The Wasp, 2024.
Directed by Guillem Morales.
Starring Naomie Harris, Natalie Dormer, Dominic Allburn, Jack Morris, Leah Mondesir-Simmonds, Olivia Juno Cleverley, Rupert Holliday-Evans, Jake Donald-Crookes, Naomi Richards, Evelyn Temple, and Alice Grace.
SYNOPSIS:
Follows Heather and Carla, they will meet after having not spoken in years. Heather is about to present a very unexpected proposition that could change their lives forever.
As middle schoolers, Heather saw Carla (Naomie Harris and Natalie Dormer in the present day) bludgeon an injured bird out of its misery with a rock. Having been estranged since childhood, Heather wants to see if Carla can tap into that inner primal rage to essentially be a glorified assassin, murdering her emotionally and physically abusive, unfaithful husband. It is an ingenious premise with The Wasp, for about an hour, psychologically tapping into a human being’s capacity for violence, especially when having already shown prior unsettling behavior for physical harm. Even if she is understandably nervous about saying yes to this shocking proposal after an unexpected reunion, Carla is also backed up against the wall and desperate for money to provide for a family of 5 with one more child in the way.
Unfortunately, director Guillem Morales (with screenwriter Morgan Lloyd Malcolm adapting his stage play) either doesn’t see the potential in this compelling psychological experiment or doesn’t care to explore it since the third act disappointingly devolves into a string of twists and flashbacks that derail that intense dynamic. This is a film that casually spends nearly 30 minutes with these two in Heather’s home, conversing back-and-forth about the smartest and safest way to pull off this murder and dispose of the body (much of which is being placed into Carla’s hands as she will be receiving an enormous sum of money.) And one hangs on every word because the scenario and performances are grounded and riveting.
Naomie Harris and Natalie Dormer are convincing, equally conveying the desperation they are both in while also leaving room to express their polar opposite personalities; Carla has always been angry, violent, and even a bully. Meanwhile, Heather craves revenge on her husband but doesn’t have it in her to physically do anything about it. The flashbacks are also kept brief and to the point until they aren’t, and also become an increasingly absurd part of the narrative that spins disastrously out of control.
In particular, Naomie Harris is somewhat subtle and playful about her character’s true intentions and capabilities. Likewise, Natalie Dormer also feels genuine when reckoning with the horrible bully she once was with the protective she has turned into, brushing off every memory of those terrible deeds until, for specific reasons, she is forced to confront them. That’s more than enough complexity into the already juicy revenge concept.
However, the filmmakers don’t stop until The Wasp is more irritating than anything, with even the solid performance from Naomie Harris becoming over-the-top and forced (Natalie Dormer remains fine throughout, but that’s also because the script doesn’t let her down nearly as much.). As for the title, wasps are a temporary presence in the story and a metaphor for what’s happening here. That is more the road the film inevitably goes down, but one can’t help wondering how exhilarating this narrative would be by examining those characters by following the premise through instead of transitioning into something, to be blunt, dumb.
SEE ALSO: Exclusive Interview – Naomie Harris and Natalie Dormer talk The Wasp
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
