Look away: why star-studded comet satire Don’t Look Up is a disaster | Charles Bramesco

Adam McKay’s celeb-packed Netflix comedy aims to be a farcical warning of climate change but broad potshots and a smug superiority tanks his message

When persuading someone to change their mind on a major topic, what’s being said isn’t always quite as important as how it’s said. If a person feels attacked or disrespected or condescended to, they’ll turn off their brain and block out the most rational, correct arguments on principle alone. Homo sapiens are odd, emotional creatures, more amenable to a convincing pitch than poorly presented rightness. It’s why we vote for the guy we’d gladly have as a drinking buddy over the somewhat alienating candidates with a firmer grasp on the issues. It’s why we feel heartbreak when the worst person we know makes a great point.

Adam McKay’s new satire Don’t Look Up, a last-ditch effort to get the citizens of Earth to give a damn about the imminent end of days spurred by the climate crisis, appears to be at least somewhat aware of this defect in human nature. It’s all about the difficulty of compelling the disinterested to care, in this instance about a gargantuan comet hurtling toward the Earth on a collision course of imminent obliteration, an emphatic if rather ill-suited, metaphor. (Everyone’s blasé about global heating in part because it’s so gradual, because it isn’t a force of instant destruction with a due date in an immediate future we’ll all live to see.) Leonardo DiCaprio and Jennifer Lawrence portray astronomers Randall Mindy and Kate Dibiasky, flummoxed to find that no one’s all that alarmed about the “planet-killer” they’ve discovered – not the grinning daytime cable-news dummies played by Tyler Perry and Cate Blanchett, not the White House led by Trump-styled president Meryl Streep and not the American people.

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Don’t Look Up review – an A-list apocalyptic mess

Adam McKay’s star-studded climate change satire with Leonardo DiCaprio, Jennifer Lawrence et al lands its gags with all the aplomb of a giant comet

A comet is on a collision course with Earth. The targets in this shrill, desperately unfunny climate change satire directed by Adam McKay are more scattershot. According to stoner PhD student Kate Dibiasky (Jennifer Lawrence) and her professor, Dr Randall Mindy (a self-consciously tic-y Leonardo DiCaprio), the asteroid is the size of Mount Everest and due to hit in six months.

The pair try to warn Meryl Streep’s President Orlean about the impending “extinction-level event”, only to find her preoccupied by the midterm elections. They attempt to raise awareness on breakfast TV, but anchors Jack and Brie (Tyler Perry and Cate Blanchett) can’t help but give their bad news a positive spin. The only person with enough money to intervene is tech entrepreneur Peter Isherwell (Mark Rylance), who wants to mine the comet for its “$140tn worth of assets”. Party politics, celebrity gossip and social media memes are swiped at too. It feels cynical, then, when Timothée Chalamet shows up with no real narrative purpose other than to snog Lawrence.

In cinemas now and on Netflix from 24 December

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Timothée Chalamet: how the prince of indie grew into a multiplex star

A role in the sci-fi epic Dune has transformed the young actor into a bona fide leading man – but not one from the old Hollywood mould

In September, the Met Gala in New York – Anna Wintour’s annual fusion of fundraising gala and celebrity parade – redesigned itself for generation Z. Instagram sponsored the event, Justin Bieber was its headline performer, and four young whippersnappers were enlisted as co-chairs: singer Billie Eilish, tennis player Naomi Osaka, poet Amanda Gorman and – the elder statesman of the quartet at 25 – Timothée Chalamet.

Chalamet turned up, typically tousle-haired and puppy-eyed, in an outfit of two halves. Up top, a cropped, snugly tailored satin tuxedo jacket by avant-garde designer Haider Ackermann, complete with cummerbund and blingy brooches. Below, a pair of baggy cream jogging bottoms, tucked into white socks and Converse trainers. Half princely film star, half kid at play: it’s a look that encapsulates the persona of the biggest, most hysterically obsessed-over teen idol to emerge from the movies since the heyday of Twilight.

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Dune review – Denis Villeneuve’s awe-inspiring epic is a moment of triumph

Villeneuve’s take on the sci-fi classic starring Timothée Chalamet, Oscar Isaac and Zendaya has been given room to breathe, creating a colossal spectacle

If there can ever be a moment of triumph for a director, when the anxiety of influence is vanquished – for a bit, anyway – then Denis Villeneuve might have achieved it. This eerily vast and awe-inspiring epic, a cathedral of interplanetary strangeness, is better than the attempt a generation ago by an acknowledged master.

David Lynch’s Dune from 1984 was an interesting, rackety, flawed movie that attempted to cram the entirety of Frank Herbert’s classic sci-fi novel into its running time – the result was like Flash Gordon without the laughs. Villeneuve, with his co-writers Jon Spaihts and Eric Roth, has used less than half the book (with a second episode to come) and allowed it room to grow: to breathe and drift through unimaginably vast reaches of fictional galaxies, with images of architecturally enormous spacecraft moving into view, or delicately lowering themselves on to alien landscapes of parched and austere beauty, particularly the ravishingly pure desert landmass of “Dune”, the contested planet itself. Star Wars’ debt to Dune, and now Dune’s debt to Star Wars, has been extensively discussed (amusingly, Dune gives us moving holograms rather like the one in which Princess Leia first begged Obi-Wan Kenobi for help). But this blockpulverising film feels more like TE Lawrence’s imperious version of The Phantom Menace. This is how it ought to have been.

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Timothée Chalamet’s Wonka: is it so wrong to find him scrumdiddlyumptious?

The actor’s in-costume Instagram post has caused social media users to accuse the film-makers of “making Willy Wonka sexy” – but Wonka-lust is hardly new

In a sentence I never thought I’d ever write, Timothée Chalamet has revealed his Wonka on Instagram. Chalamet is, of course, currently filming the Willy Wonka movie prequel, and his post last night gave the world its first look at this new iteration.

Judging by the internet, there are essentially two ways to react to it. The first is to be disgusted that Hollywood has bastardised one of the all-time great children’s characters by inventing a brand new backstory, with no input from its creator, for cash. The second is just to get really, really horny.

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Dune review – blockbuster cinema at its dizzying, dazzling best

Denis Villeneuve’s slow-burn space opera fuses the arthouse and the multiplex to create an epic of otherworldly brilliance

Dune reminds us what a Hollywood blockbuster can be. Implicitly, its message written again and again in the sand, Denis Villeneuve’s fantasy epic tells us that big-budget spectaculars don’t have to be dumb or hyperactive, that it’s possible to allow the odd quiet passage amid the explosions. Adapted from Frank Herbert’s 60s opus, Dune is dense, moody and quite often sublime – the missing link bridging the multiplex and the arthouse. Encountering it here was like stumbling across some fabulous lost tribe, or a breakaway branch of America’s founding fathers who laid out the template for a different and better New World.

Related: Spencer review – Princess Diana’s disastrous marriage makes a magnificent farce

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Why a Willy Wonka origins movie could be bad news for children – and Michael Aspel

Will Paul King’s planned prequel follow in the pawprints of Paddington? Or might it stick closer to Warner Bros’ most recent origins hit: Joker?

It was announced this week that Warner Bros has greenlit what might arguably qualify as the most pointless film in cinema history: a Willy Wonka origin story.

The film called Wonka will be released in 2023, it has been in development for the last four years and there are plans to shoot in the UK in September. No casting decisions have been announced, although both Tom Holland and Timothée Chalamet have been linked to the lead role. That is currently all we know, apart from the fact that it will be terrible.

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