---
title: "The Boys"
year: 2019
kind: "series"
canonical: "https://film.one/tv/the-boys"
fi1m_score: 72
critics_score: 70
critics_reviews: 14
published: "2026-09-17T18:44:24.243212+00:00"
updated: "2026-09-17T18:44:35.985242+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Boys (2019)

Created by Eric Kripke · MPA TV-MA · Sci-Fi & Fantasy, Action & Adventure

**Fi1m score: 72** · Critics 70 from 14 reviews

*In a sentence:* A superhero show in which the most frightening special effect is Antony Starr’s smile

> Eric Kripke’s adaptation of Garth Ennis’s comic puts superheroes on a corporate payroll and lets them behave accordingly. Antony Starr’s Homelander is a great television monster; the show around him is cruder than it is clever, and it runs long.

## Synopsis

New York, the present day. Hugh ‘Hughie’ Campbell (Jack Quaid) works in an electronics shop and is standing beside his girlfriend when A-Train (Jessie T. Usher), the fastest man alive, runs straight through her and stops just long enough to apologise. A-Train belongs to the Seven, the superhero team owned and marketed by the Vought corporation and led by Homelander (Antony Starr). Billy Butcher (Karl Urban), who has his own reasons to hate the Seven, turns up at the shop and offers Hughie a way to get even. Across town, Annie January (Erin Moriarty) joins the Seven as Starlight and learns on her first day, from The Deep (Chace Crawford), what the job costs.

## Review

Eric Kripke’s series, adapted from the Garth Ennis comic, starts from a plain question: what would superheroes be like if a company owned them? The answer is Vought, which sells capes the way other firms sell soft drinks, and the Seven, its flagship team, who film adverts in the morning and do as they please in the afternoon. *The Boys* is about the handful of ordinary people who decide to do something about that. It is good, often better than good, and it has one joke it keeps telling for five seasons of eight episodes.

The way in is Hughie Campbell, played by Jack Quaid as a man who apologises to furniture. In the first episode he loses his girlfriend to A-Train (Jessie T. Usher), a speedster who runs through her on a New York pavement and pauses long enough to say sorry. Karl Urban’s Billy Butcher turns up at the electronics shop where Hughie works, talks in an East End growl and offers him a chance to get even. Urban plays Butcher as a man who enjoys the fight far more than he should, and he gets most of the good lines and knows it.

The series belongs to Antony Starr. His Homelander leads the Seven, a Superman with a flag for a cape, and Starr plays him as a man who has never once been told no and has stopped waiting to be. The trick is the smile. It arrives on cue for cameras and children, holds a beat too long, and goes out like a light the moment the crowd looks away. Michael Ground’s costume does the rest: the cape is a stitched flag and the suit is padded until he looks carved rather than dressed. We were frightened by him, properly frightened, in a first-season scene where he does nothing but stand in a room and let someone work out what he could do if he chose. We had not expected that from a man in tights.

The corporate side is where the writing is sharpest. Elisabeth Shue’s Madelyn Stillwell runs the heroes as a brand manager, breastfeeding in one scene and arranging a cover-up in the next, and Shue never once lets us see her sweat. Colby Minifie’s Ashley Barrett is the publicist who cleans up after everyone and appears to age by the hour. Erin Moriarty’s Annie January arrives as Starlight, the new recruit who believes in all of it, and the first episode shows her exactly what the job costs when Chace Crawford’s Deep gets her alone. Moriarty plays the disillusionment slowly, over seasons, and it holds.

It looks expensive in the right places. Six cinematographers are credited, Dan Stoloff and Dylan MacLeod among them, and the look stays consistent across them: Vought’s tower is glass and white and lit like a phone launch, while Butcher’s team hides in a basement under a single bare bulb. Christopher Lennertz’s score plays patriotic brass straight and lets it curdle by the end of the phrase. The violence is the show’s signature, and it is filmed as slapstick: a body comes apart in a puff of red, and the camera stays on the people standing in what is left.

The Boys themselves are the weaker half. Tomer Capone’s Frenchie and Laz Alonso’s Mother’s Milk are handed backstories that arrive in chunks and stall the plot each time. Karen Fukuhara’s Kimiko does not speak for most of the first season, and the show mostly needs her for the fights. The satire is loud. Vought is the villain; the script says so, the characters say so, and by the fourth season we were tired, and then annoyed at being tired of a show that had once surprised us. There are only so many times a hero can do something appalling in slow motion before the shock becomes a schedule.

Set against the [*Watchmen*](https://film.one/tv/watchmen-2019) comic, and the 2019 series made from it, this is cruder, funnier and less interested in ideas. Start with the first season, which is the tightest, and see whether the smile does to you what it did to us. It carries an 18 and earns every point of it.

