Shadows on the Wall | The Dog Stars

The Dog Stars

dir Ridley Scott
scr Mark L Smith
prd Michael Pruss, Cliff Roberts, Ridley Scott, Mark L Smith
with Jacob Elordi, Margaret Qualley, Josh Brolin, Guy Pearce, Allison Janney, Benedict Wong, Ewen Bremner, James Craze, Sam Spruell, Sai Bennett, Sebastian Rokison-Woodall, Alara-Star Khan
release UK/US 28.Aug.26
26/UK 20th Century 1h58

Is it streaming?

With a surprisingly thoughtful tone, this post-apocalyptic adventure avoids most of the usual action beats for something much more internalised, which is a nice change of pace for director Ridley Scott. A couple of violent set-pieces feel out of place, but the otherwise quietly simmering tone allows the solid cast to find engaging rhythms in characters who want to create a sustainable life after the end of civilisation.

In rural Colorado, widowed pilot-mechanic Hig (Elordi) has survived the flu virus that killed most of the population, living with his faithful dog Jasper and weapons expert Bangley (Brolin), who shots strangers on sight. But Hig remains optimistic about humanity, helping a Mennonite community on his regular supply runs. Then when he hears a radio signal from Grand Junction, he goes to check it out. On the way, he has to make an emergency landing near the farm of the militaristic Pops (Pearce) and his daughter Cima (Qualley). But violent survivors are on the prowl.

Much of the film's tone is hushed, augmented by Henry Gregson-Williams' acoustic score and Erik Messerschmidt's expansive cinematography, with Italian locations standing in for the Rockies. So bursts of intense violence feel invasive and genuinely shocking. Bangley calls marauding gangs roaches, and the film never explores who they are beyond their feral behaviour. And then there's the outrageously creepy and jarringly comical sequence in Grand Junction, as they encounter with the imperious Darlene (a scene-stealing Janney).

With his quiet charisma, Elordi holds the film's centre as the compassionate Hig, who develops distinct connections with each person he meets. His camaraderie with Brolin's gung-ho Bangley is a riot of banter, disagreeing on key issues while maintaining a strong mutual respect. And there's similar tension between Hig and Pearce's darkly intense Pops. By contrast, it's clear from the start that Hig and Qualley's brightly observant Cima share a positive worldview. Refreshingly, their requisite romance is of the slow-burn variety.

Larger questions swirl through the narrative, touching on how paranoia can both provide a protective barrier and cut us off from the world around us. Bangley's take-no-prisoners approach feels harsh but perhaps necessary, but of course we more readily engage with Hig's hopeful perspective on the people he meets. Thankfully, the film doesn't get bogged down in over-explaining what has happened to get here; instead it provokes us to think about what we might do without society's barriers. So the journey of these fragile people feels remarkably involving.

themes, language, violence 20.Aug.26

R E A D E R R E V I E W S

Still waiting for your comments ... don't be shy.