Rendező:
Olivia WildeOperatőr:
Matthew LibatiqueZeneszerző:
John PowellSzereplők:
Florence Pugh, Harry Styles, Olivia Wilde, Chris Pine, Gemma Chan, Nick Kroll, Douglas Smith, KiKi Layne, Timothy Simons, Kate Berlant, Dita Von Teese (több)Streaming (3)
Tartalmak(1)
Minden tökéletes. Alice (Florence Pugh) és Jack (Harry Styles) szeretik egymást, boldogok, és a férfi munkahelye által fenntartott kisvárosban, Victoryban, egy szép házban élnek. Körülöttük mindenki szép, boldog, és ugyanannál a titokzatos cégnél dolgozik. De mit csinálnak, amikor nincsenek otthon? Mivel foglalkozik ez a bőkezű vállalat? Alice először unalmában kezd kérdezősködni, azután egyre több furcsa részletre akad, és a cég képviselőinek nagyon nem tetszik a kíváncsisága. Számukra, úgy látszik csak az a lényeg, hogy senki ne tudja meg, min dolgoznak – és bármire hajlandóak, hogy megőrizzék a titkaikat. (InterCom)
(több)Videók (6)
Recenziók (11)
Pasztell femme mátrix. Még jó, hogy a plakát édes románcra invitál Harry Styles szereplésével. A meglepett női nézők egy kifinomultabb thriller-metaforát kapnak az örök belső elégedetlenségről és a "tökéletes élet" utópisztikus illúziójáról. Az eredetileg színésznő második rendezéséhez képest ez egy nagyon ambiciózus vállalkozás, amely a stáb filmes ászaira (operatőr, vágó, zeneszerző) támaszkodik. Florence Pugh színészileg vezet, Styles pedig romantikusan, ezért nagyon jó nézni. Csak maga a poén nem eredeti, sőt, nem is ide való. És a végső kifejletben az egész a kontextus és az érzelmi élmény szempontjából az egész valahogy szétesik.
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Olivia Wilde and her ambitious psychological thriller evoking The Stepford Wives should have been the gem of the year, but it's just a decent genre flick. The setting in the 1950s is very nice, the utopian experimental community is an attractive subject, Florence Pugh is both sexy and a great actress, and there's a nice final twist with Chris Pine that has something to it, but somehow I was expecting more. When best scene in thriller is Pugh's oral sex on a table doesn't feel enough to me. I found the whole film to be a little too restrained. There is no violence, no proper escalation of the situation. The trailer made me expect downright mind fuck scenes playing with the viewer's mind, shocking and fascinating at the same time and unfortunately Olivia fails to do that. I probably had too high expectations, but it's not a bad film, it's definitely worth seeing, I wasn't bored, there are bright moments and strong performances, and the visuals and atmosphere are also very good. In the cinema it might have enhanced the experience to a stronger rating,at home only for a strong 3 stars. 65%.
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Olivia Wilde has revealed an intriguing directorial talent with Don't Worry Darling. It's an original psychological thriller that keeps you guessing until the end, leaving you with a sense of revelation — or maybe not. That's up to you. Florence Pugh is fantastic once again, and Harry Styles proved he can act. Quite a few discoveries for just one film, if you ask me.
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As a mystery thriller one-shot from The Twilight Zone, totally fine. It's beautiful to look at, great craftsmanship, and I have a soft spot for Florence Pugh, she improves the rating of every film by at least one star. On the other hand, if their ambitions were higher, well we can’t speak of a success. The concept is fine and could have been the basis for a more substantial piece of filmmaking, but it would have needed from sharper edges and a more focused script (actually, it's a terribly perverse outcome, but Wilde and the writers failed to fully capitalize on its power). The handling of the reveal of the twist seems a bit shallow, and if you start digging into the individual scenes, you'll find that they may not even make much sense in the end – I really don’t understand what the plane wreck was doing there. 7/10
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Don’t Worry Darling has been written about mostly in the context of major and minor on-set scandals lately, which is a bit of a shame that Olivia Wilde's new film doesn't deserve. She changed the genre dramatically after the fairly clever comedy drama Booksmart, and her new film certainly manages to impress. Matthew Libatique knows how to evoke the atmosphere of the 1950s as they may never have been, but as people want to see it through the filter of nostalgia. John Powell, on the other hand, has done one of his best soundtracks ever, and visually and musically there is nothing to fault the film. It manages to be mesmerising and then again a few seconds later very disturbing. Florence Pugh is excellent in the lead role, as is Chris Pine; in fact everyone here tries their best in front and behind the camera. It's just that they are being tripped up by the story, which, while not bad at all, unfortunately, as the runtime progresses, it becomes clear that Wilde doesn't have a new The Truman Show, Dark City, Inception or The Matrix in her hands, but just solid and functional material from which she can squeeze a technically brilliant film, but one that lacks emotion, surprise or any worthwhile message, especially at the end. The result is good, though exceptional, but I will certainly be happy if Olivia Wilde continues her directorial career.
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