends its comedic thrills with a true sense of emotional weight.
Simmons, who makes his debut as a filmmaker here, looked to both the revenge thrillers he would watch with his dad growing up and the tear jerkers favoured by his mother as inspiration, blending both sensibilities for Eenie Meanie, which continually grounds its exciting, practical action effects with a sense of heartbreak.
And much of that heartbreak stems from Eenie Meanie herself, or, more formally, Edith Meaney (Weaving), who, as a teen, would drive her drug-addicted mother and con-man father (Steve Zahn) on their variety of jobs when they would prove too under the influence to function. Escaping the foster home system that abused her growing up, Edith is the epitome of a savvy survivor, and it’s that tenacity and expertise behind the wheel that has kept her alive.
It’s the latter ability that also brings her back into the crime fold, a lifestyle she’s been trying hard to get away from, but her “living shit show” beau, John (Karl Glusman), is someone she just can’t quit, and when he gets himself mixed up with the wrong crowd, she has to bail him out by agreeing to be a driver for a planned heist under the guidance of Nico (Andy Garcia), a ruthless crime boss who holds absolute distain for John, but a certain fatherly affection for Edith, who has never disappointed him where it matters most – behind the wheel of a car.
Despite Nico’s seal of approval of Edith’s involvement in this latest job – a $3m heist out of a Toledo casino – she still has to contend with the cocksure Perm (Marshawn Lynch), Nico’s current getaway driver, and The Chaperone (Jermaine Fowler), Nico’s most trusted employee who has masterminded the heist itself, who both have to flex their perceived dominance. Edith is relatively unphased, knowing they aren’t nearly as threatening as they believe they are, with her only concern being that of John, who’s much more harmless than his appearance suggests.
Given how much Simmons clearly enjoys the revenge thrillers and gritty actioners of the 1970s, as well as earning involvement from producers Rhett Reese & Paul Wernick (who have collaborated on such titles as Zombieland and the Deadpool trilogy) and Marty Ewing (The Accountant, It), it makes sense that, collectively, Eenie Meanie thrives as the action spectacle it is. It’s a film that delights in physical stunt work, with the driving sequences particularly standing out for their grounded temperament. There’s a real sense of danger to proceedings, which further assists the film’s emotional stakes, as we believe with every wheel turn and gear shift that tragedy could violently strike at any given moment.
Whilst it’s a shame that something like Eenie Meanie isn’t earning the type of big screen engagement it so clearly would have had pre-pandemic, the streaming destiny for this slick, enjoyable effort at least avoids the sickly sweet sheen that so often laces such titles (Netflix being the biggest culprit), with the 20th Century Studios backing allowing this Hulu/Disney+ header to showcase itself as an actual studio production; this thing is begging to be enjoyed by a crowd, so at least give the film its due by watching it with some like-minded friends.
Honouring the genres it takes inspiration from, whilst managing its own individual stamp of personality (thanks in large to the absolute superstar that is Miss Samara Weaving), Eenie Meanie is a wild ride – one that navigates itself to the finish line with savvy and sentiment.
THREE AND A HALF STARS (OUT OF FIVE)
Eenie Meanie is streaming on Hulu in the United States and Disney+ in Australia from August 22nd, 2025.
