Don’t Look Up, 2021.
Written and Directed by Adam McKay.
Starring Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep, Cate Blanchett, Rob Morgan, Jonah Hill, Mark Rylance, Tyler Perry, Timothée Chalamet, Ron Perlman, Ariana Grande, Kid Cudi, Melanie Lynskey, Himesh Patel, Michael Chiklis, Tomer Sisley, Paul Guilfoyle, Robert Joy, Ashleigh Banfield, Gina Gershon, Meghan Leathers, Ross Partridge, Frank Ridley, Hettienne Park, Conor Sweeney, Ben Sidell, Edward Fletcher, Robert Radochia, Tamara Hickey, Matthew Perry, and Chris Evans.
SYNOPSIS:
Two low-level astronomers must go on a giant media tour to warn mankind of an approaching comet that will destroy planet Earth.
A blistering indictment of humanity’s refusal to act against climate change, and in effect an indictment of humanity itself, Adam McKay’s Don’t Look Up is a film devoid of joy. It’s an unsubtle work – it’s message of damnation is as obvious as being hit over the head with a brick – and any supposed absurdist, satirical moments are lost through the fact that it’s not actually absurd at all. The Covid-19 pandemic has proven that McKay’s worst fear of humans refusing to accept science is not only perfectly feasible, but is happening right now.
Don’t Look Up isn’t actually about climate change, but the humongous comet hurtling towards Earth on a direct collision course is an easy substitute. It is discovered by astronomers Randall Mindy (Leonardo DiCaprio) and Kate Dibiasky (Jennifer Lawrence), who then take their findings to the White House and the press, hoping that someone will take decisive action to save humankind. Only it doesn’t quite go to plan, as the President (Meryl Streep) acts in her own interest and the press are more interested in celebrity breakups than science.
The satirical side of the film doesn’t land on account of it being too close to reality. Sadly, there is no interest to be found in the characters, either. The supporting cast is absolutely stacked with acting talent. Not just Streep, but Cate Blanchett as a glamorous TV presenter and Jonah Hill as the President’s Chief of Staff (and son, because of course there must be nepotism). Alas, none of them are likeable. They aren’t meant to be; they are all vapid, self-interested people who couldn’t care less if the world ended as long as they can line their pockets. We are clearly meant to feel contempt for them, and McKay at least is successful in this. But they aren’t funny either – the only cast member who is remotely amusing is Ron Perlman, playing an army veteran, and we see all too little of him.
Even our leading characters, who go in with the best of intentions, are near impossible to care about. DiCaprio’s Dr. Mindy is as fallible as anyone else, but it is interesting to see him play against type. Kate Dibiasky is from a younger generation than Dr Mindy, and is characterised by complete outrage and frustrated, heartfelt outbursts at the depressing attitudes and inaction she is faced with. This feeling is something a lot of us can relate to, with a lot of uncertainty in our future, but even being able to identify with her feelings isn’t enough. She is too angry and not vulnerable enough to endear herself. The problem here lies in the writing. It’s hard to fault Lawrence’s performance, as she takes all that she is given and energetically embraces Kate’s angry nature. She was on the verge of literally chewing the scenery.
Most frustrating of all is the performance of Mark Rylance. Known for being a character actor, he was clearly going for an odd, annoyingly voiced Elon Musk knockoff. He plays Peter Isherwell, the billionaire CEO of BASH industries, a tech company with deep pockets and political influence. Again, this is a character we are meant to hold in contempt, but Rylance’s strange, off-putting voice and performance is incredibly distracting.
I wish I could say that there was something of interest to be found in the filmmaking, despite the story and characters. Unfortunately, the way the film is edited can be as distracting and off-putting as Rylance. The film’s frenetic movement from one scene to the next cuts them off before they feel like they’re finished, and it sometimes jumps between shots at too fast a pace. The hurtling pace of the editing is also at odds with the films’ length, which is far too long, with plenty of material that could have been cut for a breezier runtime.
Don’t Look Up is a depressing depiction of human nature, with horrible characters and absolutely zero sense of humour. But its worst crime is the fact that it seems to absolutely despise people. When they’re the audience for the film, honestly, what kind of message is that?
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★
Lauren Miles is a freelance film and television journalist who loves all things gothic, fantasy and film noir. She has an MA in Multimedia Journalism and is also a Halloween enthusiast and cat lady. You can find her on Twitter @Lauren_M1les.
