When you sit down to watch a new movie by the American Adam McKay -for example, Don’t look up (2021), on Netflix—, he always fears that he will suffer a regression to that sad stage from which he managed to get out by fortune and in which he only offered us deficient and brainless comedies, completely indefensible from an artistic point of view. Beyond that a simple spectator wants to have a little fun without giving a damn about the quality of what a thing as healthy as laughter causes him, of course. That there is everything in this strange world.
But, for moviegoers looking experiences of greater depth, and that a filmmaker gives them the hair like spikes thanks to the powerful scenes that can come out of a well-written script, some high-level interpretations and the corresponding audiovisual expertise, no neighbor would recommend them or fed up with wine that they swallow The Reporter: The Legend of Ron Burgundy, Wake Up, Ron Burgundy: The Lost Movie (2004), Past laps (2006), Brothers by balls (2008), The other two (2010) ni The masters of the news (2013).
The merciless satire of ‘Don’t look up’
One must refrain from doing so if you really don’t want the poor victims of your dire recommendations to hang you by the thumbs of the main mast. However, what I would do is suggest that they wear The big bet (2015) and The vice of power (2018), nominated for the Oscars. Because these two feature films are the ones with which Adam McKay has redeemed himself from his previous cinematographic nonsense; and in the most honest way possible, be careful. A good trajectory in which it seems that it continues by Don’t look up.
The vigor and peculiarity in the montage of the compositions of the Philadelphia-born filmmaker are some of his greatest virtues, and he has abandoned the nonsense with the role of Will Ferrell – apart from the fact that the actor does not return his calls now – to immerse himself in socio-political cinema without betraying his own style. Both in the script, which usually has his signature although sometimes he collaborates with other people in his writing, as in the staging and the same moving images. So has not given up on himself para ennoblecerse.
Nor for his latest work, which we can consider the anti-Armageddon (Michael Bay, 1998) from Netflix with all of the law. On Don’t look up, we can distinguish Adam McKay’s taste for the eccentric and surreal comedy, focused on a merciless satire, but more subtle than in his forgettable films, and therefore decent and satisfying. On The big bet and The vice of power Their sense of humor is also present but, as they recreate real events, the libretto of both is held in this area. There is no other remedy, then.
A luxurious cast and like a fish in water
So the director has been able play around causing us to laugh, which he achieves more than once, without going back to the times of the flat encephalogram. With the invaluable help of its luxurious cast, led by the wonderful Jennifer Lawrence (The great American scam) as Kate Dibiasky and a Leonardo Dicaprio (Titanic) that brings a thousand nuances to the emotional states of your Randall Mindy. They and the others move like a fish in water due to the difficult but firm balance of that curious hilarity that Adam McKay breathes into Don’t look up.
A Meryl Streep (The hours) and Cate Blanchett (The Lord of the rings) you can not put a but at this point playing Janie Orlean and Brie Evantee; nor to Rob Morgan (The Knick), Melanie Lynskey (Hold me those ghosts), Timothée Chalamet (Interstellar) y Tyler Perry (Star Trek) as Teddy Oglethorpe, June Mindy, Yule, and Jack Bremmer. About Jonah Hill (The wolf of Wall Street) giving life to Jason Orlean, he finds in his comic sauce; and Ron Perlman (Enemy at the Gates) looks like he was passing by like Ben Drask.
The opposite side of ‘Armageddon’
Secondly, the ginning work of Mark Rylance (Ready Player One) as Peter Isherwell is worth studying in acting academies. As much as, for his own, the one with the assembler Hank Corwin, which he repeats with Adam McKay after The big bet and The vice of power and that he had already shown his talent in Nixon (Oliver Stone, 1995), As it snows on the cedars (Scott Hicks, 1999) o The Tree of Life (Terrence Malick, 2011). Here you meet that dynamic concatenation of jumps so colorful and to thank.
Perfect as a stylistic exercise in this opposite side of the coin of Armageddon. Because, on the latter, the premise is equivalent, but the narrative development towards the sacrificial adventure and glory, the solemn and heroic tone and the adult seriousness with which the characters take what happens and their simple humorous reliefs are years away. light of Don’t look up, a Netflix feature film with a parodic shamelessness —no excesses— and a lack of mercy for its creatures that it cannot but amuse and disconcert us in equal parts.
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‘Don’t Look Up’ is Netflix’s anti-‘Armageddon’ movie, and you’ll have a lot of fun with it