Jacob Elordi Stars in Ridley Scott's Post-Apocalyptic Film 'The Dog Stars'

Ridley Scott, at 88, has directed five films this decade, and his latest, "The Dog Stars," shows no sign of being his final work. The film, set in 2035, imagines a world where human civilization has been nearly wiped out by a flu pandemic. It centers on Hig, portrayed by Jacob Elordi, a former mechanic and pilot, and his Belgian Malinois, Jasper. Their fate, particularly Jasper's, is a focal point for dog lovers.

Hig and Jasper have established a survivalist existence at an abandoned Colorado airfield alongside the gruff ex-Marine Bangley, played by Josh Brolin. Bangley describes their life as the American Dream, defined by "Food, power, water, weapons and a perimeter we can defend." However, their resources are targeted by "reapers," described as marauding tribes of tattooed, machete-wielding scavengers.

Despite the bleak setting, Hig seeks human connection, embarking on a journey in his small Cessna. His search leads him to encounter various characters, including a potential love interest played by Margaret Qualley, her father (Guy Pearce), a Mennonite community led by Benedict Wong, and Allison Janney as a peculiar former flight attendant.

Adapted from Peter Heller’s 2012 novel, "The Dog Stars" does not aim to reinvent the post-apocalyptic genre. Instead, it offers a heartwarming perspective on cherishing simple things: morning coffee, a cigarette, playing fetch, and the practical skills needed to fix things in a broken world. Elordi's performance is highlighted as a significant draw, potentially elevating his status as a leading man. Some viewers might find his attire less revealing than in his previous roles.

For the first two-thirds of its runtime, the film functions as a contemplative, post-apocalyptic hangout movie. The tone shifts dramatically in the final act when Scott introduces intense, violent sequences that recall his earlier works like "Alien" and "Gladiator." While not on par with those films, "The Dog Stars" achieves moments of soaring cinematic power, aided by Erik Messerschmidt's sweeping aerial cinematography.