*Fi1m score 72, published 17 September 2026.*

### Reviews we read (14)

- **Radio Times**, Huw Fullerton (90/100, inferred): The critic praises the series as a bracing, viciously fun antidote to conventional superhero stories, highlighting its dark humor, gore, and corporate satire while noting it retains the comic's shocking elements. They single out the world-building and tonal shifts for praise. [Read](https://www.radiotimes.com/tv/sci-fi/the-boys-review-viciously-fun-superhero-satire/)
- **The Telegraph**, Ed Power (4/5): The series depicts superheroes as mad, bad and sexually depraved in a free-wheeling, irreverent adaptation of the Garth Ennis comic. It provides astute commentary on pop culture's obsession with caped crusaders while delivering uproarious, over-the-top violence. [Read](https://www.telegraph.co.uk/tv/2019/07/26/boys-review-superheroes-mad-bad-downright-depraved/)
- **Vulture** (80/100, inferred): The series rises above the usual dark-and-gritty superhero tropes by centering corporate capitalism and brand management as the true villains. Strong performances, especially Elisabeth Shue as the calculating executive, give it thoughtful edge amid the ultraviolence. [Read](https://www.vulture.com/2019/07/the-boys-amazon-review.html)
- **The AV Club**, Jesse Hassenger (B): The show offers some fresh elements like character depth and a charming romance subplot but struggles to consistently land as sharp satire of the superhero genre or corporate culture. It is more engaging as drama than as pointed critique. [Read](https://www.avclub.com/amazons-the-boys-illustrates-the-limitations-of-satiriz-1836960144)
- **IndieWire**, Liz Shannon Miller (70/100, inferred): The series skewers superhero culture by examining how pop culture's obsession with the superpowered exploits both the heroes and their fans. It presents a grim, corporate-driven take on the genre with strong thematic bite. [Read](https://www.indiewire.com/features/general/the-boys-review-amazon-superheroes-tribeca-1202129468/)
- **The Guardian** (70/100, inferred): The black comedy offers a gleeful, violent corrective to superhero worship and Marvel overkill. It follows an anti-superhero unit battling commercialised, flawed 'super-abled' figures in an asymmetrical war relying on cunning and luck. [Read](https://www.theguardian.com/tv-and-radio/2019/jul/26/the-boys-review-sick-of-superheroes-heres-the-remedy)
- **The Hollywood Reporter**, Daniel Fienberg (50/100, inferred): The pilot is well-made, flashy, and smartly meta with strong casting and effects, but leaves a sour taste due to its cynicism and misanthropy. The critic singles out the polished direction and world-building for praise while noting the intentional sour tone. [Read](https://www.hollywoodreporter.com/tv/tv-reviews/boys-review-1205773/)
- **Variety**, Daniel D'Addario (30/100, inferred): The pilot shows promise in its world-building around monetized superheroes but frustrates with overly explicit cynicism and a tendency to oversell corruption. The critic singles out the slow-motion gore and lack of moral complexity for complaint. [Read](https://variety.com/2019/tv/reviews/amazon-the-boys-1203199336/)
- **Collider**, Vinnie Mancuso (★★★★★): The critic hails the series as one of the most timely TV shows in years and a potential modern superhero deconstruction akin to Watchmen. They single out the sharp world-building, dark relatability, and standout performances, especially Antony Starr as Homelander. [Read](https://collider.com/the-boys-review-amazon/)
- **NME**, James McMahon (85/100, inferred): The critic calls the series brilliant TV and a damning indictment of how power corrupts. They single out the sizzling script by Eric Kripke and the strong cast performances, especially Jack Quaid and Erin Moriarty. [Read](https://www.nme.com/reviews/2535252-2535252)
- **Den of Geek**, Tai Gooden (4/5): The adaptation faithfully captures the comic’s gory, profane energy and social commentary while making key characters more relatable. It delivers clever moments and an engaging plot that outweighs occasional pacing issues. [Read](https://www.denofgeek.com/tv/the-boys-review-spoiler-free/)
- **The Ringer**, Alison Herman (80/100, inferred): The Boys is a timely and cathartic piece of counterprogramming to the dominance of corporate superhero IP. It stands out for its sharp meta-satire of Vought as a stand-in for Disney and the commodification of heroes. [Read](https://www.theringer.com/2019/09/06/tv/the-boys-amazon-superheroes-disney-plus-marvel)
- **Consequence**, Clint Worthington (60/100, inferred): The critic sees potential in the nuanced look at corporate-owned superheroes but finds the series uneven overall. They praise the bleak, cynical universe and strong cast work on the Seven side while complaining that the Boys' crude humor drags it down. [Read](https://consequence.net/2019/07/tv-review-amazon-the-boys/)
- **/Film**, Chris Evangelista (***): The critic finds the show nihilistic, cruel, and void of hope or heart, making it a conflicting but ultimately miserable experience. They praise the performances of Karl Urban, Antony Starr, and Karen Fukuhara while criticizing the unrelentingly mean-spirited tone and pacing. [Read](https://www.slashfilm.com/567824/the-boys-review/)

