If you’re going to make a science fiction thriller with an anticipated “big reveal,” you’d best keep the “big” in the reveal.
DON’T WORRY DARLING (2022), a new quasi-science fiction thriller, fails to do this. It has a reveal all right, but it ain’t big! The only thing big about it is, it’s a big letdown!
DON’T WORRY DARLING takes place in the 1950s in an idyllic closed community located somewhere in beautiful sunny California, where the young husbands of the families who reside there all work for an ultra-modern, yet mysterious company run by the eccentric Frank (Chris Pine). It’s mysterious because no one seems to know exactly what the company does, as the husbands never talk about their work, and the wives don’t seem to care. They’re all wealthy and happy in their utopian community.
The story focuses on one couple in particular, Alice Chambers (Florence Pugh) and her husband Jack (Harry Styles). They are the perfect couple, and life has never been better, until one of the wives and one of Alice’s best friends, Margaret (Kiki Layne) begins to act strangely and make unexpected accusations against the company, saying it took her son away from her. Her behavior is dismissed by Frank as delusions after the traumatic experience of losing her son in an accident out in the desert, an area the wives are told not to visit because of the hazardous materials there. But when Alice witnesses Margaret commit suicide, and when she is later told that Margaret is fine and is recuperating at the hospital, she pushes back against being told she only imagined she saw Margaret take her own life.
More strange occurrences ensue, and Alice realizes that this utopian community isn’t as it seems. There is something else going on. And the rest of the movie follows Alice as she tries to figure out what is really going on, while everyone else, including Frank and her own husband Jack, fights back against her, telling her that she is unfortunately dealing with her own delusions since she too ventured into the desert and was affected by the “hazardous materials.”
This all leads up to the anticipated “big reveal,” which as I said, isn’t all that big. Nor is it terribly new or exciting.
But before the reveal, the film has a lot of good things going for it.
Things get off to a lively start with some energetic and creative direction by director Olivia Wilde, who also plays one of the wives in the movie, Bunny. The cinematography is bright and cheery, and the homes, cars, costumes, music, and characters all capture the 1950s perfectly in an opening montage that has this film hopping in its first few minutes. The setting and the characters are established with gusto.
The performances are very good. Florence Pugh, who has never looked better, by the way, is perfect as the fully content stay-at-home wife Alice, until she begins to doubt that she is living in a utopia, and that something far more sinister is going on. The one knock here is we’ve seen Pugh play this type of role before, specifically in MIDSOMMAR (2019). Not a big deal, but as good as Pugh is here, it wasn’t quite as fresh as some of her other performances. Still, she’s a wonderful actor, who I first noticed in the wrestling movie FIGHTING WITH MY FAMILY (2019), and who has since wowed me in the aforementioned MIDSOMMAR, in LITTLE WOMEN (2019), and in Marvel’s BLACK WIDOW (2021).
Harry Styles as Alice’s husband Jack is convincingly loving and supportive, until the plot takes a different direction, and his character takes on a ROSEMARY’S BABY (1968) vibe, as he plots against his wife.
It was fun to see Chris Pine cast against type as the villain here, Frank, the man who coolly and confidently seems to have an answer for everything. Frank is super annoying, and he gets under your skin. Pine’s performance might be the best in the movie.
Timothy Simons makes for a dubious doctor who works for the company, Dr. Collins, whose stoic demeanor irritates as he counters Alice’s emotional accusations with calm comments to the contrary. And director Olivia Wilde is effective as Bunny, a housewife who seems to be one of the most loyal to the needs of the company.
The screenplay by Katie Silberman, based on a story by Carey Van Dyke and Shane Van Dyke, presents an interesting premise but then doesn’t deliver on that premise. From the get-go, the audience knows there’s going to be a twist, a reveal, as it’s pretty darn clear that this utopian society isn’t really all it’s cracked up to be. And so, it’s not a surprise when that reveal happens, but worse, the reveal itself is something we’ve seen before, and this take on it is nothing new.
On a metaphorical level, the story tackles the issue of the husband who stomps on his wife’s autonomy, which is the most interesting theme the film has to offer, but it’s handled in such a superficial way that it really doesn’t resonate.
And while the characters are generally interesting, and the two leads Alice and Jack likeable, no one really drives this movie. Pine’s Frank is the most effective character in the film, but he’s the elusive villain, and so the bulk of the movie isn’t built on him.
So while DON’T WORRY DARLING starts off well, it actually slows down and becomes rather dull long before the disappointing reveal.
Director Olivia Wilde does a decent job here, but I prefer her previous directorial effort, the sharp and funny BOOKSMART (2019).
DON’T WORRY DARLING has some creative direction, and a couple of strong acting performances by Florence Pugh and Chris Pine, but none of it is enough to overcome its dull reveal or sluggish second half pace.
Don’t worry about missing this one.
I give it two stars.
Four stars- Excellent
Three stars- Very Good
Two stars- Fair
One star- Poor
Zero Stars- Awful