Film Review: BUNKER (2026): Javier Bardem Excels in a Movie That Feels More Conventional Than It Thinks It Is

Bunker Review

Bunker (2026) Film Review, a movie directed by Florian Zeller, written by Mariano Cohn, Gastón Duprat and Florian Zeller and starring Javier Bardem, Penélope Cruz, Paul Dano, Chloe Conh, Stephen Graham, Patrick Schwarzenegger, Mark Gatiss, Eileen Atkins, Karen Ascoe, Jamie Bisping, Kyle Soller, Hopi Grace, Shelley Williams and Naomi Battrick.

Bunker, directed by Florian Zeller, is the type of heavy dramatic movie that feels like it is actually extremely obvious while watching it. You keep hoping it has an extra trick up its sleeve at the end, but what you see is what you get, unfortunately. While Zeller’s picture is expertly acted by the great Javier Bardem, the movie simply falls apart in its last act as it is apparently obvious what is going to happen in terms of the main character development. That’s not to say that Zeller doesn’t maintain interest with a cast that also includes the terrific Penélope Cruz as Bardem’s character, Miguel’s wife, Sofia. It’s just that the movie thinks it’s more profound than it actually turns out to be.

In the movie, Miguel is an architect in London who is asked to create a safety bunker in Hawaii by a very wealthy man. This film is also about Miguel and his family dynamics, and how Miguel must try to make a decision regarding whether or not to take on the ambitious project. Miguel and Sofia have been married for over a decade and a half, and the plot creates unnecessary tension between them as we learn these two characters’ values, which differ at first, or else there’d be no movie.

Bardem and Cruz are obviously husband and wife in real life. They get the rhythm of a married couple down to a science in Bunker as the parents of a little girl, who steals the spotlight occasionally She’s named Rosa and is well-played by Leah Conh (Chloe Conh plays her sister, Lucía). Leah has a very distinct screen presence. Rosa and Lucía actually factor into the movie a great deal, and the scene where Rosa tries to bargain with her dad, Miguel, who needs her help, is really humorous.

This new film goes back and forth with Stephen Graham’s character, Toby, who is residing across from the home that Miguel resides in. Miguel and Toby argue, and wouldn’t you know that there’s a compelling reason Toby is in the film that will reveal itself late in the proceedings. It’s not just about the hole made by Toby in the building across the way that drives the plot, there’s a twist that comes into the movie later on, and it’s actually not too clever as opposed to what the screenwriters may have thought. A home invasion happens that drives the story to its inevitable conclusion, but it wouldn’t be fair to reveal more at this stage in the film’s release 

Paul Dano plays Andrew, the hotshot who wants Miguel to design the bunker, a project which immensely frustrates Sofia, a literary professional. Dano looks out of place here, and though the actor doesn’t necessarily falter, the role called for a heavy-hitter that had more of a distinct edge to his personality. 

Bardem really owns this performance, and he does a strong turn that you’d certainly expect from a talent of his cablier. His scenes with both Cruz and Conh are among the best in a film that is all spiced up with nowhere really unpredictable to go. This film takes us to the most obvious places it could. This movie also explores the fact that bunkers won’t save everyone, and that if we need bunkers to begin with, what does that say about how the future of society will develop as a whole?

Not surprisingly, Cruz has made three big movies this year, and this is the one least likely to get her an Oscar nomination. However, the movie serves as a calling card for Cruz to campaign for awards for her two better roles in 2026 – The Invite and La bola negra.

Bunker raises intriguing dilemmas, and that will be enough for certain, less demanding viewers. This film is much more mainstream than it thinks it is with a sentimental ending stolen right from the traditional Hollywood conclusion handbook. That’s a shame because the dynamic between Bardem and Cruz makes for some very powerful moments within the picture with these two thespians acting like the mega talents that they are. With more edge and more substance, this film could have been a major contender.

Florian Zeller rarely takes the road not taken with this premise, and when the movie is unique, it gets bogged down in dialogue that is unnecessarily complicated and not always realistic. With Graham doing a decent job in his supporting performance, there is actually more than meets the eye to Bunker, occasionally, but the picture ultimately caves in with what feels like a very conventional way to close a picture that opens up a big debate in terms of the huge arguments the movie makes for and against the need for safety bunkers.

It’s a close call, but Bunker falters too many times throughout its two-hour running time to be recommended viewing. Real-life husband and wife Cruz and Bardem, could probably do these roles in their sleep, and although they’re both excellent here, this movie is likely to get lost in the shuffle, and likely won’t stand out in the couple’s distiguished careers of notable roles.

Rating: 6/10        

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