Drama

Film review of the conversational ‘disaster’ drama starring Julia Roberts and Ethan Hawke as middle-class holidaymakers in distress. Directed by Sam Esmail.

Synopsis

Following a bizarre incident on a beach, a middle-class family’s getaway to a luxurious rental home takes an ominous turn when a cyberattack knocks out their electrical devices. Then, two strangers – supposedly father and daughter – appear at the door demanding to come in as they are the homeowners.

As the days stretch into weeks, the two families slowly begin to trust each other, despite a series of worrying occurrences and growing curiosity and concern about what’s happening in the world outside.

Review, by Jason Day

OK, so I’m now seriously considering cancelling my Netflix subscription.

Like a lot of people during the pandemic, I signed up to the streaming platform because for just a few quid a month, the variety of films and TV series, new and archive, was incredible.

Searching Netflix, I even found a few silent movies; bizarrely (although I’m not complaining), Swedish classics such as Erotikon by Greta Garbo’s discoverer Mauritz Stiller.

Plus, they even made their own movies that, with limited theatrical releases and much fanfare, made it onto the cinema awards lists.

But now, nearly five years in, I detect a distinct pattern with these Netflix Originals films – they’re just a big con.

What do you do to make a Netflix Original blockbuster like this and the equally bird-brained Birdbox (2018)? Well, the recipe is simple:

• The main, tastiest ingredients are big star names. Pay them ridiculous sums of money to take part in your snooze-fest.
• At the start, mix in a big bang cinematic moment that seduces the audience into thinking they are in for a scrummy thrill-fest meal.
• Simmer the characters in a big house and get them to theorise as to what caused the event that has brought them together.
• Keep stirring in more conversation ad nauseum, for most of the duration.
• Season with a ‘fantastical’ ending (for this movie, it includes a hilarious screaming to some deer moment) to leave the audience with enough mystery to ruminate on social media about what it was all about, thus helping promote said production to other poor saps.

17 people are credited as some variant of a producer, including Roberts. So why couldn’t all those brains and creative talents come up with a film that has more oomph? Did too many cooks turn a good broth into such a tasteless dishwater soup?

There was some controversy in certain sections of the media about a supposedly racist piece of dialogue – “Don’t trust the white people” – for which, apparently, we have to thank two other producers of some kind or another – former US President and First Lady Barack and Michelle Obama.

This line aside, perhaps such political ‘interference’ explains why Leave the World Behind is such a boring, talky piece devoid of action or incidence. Aside from the preposterousness of an oil tanker ploughing its way halfway up a beach (average maximum speed – 12 miles per hour) this is a disaster movie without any disaster; a real snooze fest. Imagine The Towering Inferno (1974) set in an empty bungalow.

There are some commendable performers in this incredible cast. Roberts plays a bitch delightfully way and Mahershala Ali is cool and sophisticated as the possible villain. The whole supporting cast is on form.

Big question for me, then…to cancel Netflix, or not to cancel Netflix? I will…but after I’ve seen those Swedish silents.

Cast & credits

Director: Sam Esmail.

Producers: Sam Esmail, Marisa Yeres Gill, Lisa Roberts Gillan, Chad Hamilton, Julia Roberts, Writer: Sam Esmail.
Camera: Tod Campbell.
Music:
Sets:

Julia Roberts, Mahershala Ali, Ethan Hawke, Myha’la, Farrah Mackenzie, Charlie Evans, Kevin Bacon, Alexis Rae Forlenza.