Olivia Wilde’s new film wants you to think a lot. To enjoy it, you probably shouldn’t
is that for all the care director Olivia Wilde took in crafting the film’s nightmarishly pastel wonderland, she couldn’t come up with a single coherent sell for the press tour. It has variously been about female pleasure , a feminist sci-fi and a takedown of conservative hero Jordan Peterson. These, it transpires, were red herrings . The film hits some of those marks, but mostly misses. Here’s a better pitch: this is a good old-fashioned action-thriller, big on vibes, low on coherence.
At the end of each day, amid perfectly hazy golden hours, the couples reunite over steaks and kitchen-table sex. But Alice , married to the anaesthetically sweet Jack , suspects something is up in Victory. It may not surprise you to know that she is right!the film’s third-act twist, and it’s not hard to take a ballpark guess at what this could be. It raises many questions, so many questions, probably enough questions to fill another two-hour film.
Other performances are less assured. To call Styles a leading man is erroneous on two accounts. He hasn’t yet proven his ability to take on such a role, and his character is intentionally side-lined for most of the film, though there is at least one dance number where Styles’ electric stage presence is committed to the big screen. Kate Berlant, who plays the eternally pregnant Peg, is the most valuable supporting player, giving the town some depth.
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