Directed by:
Sam EsmailScreenplay:
Sam EsmailCinematography:
Tod CampbellComposer:
Mac QuayleCast:
Julia Roberts, Ethan Hawke, Mahershala Ali, Myha'la, Farrah Mackenzie, Charlie Evans, Kevin Bacon, Alexis Rae Forlenza, Vanessa Aspillaga, Josh Drennen (more)VOD (1)
Plots(1)
In this apocalyptic thriller from award-winning writer and director Sam Esmail (Mr. Robot), Amanda (Julia Roberts) and her husband Clay (Ethan Hawke), rent a luxurious home for the weekend with their kids, Archie (Charlie Evans) and Rose (Farrah Mackenzie). Their vacation is soon upended when two strangers – G.H. (Mahershala Ali) and his daughter Ruth (Myha'la Herrold) – arrive in the night, bearing news of a mysterious cyberattack and seeking refuge in the house they claim is theirs. The two families reckon with a looming disaster that grows more terrifying by the minute, forcing everyone to come to terms with their places in a collapsing world. (Netflix)
(more)Videos (2)
Reviews (13)
After last year's Don’t Look Up!, Netflix serves up another comedic and chilling apocalyptic satire before the end of the year, and if it continues this trend for another year, I'll actually be pretty satisfied, though I have more reservations this time around. The cast is good and the atmosphere is great. It is admirable that Sam Esmail manages to keep the viewer in suspense throughout the entire 140 minutes of running time. The problem, however, arises during the finale, which has to explain all the previous events and the film's message to the viewer in such a horribly literal way that even an illiterate dullard can understand it. This is coupled with characters whose caricature-like behaviour and almost non-communication of fundamental problems, while serving the film's message, comes across as artificial and a bit annoying. Too bad. However, thumbs up for the final scene highlighting the importance of owning physical media despite being shown on Netflix. Heh.
()
Concentrated building of apocalyptic tension that employs clever work with perspective reminiscent of Spielberg’s War of the Worlds (including the way Esmail microdoses the disaster). In emotional terms, we find ourselves between the brightest moments of Shyamalan, Peele and the masterful Take Shelter, but transposed from the working class to New York’s upper middle class. In my opinion, Leave the World Behind is a much more accurate depiction of the catastrophic zeitgeist than all of those hyped-up eco-anti-capitalist satires. It works primarily as a film and some of the statements from the mouths of the believable characters directed against the system and society come off better than in the case of pompous puppet shows. Great work with the camera trajectories, precise actors (Mahershala Ali winner by KO), excellent sound design... If not for a few tonal stumbles, this would be without doubt one of the best disaster films of recent years.
()
Sam Esmail, the creator of the praised series Mr. Robot, directs an apocalyptic psychological thriller about a cyber attack for Netflix, with a decent cast and definitely higher potential. But Esmail and Netflix deserve a thumbs up, as there can never be enough good mystery conspiracy thrillers. Julia Roberts, Ethan Hawke, Mahershala Ali, and even Kevin Bacon in a smaller role make a for a good ensemble cast, so even though it is mainly a conversational drama-thriller with a longer running time than healthy, the film is fortunately not boring. (Of course, it depends on the individual.) I liked the mysterious atmosphere that accompanies the whole film, the division into chapters, and the craftsmanship. The few apocalyptic shots are very nice (although they could have been longer and there could have been more of them). There are plenty of questions and few answers, which wouldn't be a problem if the film didn't have a strange ending where you expect a proper twist and gets that instead. I always have the feeling that when filmmakers are unsure how to end the film and are afraid they don't have a well-thought-out twist, they end it randomly like this, but this doesn't apply in this case. I'm not completely thrilled about it, I expected a bigger mindfuck experience, but compared to the latest Shyamalan, it's definitely a class better. Although there were a few things that bothered me, overall I have no problem with it, and the film receives a weaker 4 stars from me. However, the idea is definitely terrifying. 7/10.
()
Praise for the first four chapters: It's as if elements from the best disaster flicks of the last three decades came together. The suspicion of something dangerous, like in Take Shelter, and the view of a global catastrophe through the microcosm of ordinary people who have no influence on the situation, like in Spielberg's War of the Worlds. Sam Esmail builds the tension of each scene fantastically (I'll remember the tanker for a long time), with clever camera rides that make it all look very cinematic – I couldn't count the iconic scenes with the fingers on one hand. The actors are all man great, except for the young boy, and Mahershala Ali gives it his best performance. With him, all it takes is one scene of him telling his ominous tale to Juliet over wine and it gives you the chills of a first-rate horror film. The daughter's adoration of Friends and her main concern for how the last episode turned out, even though everything is going to shit around her in real life, is such an apt satirical dig at the need of some shallow-minded individuals for whom even the slightest banality is enough to fulfill life. Unfortunately, it loses it's previous mojo in the last instructional chapter. The mystery evaporates and its explanation is like something out of a Trumpist paranoid pamphlet about how the whole world is against the US and that the truth is in the hands of the preppers who have had their packs of basic necessities ready for years, or who have thrown their entire savings into an underground bunker. I think that on Judgment Day I’ll be taking a quiet nap :o)
()
No Bruce drilling into asteroids, Aaron drilling to the core, and Roland twisting all kinds of cataclysms. The era of relatively happy endings is over; a more personal approach to preparing for the inevitable is taking over, dealing with dark prospects, and retreating into the underground around an image with the inscription "Hope begins in the dark." Should I be impressed by the camera moving through floors, walls, and holes in the tin roof of a forest cabin, or the neurotic music feeding the fear of an unknown danger? Not really. What struck me the most was the realization that when the crisis comes, Apple Pay and soy lattes will have zero value compared to a shotgun in the hands of a farmer with a shabby cap, and we, looking from above, will need to dismount from that horse quickly. I resonate with the plotline about Friends. I’d also like to feel good and return to times that seem as if they never existed.
()
Gallery (102)
Photo © Netflix
![Leave the World Behind - Photos](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/168/449/168449450_x4hjsl.jpg)
Ads