All 6 Best Kevin Harvey Movies Ranked (Best to Worst)

Paul Andrew Williams crafts a pitiless, blood-soaked exercise in retribution with Bull, stripping the British gangster vehicle down to its barest, meanest bones. Neil Maskell's titular enforcer returns like a wrathful phantom, dismantling the crime syndicate that betrayed him with clinical savagery and terrifying silence. The staging is spartan, the editing merciless, and the dread suffocating. Playing crucial muscle Gary, Harvey delivers a performance grounded in quiet calculation, projecting the brittle anxiety of a mob operative realizing the past has returned to collect its debt. It remains the sharpest, most visceral showcase of Harvey's screen presence, balancing icy composure against sheer survival panic.

Brian Percival approaches the harsh realities of adolescent parenthood in A Boy Called Dad without resorting to cheap melodrama or easy sermonizing. The narrative tracks fourteen-year-old Robbie as he drifts through neglect and suddenly confronts fatherhood, choosing flight alongside his newborn infant. Filled with desolate coastal vistas and raw emotional cadence, the piece relies heavily on the credibility of its regional British ensemble to sell its fragile stakes. Harvey provides textured support as Lyndon, injecting bruised humanity into the periphery and elevating the emotional weight of a fractured family lineage. It remains a tender, essential entry that highlights Harvey's affinity for kitchen-sink honesty.

Directed by Simon Fellows, Until Death is a curious, shadowy relic of late-period Jean-Claude Van Damme, leaning harder into grim addiction drama and sleazy police procedural beats than martial arts bravura. Van Damme plays a corrupt, heroin-addicted detective who survives an assassination attempt and wakes from a coma desperate to balance his moral ledger. The film thrives on its grimy, rain-drenched aesthetic and fatalistic mood. In the role of Jarvis, Harvey operates as an effective cog in the narrative machinery, delivering sharp, friction-laden line readings that ground the pulpy European-shot underworld. It stands as an entertaining, unvarnished genre credit in his middle-period work.

Confined almost entirely to a dreary cul-de-sac, Lawrence Gough's Salvage mines suburban isolation for unrelenting terror when an unmarked shipping container unleashes chaos upon a quiet neighborhood. As unmarked military operatives cordone off the street with zero explanation, domestic paranoia swiftly curdles into bloody survivalism. The film's micro-budget energy works in its favor, capturing sensory disorientation with claustrophobic handheld camerawork. Appearing as a cornered resident amidst the unfolding pandemonium, Harvey helps establish the early psychological fractures that make the ensuing violence sting. While narrative momentum eventually frays, Harvey's frantic, reactive commitment prevents the localized nightmare from descending into routine creature-feature absurdity.

Arriving a decade after its ill-fated predecessor, R.I.P.D. 2: Rise of the Damned reframes the afterlife law-enforcement gimmick as an offbeat Western origins story. Jeffrey Donovan steps into the dusty boots of Sheriff Roy Pulsipher, tangling with undead outlaws and hellish rifts across an irreverent frontier setting. The film trades the gargantuan, messy budget of the original for lean B-movie efficiency, yielding mixed comic and visual results. Harvey embraces the campy, hyper-stylized assignment as Otis Clairborne, playing into the heightened, tongue-in-cheek atmosphere with dry professional wit. It is undeniably lightweight entertainment, yet Harvey navigates the green-screen supernatural chaos with charismatic ease.

The eighth entry in an exhausted franchise, Children of the Corn: Runaway abandons inventive rural mythology in favor of generic direct-to-video slasher mechanics. Following an expectant mother fleeing the murderous Midwestern cult, John Gulager's sequel struggles with lethargic pacing, repetitive psychological hallucinations, and cheap digital bloodletting. Even the most dedicated horror completists will find little thematic substance beneath the cornstalks. Appearing as the Doctor, Harvey does his best to lend momentary professional poise to an otherwise utilitarian scene. His brief screen time offers fleeting legitimacy to a low-effort production that languishes near the very bottom of Harvey's career filmography.