About Don't Worry Darling
Don't Worry Darling is an American psychological thriller film directed by Olivia Wilde. The screenplay was written by Katie Silberman, based on a story by Carey van Dyke, Shane Van Dyke, and Silberman. Produced by New Line Cinema and Vertigo Entertainment, the film stars Florence Pugh, Harry Styles, Olivia Wilde, Gemma Chan, KiKi Layne, Nick Kroll, and Chris Pine.
The film is a psychological thriller about a 1950s housewife whose reality begins to crack, revealing a disturbing truth underneath. The original script is by Shane & Carey Van Dyke, and buyers were impressed by how Katie Silberman — Booksmart co-writer — will rewrite and tailor the script to Wilde’s vision.
Cast and Characters
While Don’t Worry Darling isn’t perfect, the only baggage it deserves to be saddled with is the baggage of attempting to tell a story with an obvious twist in our twist-numbed culture. For in the end, the real twist is this: even in 2022, true equality between men and women still feels like a fairy tale.Rating: 91/100
The movie, whatever its pile of ideas about love, gender constructs, and modern living, never really transcends Stepford mood-board pastiche. It's all nefarious and gorgeous, Darling, and strictly nonsense in the end.Rating: 67/100
As glossy as any of the surfaces that Alice polishes so diligently each day, it’s a feminist film that asks viewers to evaluate their own social complicity in oppression, while not skimping on really great costumes, gorgeous cars or horny sex scenes.Rating: 60/100
The high-concept, low-satisfaction psychological thriller marks an ambitious upgrade in scope for Wilde from the character-driven coming-of-age comedy of Booksmart, and she handles the physical aspects of the project with assurance. It’s just a shame all the effort has gone into a script without much of that 2019 debut’s disarming freshness.Rating: 50/100
The Hollywood Reporter
Sure, “Don’t Worry Darling” — whose very title reeks of paternalism and condescension of the worst order — comes from a woman’s viewpoint, an element that differentiates it from other films or TV series to which it might be compared. But it’s still not enough to keep the movie from slipping into predictability.Rating: 50/100
San Francisco Chronicle
Burdened with an underwritten part, the curiously flavourless Styles struggles to match Pugh for intensity as husband and wife fly at each other – one’s ambition at risk from the other’s intuition – and the couple’s chemistry fizzles out. It’s a crucial flaw in a film that needs to sell us at least one thing that feels real in its world of artifice.Rating: 40/100
A swing and a miss is too timid a dismissal. It’s a sumptuously dressed table that ends in a wet fart.Rating: 30/100