Review Don’t Worry Darling: Is the most talked about movie of the year good or not?

Don’t worry honey Two stars In the cinema; Cert 16

thought I would have more interesting things to talk about Don’t worry, baby than I’ve seen it. Indeed, the biggest scandal surrounding this star-studded psychological thriller from second-time filmmaker Olivia Wilde is far more interesting than the resulting film.

This is release week, and already Don’t worry, baby is an appropriate pop-culture phenomenon; a Hollywood chat game once in the blue moon that has nothing to do with the image on the screen and everything to do with the people behind it.

Surely you’ve seen the headlines. There’s an alleged scandal between the brilliant director (Wilde) and her star star (the inimitable Florence Pugh). See also the so-called firing of its original leading man (Shia LaBeouf, who says he’s quit) and the next TV series involving his replacement, Harry Styles (himself). and Wilde had an affair on set).

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Then, of course, we have the recent hoo-ha at the Venice International Film Festival, where curious Pugh was absent from promotional duties and poor Styles was accused of spitting on his co-star, Chris Pine. Can we talk about the movie now?

Rumors aside, Wilde’s hand-assembled feature has everything going for it. A praised storyteller behind the wheel. An Oscar-nominated star at its heart. One of the most famous men in the world in its frame. So it’s a pity to find the screenplay – a noisy assemblage of big ideas from bigger, better films – in an unfortunate, shapeless state.

We started out in the suburbs of the 1950s. Alice Chambers (Pugh) and her husband Jack (Styles) enjoy the idyllic life in the corporate town of Victory, a modern yet soulless utopia where all the baddies are. men dressed as Frank Sinatra and all the women dressed as their husbands. tell them.

All of the chat was working on the mysterious Victory Project, and no one was allowed to talk about what it involved (something about “the development of progressive materials”).

Meanwhile, wives stay at home, cook, clean for themselves and their spouses, and try to ignore the small random earthquakes that occur every day. Victory’s president – a cold, cult man named Frank (Chris Pine at his most capricious age) – says they’re changing the world, but we’re not so sure.

Looks like Alice too. She and Jack are Victory’s star couple, and he’s a great fit for a career boost. But when poor Alice witnesses a disturbing incident involving the wife of a Victory employee, she begins to question what’s really going on in this tilted wonderland.

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Her neighbor Bunny (Wilde) tries to cover things up, so does Jack, but it doesn’t help, and Alice can’t shake the feeling that her whole world is one big lie . Everything got weird.

Wilde’s second feature is a more complex, denser case than her first. There is little benefit to comparing the two, but at least 2019 Smart book – a top notch superhero with killer kicks and killer cast – knows what stage it’s in. In contrast, this tired, wobbly intersection between Stepford’s Wives and Truman’s show seems very uncertain about itself.

Like all major cinematic mishaps, the problems started on the page and Katie Silberman’s script, although loaded with intriguing themes and compelling concepts, was barely thought out. as people think.

A pointless, derivative satire? I’m afraid so, and Don’t worry, babyRevealing the third act was inherently so absurd that I almost fell out of my seat.

Yes, it’s a movie that looks great but it’s an annoyingly hollow movie, and not everyone walks out of the movie with dignity intact.

Pugh, though, is an exception. Her incandescent turn was one of the few joys of this futile and largely futile endeavor, and Wilde’s shaky direction struggled to match the intensity of her remarkable performance. Pugh.

However, the less said about Harry, the better. God loves him (no one else here will), but the most popular pop star on the planet is trying really, really hard to make this acting work for him. Maybe that’s the problem.

Every movement is well-rehearsed – every line is over-pronounced and overcooked. There is an argument – and one that will only make sense after you’ve seen the movie – that his character is supposed to be awkward and unconvincing, but that probably gives him a lot of credit. more than he deserves.

It’s messy, but hey, I can’t wait to see a documentary about the making of this thing.

Also released


Colin Farrell, Jodie Turner-Smith, Malea Emma Tjandrawidjaja and Justin H. Min in After Yang. Photo: Linda Kallerus

After Yang
Four stars
IFI & selected cinemas; No certificate

Artificial intelligence is here to stay so we can get used to it too. Almost 40 years since James Cameron’s destroyerThis ethereal sci-fi film from writer-director Kogonada offers a softer approach to what preoccupied robots might look like in our everyday thoughts.

Demonstrating an unwavering devotion to working with the most exciting filmmakers in the game, Colin Farrell is Jake, a family man and tea maker in some futuristic Asian suburb. Yang (Justin H Min), the “techno-sapien” Jake and his wife Kyra (Jodie Turner-Smith) got to be companions for their adopted daughter, is broken.

Normally, recycling and replacement would be the options pursued, but the family has grown attached to the polite robot. Jake starts looking for ways to fix Yang. In doing so, he finds the line between man and machine inevitably blurred.

The warm atmosphere and clean interior – cinematographer Benjamin Loeb deserves credit – lends a meditative feel to a light-hearted philosophical film. This setting and muted tones serve to overlay an already stunning cast in an enchanting layer of blush. White Hilary

The land of silence
Five stars
IFI & selected cinemas; No certificate

In this easy-to-understand moral story from Polish author Aga Woszczyńska, trouble strikes heaven. Consistent with a certain brand of Eastern European drama, The land of silence depicts the fragile underpinnings of the moral rope in a cold and unintelligible way of business.

Adam (Dobromir Dymecki) and Anna (Agnieszka Zulewska) are a ostensibly perfect couple who come to their Italian villa on vacation. When they discovered the swimming pool was empty, they contacted the owner who sent a migrant worker to work.

An accident results in the worker’s death, and the holiday becomes consumed with police interviews and analysis of what they did and did not do after the tragedy.

In the midst of a strange landscape of lack of streamlined efficiency to which they are accustomed, a low-level tension will flare through the cracks in their relationship as the gravity of events comes into focus. than.

The real mastery of Woszczyńska’s film (co-written with Piotr Litwin) is clearly visible. Subtle, ghostly imagery vibrates loudly around the picturesque couple, as slow-motion panning shots depict a terrifying world disappearing in the background. White Hilary

It’s in all of us
Four stars
IFI & selected cinemas; Cert 15A

The edgy, pompous London professional Hamish (Cosmo Jarvis) arrives in Ireland for one evening, rents a car at the airport, and departs for Donegal, where his late aunt has left a home for him.

A tragic road accident results in the death of a local teenager and the overturning of Hamish’s car. He wakes up in the hospital disoriented, beaten up and decides to continue his recovery at his aunt’s beautiful seaside residence.

This is the land of his late mother, however, and he finds his smooth appearance increasingly challenged by some invisible connection to a place that threatens to break him but also can rebuild you. The catalyst is a local teenager (Rhys Mannion), a recent crash survivor, who approaches Hamish to suggest what appears to be friendship.

Writer-director (and cast) Antonia Campbell-Hughes portrays an outsider’s vision of a distant Ireland that is also bleak and haunting.

Hamish’s Journey provides background against the occasional shot of moody hills and bleak quagmire, with Jarvis (Calm down with Horses, Lady Macbeth) a reliable visceral presence when the unspoiled Londoner was far from his comfort zone. White Hilary Review Don’t Worry Darling: Is the most talked about movie of the year good or not?

Fry Electronics Team

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