STAR RATING: ***** Brilliant **** Very Good *** Okay ** Poor * Awful
Meteorologists Dr. Randall Mindy (Leonardo Di Caprio) and Kate Dibiasky (Jennifer Lawrence) spot a comet rushing towards Earth, and race to inform the government about it. However, they are met with indifference and facility by President Orlean (Meryl Streep) and her administration, including her obnoxious son Jason (Jonah Hill.) To try and stress the seriousness of the impending event, they go on a national campaign to try and spread the word, appearing on various TV shows, which seem more interested in vapid celebrity culture, as well as attracting the attention of an eccentric industrialist (Mark Rylance) who wants to exploit the situation for his own gain.
Despite receiving more publicity than your average Netflix premiere, I, like possibly a few others, took my time getting around to Don't Look Up, and probably for the same reason as many others. I was aware of lead star Di Caprio's involvement in the climate change movement, and was worried it would be little more than a lengthy vanity project. However, after taking a gamble, I can attest this is not the case. Writer/director Adam McKay's endeavour is, in fact, quite inspired, a scathing satire on modern culture and modern politics, with some digs at capitalism and social media thrown in for good measure.
As the leading stars, DiCaprio and Lawrence display an interesting reversal of traditional gender roles, with Lawrence as the feisty, forthright messenger, while Di Caprio's character is more timid and uncomfortable in the spotlight, putting you in mind of the UK's epidemiologist expert Chris Whitty in many ways. Meanwhile, Streep gives her variation on a female Trump, with Hill giving it an extra layer of realness as a family connection. This set up provides the main crux of the film's satirical edge, lampooning the public's modern mistrust of science and unwillingness to listen to experts in a time of national crisis, instead being won over by cheap sound bites and gruff showboating. It retains its comic edge throughout, and so it's a mystery that McKay decides to shoot the whole thing with dull, grey lighting and close camera angles, giving it a disconcerting documentary drama feel.
In the end, it's its own sense of indulgence that ends up weighing it down, a shame since it is far more inspired and relevant than it seemed, at least twenty minutes overlong and, consequentially, overblown. While you've been told not to do so throughout, by the end you may just be 'looking up' out of sheer frustration. ***