It was clear from the start that something was wrong in this sunny suburban paradise. There are enough words to the contrary that you can assume that the people living in the 50s town of the Victory Project are clearly not from the 50s. The buildings regularly shake and tremble while the wives laugh at “the boys are playing with their toys.” Pine’s serene sinister Frank leads all couples (since this town is mostly inhabited by married couples) in frequent chants of how they are “changing the world”. But when it comes to spreading ominous touches of the weird from the start, “Don’t Worry Darling” comes out too soon. It helps Alice gradually realize that her world is wrong – a wrong step when you have a talent like Pugh! – and it leaves audiences waiting for the inevitable reveal.
For its part, the construction of that revelation is fascinating. Wilde litters the film with macabre visuals, violent shocks, and sublime snaps that both startle and convey exactly what Alice is going through. Given the popular acclaim for her “Booksmart,” it was clear that Wilde wanted to showcase her talent as a director, uploading the film with visual tricks and a multitude of styles. But the problem with keeping the audience waiting with a gasp is that these fancy fairs start to feel like empty air. At some point, the construction of the mystery begins to look like a spinning wheel, with lengthy cinematics dedicated to other characters convincing Alice that she’s losing her mind, Alice trying to convince herself that she’s lost her mind. no lunatic, or Harry Style Dance. The film weaves together a number of interesting themes that promise to make the threat against Alice all the more deadly – mostly in regards to Pine’s counter-movement with Pugh – to the point where it only drops.
Aside from Pugh – who was always fragile, tough, resilient and broken – the rest of the talented cast all felt taken advantage of. Gemma Chan, as Shelley, Frank’s wife, has the same serene and slightly sinister look as Pine, but the movie feels like it’s setting something up for her rather than ending. Wilde delivers a sharp, satirical performance as Alice’s best friend Bunny, while Nick Kroll, Kate Berlant and Timothy Simons are fearsome as the residents of the Victory Project, who make up Alice’s inner circle, although their comedic background makes them feel a bit out of place. Perhaps the least used is KiKi Layne’s Margaret (with not much to do but stand on the roof and make a blank expression), the first housewife to “lost her mind”, and the spiral of violence. was what started Alice’s own downfall.
https://www.slashfilm.com/984351/dont-worry-darling-review-florence-pugh-saves-herself-in-a-stylish-thriller-that-falls-short-of-its-high-minded-ideas/ Florence Pugh has saved herself in a horror film that is stylish but lacks its sublime ideas