In Don’t Look Up, Adam McKay returns to his favorite territory. This time he is looking at a fictional American structure. On one side are military generals – mostly forgers, bandits dressed in local uniforms. Second, the arrogant and politically far-sighted lady president (Meryl Streep). He won the election because he was photographed smoking. She owes her image of an “independent woman” not to economic decisions, but to this press innovation. We meet Janie Orlean in the last months of her first term. Almost no one in his staff believes in the sensational news of Mindy and Dibiaska. No one is convinced that the salvation of mankind will have a positive effect on inquiries. When, such an elite. However, it is Peter Isherwell (Mark Rylance), the owner of the technology giant, who is a cross between playmaker Mark Zuckerberg and Steve Jobs. Decide for yourself whether it is a cyborg, an alien or a reptile.
Don’t Look Up is a cinema based on a complete plan and cosmic perspective, but focuses on individuals: helpless and hopeless, terrible and helpless. The sheer number of plots and characters does not distract attention from the psychologically complex portraits of Kate Dibiaski and Randall Mindy. Destroyed marriage, drug addiction, romance with a TV presenter, flirting with the media world, false trust, secret terror. DiCaprio has plenty of room to shout, but most of all to back down and express his embarrassment. Thus, he violates the work of acting. Usually becomes a leader and alpha male. This time he is an embarrassing character and a bandit type. Dibiasky has a temperament and arrogance, but he does not have enough determination and discipline to take him seriously. It is Washington’s habit to ignore the voices from the provinces. A tradition that no one tries to hide.
Adam Mackay’s films are more accurate in terms of storytelling (even a mathematical analysis of the real estate crisis in The Big Short). At other times, they acted with a more politically accurate knife (moral support was broken in the Vice). “Don’t Look Up” is not as difficult as its two famous predecessors, but a different film animal. This is not a well-balanced satirical reflection, but a full-mouthed Persian. The grotesque tone may actually be associated with “Look” and “Dr. Strangelove,” but the tactics in the films with Sacha Baron Cohen predominate. There are fewer nuances of the plot, more exaggeration, excessive and unobstructed laughter. There is not much meat, more cartoons, dolls and puppets.
The waving of the American flag, the uplifting speeches, the heroic rescue missions, the meetings at the Oval Office, the deadly seriousness at the NASA command base, the sloppy pop songs about the unification of humanity. You know it perfectly. McKay repeatedly uses the iconographic repertoire of catastrophic cinema, but places it in a completely different context. In “Don’t Look Up”, all the statements are for the show, all the attitudes are fabrications. PR calculation is more important than mandatory decisions. From Independence Day, “We will succeed, we will never give up, we will fight to the end!” said the battle message. replaces it with a crazy, chimera “hell, we don’t have a chance …”.
“Don’t Look Up” is a play on cinematic ethics and a clear artistic appeal. To remind us of the technological attack on the social structure, reminiscent of the corruption of the rulers. In the optics of Adam Makkai, man has less and less room to act and think for himself. It may be too late for any change. In the film “Don’t look up” it was possible to create an original impression of the danger. This is not due to a Manhattan-sized comet approaching the Earth, but to the fact that we have lost our ability to communicate and have really stopped talking to each other. We fell between gossip and life-sucking notifications. Continuing to play in this catastrophic paradox on different planes and in different configurations is the main asset of the film “Looking Up”. First, let’s control the data tornado. Only then will we be able to save our cities from flooding.