Directed by:
Sam EsmailScreenplay:
Sam EsmailCinematography:
Tod CampbellComposer:
Mac QuayleCast:
Julia Roberts, Ethan Hawke, Mahershala Ali, Myha'la, Farrah Mackenzie, Charlie Evans, Kevin Bacon, Alexis Rae Forlenza, Vanessa Aspillaga, Josh Drennen (more)VOD (1)
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In this apocalyptic thriller from award-winning writer and director Sam Esmail (Mr. Robot), Amanda (Julia Roberts) and her husband Clay (Ethan Hawke), rent a luxurious home for the weekend with their kids, Archie (Charlie Evans) and Rose (Farrah Mackenzie). Their vacation is soon upended when two strangers – G.H. (Mahershala Ali) and his daughter Ruth (Myha'la Herrold) – arrive in the night, bearing news of a mysterious cyberattack and seeking refuge in the house they claim is theirs. The two families reckon with a looming disaster that grows more terrifying by the minute, forcing everyone to come to terms with their places in a collapsing world. (Netflix)
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Reviews (13)
A more thoughtful, tense and overall more minimalist version of Civil War with a gradually escalating atmosphere in the style of Take Shelter. Technically outstanding. Great cinematography and editing. Superb acting, a shame some elements were left unexplained and perhaps the conclusion was too rushed given the carefully constructed build up to the finale.
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From the same bag as Netflix’s Don’t Look Up and White Noise. And just as well aimed, but it misses the mark, as you would expect. Epistemic dialogue with a few existential ideas, though none of them are groundbreaking. Scenes of rising tension that boost the film’s drama, but every time they only give us hints as to what may be happening “out there”. And digital deer for a touch of mysticism, but without any meaningful incorporation into the plot structure. The elegant cinematography striving for inventiveness is appealing, but it doesn’t reach the level of Jordan Peel’s bold creativity. And the conversational aspect merely tries to involve sociology at the European or Asian level of screenwriting. Despite that, however, the film is entertaining and is fine to watch. And I also understand if some might find it an interesting alternative contribution to the disaster-movie genre. Because this is exactly how that could happen.
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No Bruce drilling into asteroids, Aaron drilling to the core, and Roland twisting all kinds of cataclysms. The era of relatively happy endings is over; a more personal approach to preparing for the inevitable is taking over, dealing with dark prospects, and retreating into the underground around an image with the inscription "Hope begins in the dark." Should I be impressed by the camera moving through floors, walls, and holes in the tin roof of a forest cabin, or the neurotic music feeding the fear of an unknown danger? Not really. What struck me the most was the realization that when the crisis comes, Apple Pay and soy lattes will have zero value compared to a shotgun in the hands of a farmer with a shabby cap, and we, looking from above, will need to dismount from that horse quickly. I resonate with the plotline about Friends. I’d also like to feel good and return to times that seem as if they never existed.
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This is how I hoped to like Don't Look Up, but I didn't. Not even close. Leave the World Behind is a much more mysterious, clever, funny, better made and written film that actually accurately describes my feelings about the world today. Like Julia Roberts’s monologue in the shack.
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Sam Esmail serves up a slow platter of nervs with no easy answers. It will annoy everyone, but I always liked these questions and stories. A depressing drama with a satirical patina. The three-pronged attack is a very interesting theme. You'd think Europe would be entering the first phase, so good luck with that. A formally brilliant exercise, with great performances. Though they might as well have left the drunken dancing Julia Roberts on the cutting room floor. Since Netflix likes it long. P.S: A must for fans of Friends and Matthew Perry's death as a thoughtful marketing ploy? A joke worthy of Chandler.
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Gallery (102)
Photo © Netflix
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