Don’t Look Up Review – IGN

Look no further for a limited theatrical release that begins December 10 and debuts on Netflix on December 24.

In the 1998 Michael Bay movie disasterScientists have discovered a huge asteroid on a collision course with Earth, and the United States used all its strength and ingenuity to recruit a team of misfits to save the world. But after decades of inaction on climate change, the man-made threat that actually has the potential to destroy the planet, and the United States’ disastrous response to the COVID-19 pandemic, the chauvinistic idealism behind Armageddon now looks like an absolute fantasy. Adam McKay updates the script in Don’t Look Up, a brutally dark comedy about how greed, politics, and misinformation will judge us all.

The star-studded thriller begins with the classic harrowing sci-fi beat as Kate Dipasky (Jennifer Lawrence), a Michigan doctoral astronomy student, passionately shares the discovery of a new comet with her lovable, embarrassing professor Dr. Randall Mindy (Leonardo DiCaprio). A teachable moment turns from calculating the comet’s path to annoyance as they realize it will collide with Earth in six months. After contacting NASA, they were quickly taken away to brief the president on their findings – and they were utterly dismayed by their reaction.

Best director for a movie of 2021

President Janie Orlean (Meryl Streep) is a pioneer in the mold of Donald Trump, and she cares more about optics than reality. She and her smiling son/chief of staff Jason Orlean (Jonah Hill) have rejected the flag and promised that people with Ivy League degrees would look at it after the midterms. This surreal meeting is just the beginning of Mackay’s ending of the failures of all American institutions, which at times hardly sound like a parody. Political films are no stranger to Mackay, as the 2008 financial crisis exhausted the The Big Short Covered the career of Vice President Dick Cheney in viceAnd he feels Don’t Look Up as a continuation of his work that points to how we all suffer in favor of a paucity of wealth and power.

Dr. Mindy and Kate try to pitch their case to the press, but fail to gain enough traction with readers to continue the news cycle. While pleading her case on TV, Kate is described as a hysterical Cassandra, although Mindy gets more time through charming talk show host Brie Evante (Cate Blanchett). Astronomers and their allies have to fight hard to keep the attention of an audience most interested in the celebrity breakup, a plot led by Ariana Grande who does an amazing job on this plot as pop star Riley Pena, transitioning seamlessly from talk of saving manatees with youthful enthusiasm to Mindy and Kate’s rejection fiercely as they are old and out of touch.

Things get even more dangerous when Orleans mega-donor and tech billionaire Peter Escherwell (Mark Rylance) gets involved. Although he doesn’t channel certain aspects of Mark Zuckerberg, Elon Musk, or Jeff Bezos, Rylance somehow manages to embody the qualities they all share in Peter the gentle, unsettling talker, who is quite confident in his power, perhaps because of his wealth and influence protects him from See any consequences of his failures. It is the embodiment of out-of-control capitalism: tech brethren who would rather put their faith in unproven tactics like carbon scrubbing and hiding the sun than making any real sacrifice and oil companies lying about the impact of climate change even investing in the technology needed to take advantage of thawing Arctic ice.

It’s an overall solid ride led by a great crew.

Much of the film’s rhythms sound horribly real, like the NASA chief anesthesiologist being a political appointee, or Kate’s parents dismissing her attempts to explain her findings by saying “we don’t want to talk politics.” Even as everyone you don’t look at turns absurd it’s almost too dark, asking if it’s enough to try even if you fail to actually make a difference.

It’s also so long, drifting into shadows that it seems to sink into nihilism while at other times it makes all the sudden twists in the main plot. McKay also uses some distinctly contrasting film techniques such as breaking the fourth wall of the superhero and having the camera zoom in on inanimate objects as if she was bored with the conversation taking place among the very talented film crew. McKay also splits into a lot of nature videos, unnecessarily showing what’s at stake in a story that’s better focused on its characters.

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