Fifth about The Seventh

Don’t Worry Darling

Don’t Worry Darling: it is pretty obvious from the get-go of Olivia Wilde’s film that there is something hidden going on, the question is simply how silly it is going to be. That comes with the territory when setting a movie in a small town where life is just too perfect. Ultimately, neither the journey nor the destination is fascinating enough and the mechanics of the whole thing are largely left unexplained. Even its more perverse aspect, which justifies setting the story in the 1950s, is barely explored. Florence Pugh, playing the young wife who starts to see through the tracks of this supposed perfection, is rather fine. Harry Styles looks good as her husband, but his acting simply doesn’t register much. Chris Pine, as the almost mythical man at the center of the town, is OK. Its storytelling shortcomings notwithstanding, the film is elegantly put together: production designer Katie Byron puts together a credibly decorated small 1950s town, and costume designer Arianne Phillips gives the actors good-looking garments. Cinematographer Matthew Libatique captures it all under the almost oppressive sunlight of the desert. The film makes uses music from the period aggressively, and composer John Powell’s score helps to give the film its sinister undertones.

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