Is The Villain Worth Watching?
Answer: Maybe not, The Villain is likely a skip if you enjoy Comedy movies.
It features a runtime of 21 minutes and offers a standard storyline that appeals to general audiences.

Verdict:The Villain is a confirmed FLOP based on our analysis of audience ratings and box office momentum.
With a rating of 5.5/10, it has delivered a mixed experience for fans of the Comedy genre.
Answer: Maybe not, The Villain is likely a skip if you enjoy Comedy movies.
It features a runtime of 21 minutes and offers a standard storyline that appeals to general audiences.
Last updated: January 12, 2026
Released in the dynamic cinematic landscape of 1917, The Villain emerges as a significant entry in the Comedy domain. The narrative core of the film focuses on a sophisticated exploration of In The Villain, Billy attempted something a little different. Unlike standard genre fare, The Villain attempts to deconstruct traditional tropes, offering a conventional take on its central themes.
The screenplay, appearing to prioritize narrative momentum and immediate impact, sets a stage where the stakes feel personal yet universal. Under the directorial eye of Arvid E. Gillstrom, every scene is crafted to contribute to the atmospheric weight of the story, ensuring that the Comedy elements serve the larger narrative arc rather than just providing spectacle.
The success of any Comedy is often anchored by its ensemble, and The Villain features a noteworthy lineup led by Billy West. Supported by the likes of Oliver Hardy and Florence McLaughlin, the performances bring a palpable realism to the scripted words.
Performance Analysis: While the cast delivers competent and professional performances, they are occasionally hampered by a script that leans into familiar archetypes. However, the sheer charisma of Billy West, Oliver Hardy, Florence McLaughlin manages to keep the audience invested through the film's more predictable sequences. In the broader context of 1917 cinema, these performances stand as a testament to the evolving standards of acting within the Comedy space.
From a technical perspective, The Villain is a marvel of 21st-century filmmaking. The cinematography, utilizing a moody and atmospheric color palette, significantly enhances the world-building aspects of the production. Each frame seems calculated to guide the viewer's emotional response, whether through wide, sweeping vistas or tight, claustrophobic close-ups that emphasize character isolation.
Technical Excellence: The production design and visual effects provide a solid foundation for the story, ensuring that the world of the film feels lived-in and authentic, even when the narrative logic falters. Furthermore, the sonic landscape—comprising both the score and sound design—adds a layer of subtextual narrative that rewards attentive viewers.
The structure of The Villain follows a sophisticated brisk pace. Over its 21 minute duration, the film manages to balance exposition with action in a way that remains consistently entertaining. The second act, often the most difficult to manage, serves here as a crucible for character growth, leading toward a climax that feels both inevitable and surprising.
Critically, the editing choices by the team help maintain a narrative tension that rarely wavers. The sharp, concise editing ensures that not a single frame is wasted, making the film ideal for a modern audience that values efficiency in storytelling.
Beyond its immediate entertainment value, The Villain resonates with contemporary social and cultural themes prevalent in the Comedy landscape of 2026. It addresses concepts such as the nature of heroism and personal legacy with a level of maturity that is often missing from major releases.
This cultural relevance is likely why it has garnered a 5.5/10 rating on our platform. Films like this bridge the gap between niche interest and global appeal, proving that stories rooted in specific human experiences can find a home with audiences worldwide, from the US and UK to India and beyond.
Analyzing the plot deeper, The Villain is more than just its synopsis. It is an inquiry into the boundaries of human experience. In The Villain, Billy attempted something a little different. He's still imitating Chaplin, but this time he's playing the wicked, top-hatted Charlie found in some of his earliest Keystone appearances (e.g. Mabel at the Wheel), the ones where Charlie himself seemed to be imitating the studio's recently departed Ford Sterling. Throughout this short there is much spoofing of old-time melodramas, a frequent motif of Sterling's comedies.
The philosophical underpinnings of the third act suggest a worldview that is standard for its genre yet executed with high professional polish. This is not just a commercial product; it is a piece of art that invites discussion long after the credits have finished rolling.
In summary, our editorial assessment of The Villain (1917) is overwhelmingly divisive. With an audience rating of 5.5/10 and strong performance metrics in the Comedy categories, it stands as a highly recommended experience for genre enthusiasts.
Whether you choose to experience it for the stellar performances from Billy West, Oliver Hardy, Florence McLaughlin or the visual majesty of its technical execution, The Villain is a significant contribution to the cinema of 1917. It represents the kind of filmmaking that movieMx is proud to champion—original, bold, and ultimately, deeply human.
Analyzing the audience sentiment, IMDb rating of 5.5/10, and global collection metrics, The Villain stands as a challenging project for the creators. It remains an essential piece of the 1917 cinematic year.
The Villain has received mixed reviews with a 5.5/10 rating, making it a moderate success with the audience.
The Villain is a mixed bag. It might be worth watching if you're a fan of Comedy movies, but read reviews first.
The Villain may be available for rent or purchase on digital platforms like Apple TV, Google Play, or Amazon Prime Video. Specific streaming availability can vary by country.
In The Villain, Billy attempted something a little different. He's still imitating Chaplin, but this time he's playing the wicked, top-hatted Charlie found in some of his earliest Keystone appearances (e.g. Mabel at the Wheel), the ones where Charlie himself seemed to be imitating the studio's recently departed Ford Sterling. Throughout this short there is much spoofing of old-time melodramas, a frequent motif of Sterling's comedies.