Netflix continues its season of ambitious films and after To the killer David Fincher served us another promising caliber on Friday. Novelty Let the world be the world because it could boast not only a damn strong cast led by Julia Roberts, Ethan Hawke and Mahershala Ali, but also a pretty mysterious plot and sympathetic trailers. The story of people whose paths cross in a luxury house while a series of devastating cyber-attacks is taking place in the world is also in charge of the acclaimed TV creator Sam Esmail (Mr. Robot), whose actions are often quite unique and unconventional. It is therefore not surprising that his Netflix show arouses very contradictory impressions in our editorial office.
As the IMF sees it:
It almost feels like Netflix is serving up some philosophy to the masses every Christmas, whether it’s Look Down or White Noise. Let the world be the world is the third in the party, but paradoxically, this frolicking in luxurious solitude near the forest suited me the most, because no one here tries to pretend to be trying to save the world or make a point. It’s just that the screenwriter, faced with the uncertain end of the world as we know it, unravels how little the heroes are sure of their surroundings, themselves, or really anything. What will be left of our identity when you turn off all the displays and sever the digital ties?
Let the world be the world is a slow-moving two-and-a-half hour in which no one says or solves anything important. He is the cold shower and detox of American society. He doesn’t give answers, he just asks – sometimes awkwardly, but diligently – important questions. For some, it will have the depth of household wisdom hanging above the kitchen counter, for others it will be an awakening from the daily lethargy of the busy world. Deliberately simplistic and never-ending struggle with one’s own ego is perfect for Netflix. An undemanding audience will understand it (if they decide to watch it to the end), others can examine between the lines how much the director and screenwriter Esmail is making fun of them or himself. I’m team “glass half full” and I’m going to re-read the Prepper Bible by James Wesley Rawles.
As Cival sees it:
Know the “Netflix movie” in three steps. Overwhelming footage? Yes. Dramaturgical clutter? Check. A great cast and a promising subject in an incomplete result? It fits perfectly. Sam Esmail probably didn’t realize that this time he’s not filming a series where he can drag consumers on a noodle almost endlessly and he cut out a mysterious piece in the shape of an overdrawn pilot.
It is superb in terms of craftsmanship, top-notch in terms of technology, very funny acting in some places and has three very nice scenes, but unfortunately the result is an immature exorcism that is more reminiscent of the late work of M. Night Shyamalan than the masters of horror and horror. One of the better Netflix originals, but still more of a missed opportunity. And yes, I will definitely make an appointment with the dentist on Monday!
How he sees it to_From:
More anti-social nirvana than a thorough treatise on the end of the world/unnamed apocalypse. In addition, with an absolutely top-notch formal side, where I enjoyed the camera in a similar way to early Fincher. I will make a lot of comparisons, but I also thought of Cloverfield, for example, where the cause of the chaos is not revealed for a long time, and at the same time of Hitchcock in the sense of how Esmail masterfully builds tension, keeps asking new and new questions, and skillfully plays with the audience’s feelings while slightly haunting him. In this regard, it is not even far from Peel’s work, on the contrary, it is far removed from Shyamalan and his stupid scripts.
Let the World Be the World has a slow-burn plot, but at the same time, the film is so packed with stylish and unexpectedly spectacular moments that a person who enjoys the massage of both cerebral hemispheres cannot get bored. In a time of such social decay as we are experiencing, this film adheres to two simple truths. People are worth it and Friends are the last bastion of safety and good mood. Anyone who sees it differently will not be able to enjoy this slightly satirical, sometimes depressing, definitely very disturbing, but also beautifully absurd and funny ride. On the other hand, I’m going to rewrite this year’s top at the last minute.
As TedGeorge sees it:
Julia Roberts hates people and director Esmail has a feeling he doesn’t like the audience. Or at least me. All the time, I had the feeling that I was watching a powerful, but overall excruciatingly long exercise in how many motifs could be opened and how many could not be brought to a successful end. Winking at the viewer in the background of the postapa was of course the purpose, but for God’s sake it could have been filmed much more vividly, faster and without the unnecessary addition that is not in the book, and after more than two hours I felt that I had been slapped at the end. Sure, I see quite a few happy Netflix users around, and my disappointment may stem from the fact that I was foolishly expecting a riveting thriller (I felt like the opposite of Greenland when it ended), not American-end pictures in which the filmmakers poked fun at today’s rotten society .
As k0C0UR sees it:
Such potential, such acting cream, such motives to think about! Suspected corporate downfall, family drama and an oil tanker uncontrollably breaking up the digital sand on the beach feel like a harbinger of big things to come, subtle hints of atmosphere from the morning of Triangle of Sorrow (suspect social satire) beckon. But who would have expected that the generously sweeping footage would allow the ambitious multi-genre artist to carefully depict something, let alone finish it, is mistaken. Motives start and end like on a treadmill, emotions escalate pointlessly without deeper contexts (Kevin Bacon wtf), one minute you’re on edge and say to yourself “so now” and then Julia Roberts starts explaining something about the insidiousness and suffering of human relationships and starts hugging his co-star because the script just wanted it to.
The film tries for funny intergenerational clashes (“vaping is something like marijuana”), pure horror scenes and unfortunately (somewhat violently written into the script) meetings of sleepy deer and deer, which are supposed to whisper between the lines that even animals currently know more than people (understand viewers, haha). But there is too much and at the same time nothing is right, and if you ask me how it turned out, I will just shrug my shoulders hesitantly. I understand that director Esmail is trying to avoid the audience’s expectations and do things his way, but when he doesn’t even get the point across, you almost reliably feel like a waste of time; and the company of Julia Roberts and Ethan Hawke unfortunately won’t change that. Turn the page and let the world be the world!
2023-12-09 19:00:00
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