![]() But that’s because this is not back then. This is not what cocktail parties were like back then. But the movie takes you on a ride that gets progressively less scintillating as it goes along.Īs it opens, we hear the sexy bop of Ray Charles’ 1958 version of “Night Time Is the Right Time,” and we’re plunged into what looks like a cocktail party from the “Mad Men” era, except that everyone is so loud and garish and lewd and hyped that you wonder if the Gibson martinis are spiked with Ecstasy. Between the pop ambition, the tasty dream visuals, and the presence of Harry Styles in his first lead role, “Don’t Worry Darling” should have no trouble finding an audience. In “Don’t Worry Darling,” she does that to the max, and for a while you get caught up in it (or, at least, I did). Wilde, whose first feature was the witty and vivacious 2019 girls-on-a-bender comedy “Booksmart” (this is her second film), is a gifted director who knows how to set a mood. In theory, this should add up to a juicy watch. ![]() The film, written by Katie Silberman, with the brilliant production design of Katie Byron, is a kind of candy-colored “Stepford Wives” meets “The Handmaid’s Tale” in the Twilight Zone. ![]() If you want to talk about problems related to “Don’t Worry Darling,” you need look no further than at what’s onscreen. Yet it would be hugely unfair to allow this tempest in a teapot of gossipy turmoil to influence one’s feelings about the movie. Olivia Wilde’s “Don’t Worry Darling” is a movie that, in recent weeks, has been besieged and consumed by offscreen dramas, none of which I’ll recount here, except to note that when a film’s lead actress seems actively reluctant to publicize the film in question, that’s a sign of some serious discord.
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