Don’t Worry Darling Review: An Ambitious Feminist Film That Ruined Its Reputation | movies | entertainment

With great comedy coming of age, Booksmart already under its belt, actress and director Olivia Wilde’s latest show was supposed to leave audiences fascinated to see what happens next. Instead, thanks to a mix of awkward interviews, reports of tension between the cast members and some really noteworthy moments (See: “My favorite thing about the movie is that it feels like a movie.” – Harry StylesDon’t worry, Darling seemed doomed from the start.

Despite all the drama, audiences might be surprised to find that a neat, tension-filled piece of cinema actually makes for a fun few hours. First, the movie is good looking. Cinematographer Matthew Lipatick, who has worked on some of Darren Aronofsky’s best works including Black Swan and Requiem for a Dream, ensures it’s a sensory delight from start to finish. Every morning on their picturesque little road, wives emerge from their identical homes to say goodbye to their identically dressed husbands as they drive to work at the exact same time. The frightening uniformity and vibrant use of color reminds us very much of Edward Scissorhands—another nightmare that takes the American dream out of Tim Burton’s mind.

It shouldn’t be a huge shock, as usual, Florence Beau’s performance is top notch. Pugh plays Alice Chambers, one of the wives of the men working on the mysterious “Victory Project”. This small group of couples and their children live in a planned community in a remote part of the California desert in what appears to be the late 1950s. Over the course of the film, it soon becomes clear that all is not as it seems, but Pugh manages to deliver an accurate performance amid some heavy symbolism. The least likely actress might have worn a separate routine and smiling through the pain, Mad Men Betty Draper. Instead, Pugh’s performance is lively and driven by a desperate and defiant spark that makes her character captivating to watch. Undoubtedly, the introduction to the film elevates the whole piece and makes it worth watching.

Meanwhile, Chris Pine is surprisingly believable in his role as a charismatic cult leader — although admittedly his character is a somewhat one-dimensional villain. While he does a good job plastering an evil smile, some of the best scenes in the movie are born from his interactions with the character Pugh. The chemistry between the couple is electric, and in one scene, she was surprised she didn’t fly across the dinner table with him carrying a kitchen knife.

One of the biggest question marks hanging over the film has to do with Harry Styles’ acting ability. Many assumed his performance would be a total car crash, but I thought he was a perfect fit during the first half of the movie. The pop star is accepted into the somewhat of one role, once again, of an ambitious young businessman and devoted husband. Unfortunately, he falls short when the movie reaches its emotional climax, requiring him to be more intense than he can deliver – especially against a talent like Pugh. However, it’s also hard to imagine original casting Shia LaBeouf in his place as the friendly, easy-to-manipulate young employee.

Don’t worry Darling’s plot will undoubtedly prove divisive with audiences, as it all hinges on one major development. Some viewers may be disturbed by the use of such a device. However, I felt this development worked, as it was intended to convey the film’s central message. However, after the twist is revealed, the pace speeds up as the movie tries to cram a plausible explanation at lightning speed into the final act. And despite the big reveal, we still have a million more questions about the Victory Project and what it all means.

The first half of the movie is actually where the mystery is most intriguing, as Pugh’s blatant memories and eerie hallucinations hint at something more sinister that lies beneath the shiny surface of their seemingly utopian society. Throughout the movie, you feel these women suffocating. This manifests itself in one of the most disturbing scenes, which sees Pugh’s character get the cravings to strangle herself with cling film while preparing food in the kitchen. Even the scenes when the character is happy make you want to scream. Early on, we see Alice relentlessly cleaning every surface of the house before spending hours cooking elaborate dinners and arranging the dining room table. When her husband (Stiles) comes home from work, he decides to “treat his woman” with some steamy antics at said table, invalidating a carefully prepared feast in the process.

Although the film is set in the mid-20th century, there is a caustic social comment at its center reminding us that gender inequality is an ever-present issue. The idea that men and women should make different sacrifices and deserve different rewards. The idea that a light must be dimmed in order for another light to shine. In the post-Trump era of the growing culture and popularity of online misogynists like Andrew Tate, it sometimes feels like a stone’s throw away.

In the end, don’t worry, Darling feels as though she’s dancing on the edge of something deeper, and as she pushes more and more toward a deeper reveal, Wilde never peels off that extra layer to show the true ugliness underneath. A comparison can be made here to Wilde’s first movie, Booksmart – a great movie with a similar flaw. At the climax of the movie, where high school best friends Molly (Penny Feldstein) and Amy (Caitlyn Dever) get into a massive fight at a party, Wilde chooses once again to drown out their lyrics with music rather than leave such ugliness exposed.

Two films and many PR nightmares later, Wilde has proven herself to be a talented filmmaker – but while she continues to pull herself through, she hasn’t made gold yet. However, Roland Barthes once wrote that “the birth of the reader must be at the cost of the death of the author.” And in that same spirit, is it really fair that this movie is being judged as mere Hollywood fodder? Certainly, we the public must strive to separate art from artist. We leave you with two thoughts: This movie wasn’t a disaster; It was definitely a movie.

Express.co.uk has been given the opportunity to attend the premiere of ‘Don’t Worry Baby’ at the newly launched show Everyman Cinema In Egham, Surrey (ed.).