Henry Cavill and Kevin Hart to Star in McG-Directed Spy Comedy for Netflix [Updated]

UPDATE: The headline says it all: what is Henry Cavill actually doing here? Was he won over by the recent Kevin Hart roast? Was the money simply too good to pass up? The man went from a potential next Bond to this? He has just joined Kevin Hart’s next film at Netflix, which, of course, is heading straight to streaming.

Cavill’s post-DCU roles have hardly been worthy of his talents or screen presence: “Black Adam,” “Argylle,” “The Ministry of Ungentlemanly Warfare,” and “In the Grey.” He has Chad Stahelski’s “Highlander” in post-production, which could be ready for a 2027 release. He has also already completed work on Amazon/MGM’s “Voltron,” which wrapped production in May 2025 and is reportedly targeting a 2027 release, straight to streaming.

EARLIER: Remember McG? That guy with the single-letter last name who somehow convinced Hollywood he was the next big thing by directing “Charlie’s Angels” like a two-hour music video on Red Bull. Well, he’s back—and this time he’s directing Kevin Hart.

For now, the film remains untitled, but is described as a “high-concept action comedy.” The plan is start production later this year.

The synopsis follows two rival spies who unexpectedly end up in the same Lamaze class after their wives quickly bond. As their double lives collide in increasingly chaotic and dangerous ways, the two men are forced into an uneasy alliance—becoming reluctant confidants and unlikely partners as they stumble toward fatherhood.

Netflix will distribute the project—straight to streaming, naturally. Behind it are heavyweight producers Shawn Levy’s 21 Laps and Ryan Reynolds’ Maximum Effort.

Adam and Aaron Nee—best known for writing the Sandra Bullock and Channing Tatum romantic action-comedy The Lost City—are co-writing the script alongside Jonathan Tropper.

With McG at the helm, expect fast cuts, slow-motion explosions, and enough lens flare to make J.J. Abrams blush. Nuance—or anything resembling subtlety—is presumably being left at the door.

It’s also a bit surprising McG has landed a project of this scale again. He nearly derailed the Terminator Salvation franchise with its fourth installment, and later drifted into Netflix-era obscurity with titles like The Babysitter. Still, in the age of IP recycling and nostalgia bets, McG endures as a kind of chaotic relic—proof that if you make things loud and fast enough, someone, somewhere, will still press play.