Don’t Worry Darling (2022) *** – Seen at the Cinema

Rejoice: a star is born. But it’s not Florence Pugh (Black Widow, 2021). It’s my habit going to the cinema to sit close to the screen in order to avoid the audience. This time I couldn’t help but noticing the streams of young women, often in large groups taking up an entire row. Out of curiosity, I chatted to quite a few at the end, imagining they might be turning up to support director Olivia Wilde’s new picture. Nope, they were here to see Harry Styles (Dunkirk, 2017). That’s what you call star power.

And he certainly has something. A screen charisma, an electricity, and without going too overboard, something akin to the danger of an early Michael Caine or Sean Connery, other British exports. When he was in a scene, it was easy to forget Florence Pugh. You knew what she’d be doing, emoting like crazy, but he was unpredictable, exactly what the camera adores.

Anyway, what we have here is a throwback, a slow-burn paranoia thriller in The Stepford Wives utopia vein with a dystopian twist. But the ending is a let-down, the kind of baffling logic Christopher Nolan often gets away with, and a rather worn trope of male supremacy.

Happily married couple, still going at sex like rabbits, Alice (Florence Pugh) and Jack (Harry Styles) live in a stylized isolated 1950s community where husbands depart for work every morning and wives stay home to do the housework or endlessly shop and gossip. Every need, basic or more luxurious, is taken care of. The men are employed by the mysterious Victory Project, run by the charismatic and fun-loving Frank (Chris Pine), and beyond their housing estate is a forbidden zone.

But strange images keep zapping into Alice’s head. Eggs crumble into nothing and wrapping Saran Wrap/clingfilm round her mouth is not an acceptable lifestyle choice and when the suicide of neighbor Margaret (Kiki Layne) is denied, and she sees a plane crash into the hills, she decides to investigate. Exactly what she discovers we are never told, but her behavior becomes more paranoid, and men in red overalls are likely to scamper out of the woodwork at the hint of any threat along with a bogus psychiatrist only too keen to prescribe pills.

And although it turns out Jack is willing to try his hand at cooking, Alice is jeopardizing their relationship and without the cunning to outwit the devious Frank.

From the outset you were waiting for this fantasy to unravel, although Alice was a shade too overcooked too quickly, and there was no explanation for some of her terrors, being trapped by a sheet of glass for example, and the ending will far from satisfy. But I found the movie suspenseful overall, enough doubt sown to seed the growing tension, the characters by and large well-drawn, otherwise confident men kept insecure by jostling for recognition from boss Frank, and the playfulness occasionally teetering into the acceptably hedonistic.

However, once Alice got the bit between her teeth, there was too much teeth, flaring nostrils and general over-acting. The cooler Frank achieved more with very little.

Generally, though, quite enjoyable, although if director Olivia Wilde (Booksmart, 2019) intended making wider feminist comment, it’s too facile by far. The something that doesn’t add up emanates from the storyline for otherwise the picture is pretty well done, including a car chase and the sinuously sneaky Frank controlling and destroying lives.

As I said, I felt Florence Pugh was too over-heated but she was also let down by a screenplay by Katie Silberman (Booksmart) that failed to come up with any real answers. Harry Styles stole every scene he was in and Chris Pine (Wonder Woman, 2017), playing against heroic type, was excellent. Although there has been criticism of Styles’ performance, bear in mind that screen stardom has been built on less and it would give the industry a shot in the arm if a new star came out of nowhere. The women I encountered in the audience would certainly agree with giving him a bigger role.

From opening week box office, this looks as if it will do well enough to sustain Olivia Wilde’s career, as here her confident direction and visual skill proves she can handle a bigger budget.   

Black Widow (2021) **** – Seen at the Cinema

Like Skyfall, that rarity, an action film with a solid emotional core. Take away the action and you would still have an absorbing story of a loss, family tension, bickering siblings and an ego-driven pompous father. The action brings family together, initially the two girls, Natasha (Scarlett Johansson) and Yelena (Florence Pugh) rescuing papa Alexei (David Horsburgh) from a Russian maximum-security prison then with the addition of brainy mum Melina (Rachel Weisz) tackling criminal mastermind Dreykov (Ray Winstone) in an exceptionally clever secret location.

If you’ve come looking for simple action, this is the wrong movie for you. Family complication, on a par perhaps with the criminal clan of The Godfather and imbued with the darker hues of Christopher Nolan’s Batman, adds far more depth than normal for a superhero picture. And even for Dreykov, the issue is family. He is the repairer-in-chief, on the one hand putting back together as well as he can his own familial loss, and on the other giving a home for countless orphans worldwide, albeit to suit his own plans.

Natasha has run the gamut of raw emotion. Orphaned twice, forcibly ejected from the one place she called home, i.e. The Avengers family, her feelings about being reunited with  adoptive Romanoff parents are noticeably negative.  Yelena is more willing to embrace the errant parents. Never mind that this is the one superhero picture in The Avengers catalogue where the superhero, as fit and agile as Natasha is, has no demonstrable superhero powers. And even those powers are mocked by Yelena who makes fun of the pose we have so often seen Natasha adopt. Nearly stealing the show is the self-pitying Alexei, the over-ripe overweight over-emotional father who would always be embarrassing you, inflated with his own self-importance, as bereft now as his daughters, having been stripped of his own superhero status as the Red Guardian. Whenever any of his family are in danger you can be sure his ego will get in the way.

The story is simple enough. By accident, Yelena, a member of the Dreykov army of female orphans, accidentally discovers she is enslaved, teams up, but only after a knock-down scrap Jason Bourne would have been proud of, with on-the-run Natasha, and eventually her parents. The action is terrific, especially the jailbreak, which has time to steal the central riff from Force Majeure (2014) just to ramp up the tension. And there are plenty surprises along the way, especially apt reward for Natasha’s ruthlessness as a do-gooder.

This is an entire family up for redemption, forced to confront their pasts, and for once it is not action that provides the solution. In some respects it is the family that clings together that stays together. The Avengers aspect is mostly redundant here, so what’s left is a more solid action-fueled thriller with superb characters, each, including villain, with their own emotional story arc. And it’s not always dark either, the family scenario studded with comedy nuggets.   

Visually stunning, as you might expect, this is a welcome big-budget showcase for Cate Shortland (Berlin Syndrome, 2017) who brings emotional intelligence to bear on a genre in which that is often in short supply. Eric Pearson (Godzilla vs Kong, 2021) was the wordsmith.

Johansson (Marriage Story, 2019) has rarely been better and it says a lot for the performance of Florence Pugh (Little Women, 2019) that in their scenes together she is rarely overshadowed. Hopefully, this is the breakout picture for David Harbour (No Sudden Move, 2021), and maybe even the MCU team might recognize the comedic opportunities in a stand-alone based on his character, so effortlessly has it been constructed. And it’s a welcome return for Rachel Weisz, absent from the big screen since The Favourite (2018).  William Hurt (Avengers: Endgame, 2019) makes an expected appearance and Olga Kurylenko (The Courier, 2019) a surprise one and The Handmaid’s Tale’s O-T Fagbenie provides an interesting cameo.

This is definitely not going to work as well on the small-screen so if you’ve got the chance to see it in the cinema – where I saw it on my weekly Monday night outing – grab it while you can.

Discover WordPress

A daily selection of the best content published on WordPress, collected for you by humans who love to read.

The Atavist Magazine

by Brian Hannan

WordPress.com News

The latest news on WordPress.com and the WordPress community.