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Sep 22, 2022 · But as “Don’t Worry Darling” reaches its climactic and unintentionally hilarious conclusion, Wilde loses her grasp on the material. The pacing is a little erratic throughout, but she rushes to uncover the ultimate mystery with a massive exposition dump that’s both dizzying and perplexing.
Sep 21, 2022 · Soon into the candy-colored feminist gothic “Don’t Worry Darling,” the director Olivia Wilde tips her hand.
Sep 5, 2022 · Movies · Reviews. ‘Don’t Worry Darling’ is A Cautionary Tale of America’s Fascist Backslide. Olivia Wilde’s second feature showcases the intriguing performances of Florence Pugh and Harry...
Sep 5, 2022 · Florence Pugh and Harry Styles star in Olivia Wilde's film, whose colorful nightmare vision of a retro cult community is better than its top-heavy conspiracy plot.
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- Don't Worry Darling Gallery
- Verdict
By Siddhant Adlakha
Updated: Sep 23, 2022 5:38 pm
Posted: Sep 9, 2022 2:00 pm
Don't Worry Darling hits theaters on Sept. 23, 2022.
Don’t Worry Darling wants to be Get Out for white women, a strange concept even if it didn’t end up closer to “white feminist Antebellum.” From director Olivia Wilde and screenwriter Katie Silberman, it’s the tale of a young couple, Alice (Florence Pugh) and Jack (Harry Styles), who live in a pristine 1950s company town, of which Alice slowly grows suspicious. The strange goings-on around her are complemented by eye-catching designs and inventive music, and are brought to life through commendable performances. However, the way these elements are assembled leaves plenty to be desired, amidst the film’s pursuit of dimensionless literalism about women in American society. It sets a low bar to begin with before failing to clear it.
When the story opens, its characters seem content. Alice and Jack — childless by choice — drink, make merry, and play party games with their guests, Bunny (Wilde) and Bill (Nick Kroll), who have two kids, and Peg (Kate Berlant) and Peter (Asif Ali), who are expecting their first. Neither the alliterative couple names nor the respective parent dynamics plays any meaningful part, but the fluidity of this opening scene is a precursor to the rigidity of the next morning, and every morning after that, when the women stand out on their driveways, smiling as they watch their men all leave for work at the same time in their shiny cars. They live in the newly built town of Victory, part of the mysterious “Victory Project” run by the enigmatic, secretive Frank (Chris Pine), whose pictures adorn the women’s ballet studio run by his wife, Shelley (Gemma Chan), and whose mountain headquarters resides just outside the town. The women have been told their husbands are developing “progressive materials” and nothing more; they mustn’t ask questions or venture outside the town limits, but are free to clean, cook, or merely frolic poolside with their friends, if they so desire.
Black Widow
Midsommar
Oppenheimer
Little Women
Fighting With My Family
Lady Macbeth
Pine no doubt performs admirably, but he suffers as the rest of the cast does: he isn’t afforded the opportunity to create dimensions. Pugh is bogged down by paranoia to the degree that she’s left with no real personality — no wants or desires that drive her to break free — and Styles, while certainly measured and capable (people have complained about his accent work; it makes perfect sense in context), barely exists outside of Jack’s relationship to Alice. He’s good to her, or so it seems, but when more layers begin to emerge, they don’t stem from the kind of ugly, human place that would benefit this kind of cinematic critique; instead, they’re a flipped switch.
On the plus side, Don’t Worry Darling is pretty to look at, and in the moments when it feels like Pugh is on the run, the camera and editing may seldom aid in enhancing her perspective, but the music goes a long way. The dead space around her is at least filled with John Powell’s innovative compositions, which use human breath to accentuate mood; it sounds like the characters are drowning, even if the movie never manages to frame them this way and create the adequate thrills.
In Don’t Worry Darling, pretty designs, inventive music, and capable performances hide an empty cinematic critique.
“
Eventually, what Wilde hopes to say about domesticity, in the past or in the present, ends up buried beneath both logistical contrivances — its answers only offer more questions, and hardly intriguing ones — and emotional contrivances too, wherein the endpoint of Alice’s journey ends up being applied to several other characters as well, without them having taken remotely similar steps. In pursuit of being rousing at any cost, it skips enough beats and narrative stages to feel preachy without the substance (or even the style) to back it up.
Its vague thesis is hardly disagreeable — it circles the idea that women should have the option of working outside the home — but it’s never aesthetically persuasive when it comes to it broader examinations of power or liberation (let alone anti-feminist radicalization), ideas which exist in its margins, but which it doesn’t have the ability to train its camera toward.
In Don’t Worry Darling, pretty designs, inventive music, and capable performances hide an empty cinematic critique. Olivia Wilde’s modern Stepford Wives is too literal and insubstantial to say anything radical with its camera, let alone something mildly challenging.
- Siddhant Adlakha
62 reviews · Provided by Metacritic.com. 80. The Telegraph Robbie Collin. Things keep barrelling along thanks to both Pugh and the plot’s punchy critique of certain recent trends in the internet’s more testosterone-raddled dark corners.
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Sep 5, 2022 · Film Review. ‘Don’t Worry Darling’ Review: Florence Pugh Burns Down Olivia Wilde’s Dollhouse. Everyone, save for Pugh, Chris Pine, and a stellar below the line team, should worry. A...