## Details

- **Created by:** Eric Kripke
- **Creator:** Eric Kripke
- **Director:** Philip Sgriccia, Karen Gaviola, Sarah Boyd, Fred Toye, Stefan Schwartz, Julian Holmes, Eric Kripke, Catriona McKenzie, Nelson Cragg, Shana Stein, Sylvain White, Dan Attias, Jennifer Phang, Steve Boyum, Alex Graves, Batan Silva, Dan Trachtenberg, Matt Shakman, Liz Friedlander
- **Writer:** David Reed, Ellie Monahan, Craig Rosenberg, Anslem Richardson, Rebecca Sonnenshine, Jessica Chou, Paul Grellong, Eric Kripke, Geoff Aull, Judalina Neira, Anne Cofell Saunders, Logan Ritchey, George Mastras, Michael Saltzman, Meredith Glynn
- **Cinematography:** Dylan MacLeod, Jonathon Cliff, Dan Stoloff, Mirosław Baszak, Evans Brown, Jeremy Benning
- **Editor:** Dave Kaldor, Ian Kezsbom, Nona Khodai, Tom Wilson, John Fitzpatrick, Cedric Nairn-Smith, Scott Stolzar, William W. Rubenstein
- **Music:** Christopher Lennertz, Matt Bowen
- **Production design:** Jeff Mossa, Arvinder Greywal, Mark Steel, Dave Blass
- **Costume design:** Michael Ground
- **Producer:** Karl Urban, Stefan Steen, Hartley Gorenstein
- **Cast:** Karl Urban as Billy Butcher; Jack Quaid as Hugh 'Hughie' Campbell; Antony Starr as Homelander; Erin Moriarty as Annie January / Starlight; Jessie T. Usher as Reggie Franklin / A-Train; Laz Alonso as Marvin T. 'Mother's Milk' Milk / M.M.; Chace Crawford as Kevin Moskowitz / The Deep; Tomer Capone as Serge / Frenchie
- **Certificate (MPA):** TV-MA
- **Release (the US):** 25 July 2019
- **Genres:** Sci-Fi & Fantasy, Action & Adventure
- **Trailer:** https://www.youtube.com/watch?v=tcrNsIaQkb4

## Where to watch in the US

- Amazon Prime Video: streaming, uhd
- Amazon Prime Video: free, uhd
- Apple TV: buy, hd

*Checked 2026-09-17.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, TH, TR, UA, US, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Actor Awards 2023: Actor Awards (nominated)
- Critics' Choice Awards 2023: Best Actor (nominated)
- Golden Trailer Awards 2023: Golden Trailer Awards (nominated)
- Satellite Awards 2023: Satellite Awards (won)
- Visual Effects Society Awards 2023: Visual Effects Society Awards (nominated)
- People's Choice Awards 2022: People's Choice Awards (nominated)
- 73rd Primetime Creative Arts Emmy Awards 2021: 73rd Primetime Creative Arts Emmy Awards (nominated)
- Astra TV Awards 2021: Astra TV Awards (nominated)
- British Fantasy Awards 2021: British Fantasy Awards (won)
- Golden Reel Awards 2021: Golden Reel Awards (nominated)
- MTV Movie Award for Best Fight 2021: MTV Movie Award for Best Fight (nominated)
- MTV Movie Award for Best Hero 2021: MTV Movie Award for Best Hero (nominated)
- MTV Movie Award for Best Villain 2021: MTV Movie Award for Best Villain (nominated)
- Primetime Emmy Awards 2021: Outstanding Drama Series (nominated); Outstanding Writing for a Drama Series (nominated)
- Saturn Awards 2021: Saturn Awards (won)
- Writers Guild of America Award 2021: Writers Guild of America Award (nominated)

## If you liked this

- *Watchmen* (2019): The other superhero deconstruction of that year, and the one that thinks harder.
- *Misfits* (2009): Young offenders on a Thamesmead estate get powers and do nothing noble with them.
- *Super* (2010): Rainn Wilson hits people with a wrench for justice; the joke turns sour on purpose.
- *Chronicle* (2012): Three teenagers, one camcorder, and a slow lesson in what power does to the lonely.
- *Invincible* (2021): Animated, from the same corner of the genre, and its father-son turn cuts deeper.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/tv/the-boys