![]() The sheer amount of foreknowledge that the script gives away at almost every turn ensures that there’s no compelling sense of escalation throughout the film. These take the form of bursts of hallucinatory visions that startle Alice out of her bliss, and Don’t Worry Darling’s sole Black woman with any dialogue, Margaret (KiKi Layne), gives an early warning that everything is all wrong with a terrified speech that’s practically a mirror copy of LaKeith Stanfield’s petrified outburst in Jordan Peele’s film. But Wilde doesn’t bother trying to escalate a sense of unease, as the film is instantly blaring at viewers blatant signs of distress that are largely conspicuous for their indebtedness to Get Out. Every morning, Jack heads off to work with a full stomach from a perfect breakfast and returns that evening to dinner on the table and his glowing wife all but begging him for sex.įrom the outset, it’s clear that something is off about Victory’s glossy, hyperreal suburban utopianism and denizens. The land is owned by Jack’s employer, the Victory Project, which has brought its staff and their spouses to live in this oasis of irrigated and manicured lawns while working on top-secret engineering projects. The film concerns Alice (Florence Pugh), a housewife who lives in marital bliss with her husband, Jack (Harry Styles), in a 1950s town called Victory in the California desert. But Wilde doesn’t effectively harmonize these distinct genres, which is made all the more frustrating by Katie Silberman’s script repeatedly telegraphing the twists that are meant to keep turning both the characters’ and audience’s understanding of events on its head. The filmmaker’s follow-up, Don’t Worry Darling, attempts to blend numerous genres at once, from psychological thriller to domestic melodrama to, well, that would probably be a spoiler. ![]() Olivia Wilde’s directorial debut, Booksmart, was a likable enough, if enervatingly simplistic, coming-of-age comedy with no real aesthetic vision.
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