Director Ridley Scott's latest film, "The Dog Stars," has drawn criticism for leaning heavily on established post-apocalyptic narrative devices without offering significant new elements. The movie, adapted from Peter Heller's novel, follows a familiar genre template where survivors seek refuge in nature after a global cataclysm, only to encounter new dangers.
Set after a devastating disease has decimated the population, the film centers on Hig, a former Denver mechanic portrayed by Jacob Elordi. Hig lives in the Colorado wilderness with a gruff Marine named Bangley, played by Josh Brolin. Hig's routine involves flying a yellow Cessna to gather supplies and survey the landscape, a task that includes revisiting the home he once shared with his deceased wife. Elordi's performance is described as a downcast charm, though the screenplay reportedly limits his emotional range.
The narrative gains momentum when Hig intercepts a radio transmission from a community in Grand Junction, prompting him to leave his isolated existence in search of other survivors. The film's initial half is noted for its rugged aesthetic, featuring aerial shots of mountains and a doomsday prepper atmosphere. However, critics suggest the film lacks the distinctive style associated with Scott's earlier acclaimed works like "Alien" and "Blade Runner."
As the story progresses, Hig encounters Cima (Margaret Qualley), a woman living with her father, Pops (Guy Pearce). Their journey leads them to an unusual enclave run by a character played by Allison Janney, which adheres to another common post-apocalyptic trope: the introduction of a quirky, violent cult.
The film's latter half is characterized by narrative disarray, with unexplained character groups, such as a tattooed, crossbow-wielding tribe on horseback and a group of Mennanites, presented with minimal context. The conclusion of "The Dog Stars" is criticized for feeling anticlimactic, with the reviewer noting that despite the journey, not much of consequence has occurred.
While "The Dog Stars" is considered by some to be less egregious than Scott's recent "House of Gucci" or "Napoleon," it is seen as a decline in quality from his earlier successes. The film's reliance on well-worn genre conventions and a perceived lack of originality have led to its lukewarm reception.