Review: Olivia Wilde’s over-hyped and under-baked thriller is a forgettable flash in the pan
“Don’t Worry Darling” opens at a party in the sleekly appointed living room of a 1950s tract home, where Alice Chambers and her husband, Jack , are entertaining their neighbors with copious amounts of booze, cigarettes and slinky dancing set to Ray Charles’s “Night Time Is the Right Time.” The setting is the anonymous inland community of Victory, Calif., where Jack and his friends go to work each morning for a top-secret project developing “progressive materials.
It’s all mid-century perfection, an idea Wilde drives home with zero subtlety, between the aggressive oldies soundtrack and a candy-colored production design that leans heavily into the era’s bright-and-shiny conformity. But all is not well in this Unpleasantville, a self-contained bubble where Alice does errands on a trolley festooned with foreboding signage like “What you see here, what you do here, what you say here, let it stay here.
Just what kind of looking glass Alice is in forms the mystery of “Don’t Worry Darling,” which was written by Katie Silberman, Carey Van Dyke and Shane Van Dyke, who have taken obvious cues from such vintage classics as “The Stepford Wives” as well as borrowing a dash from “Seconds” here and “The Parallax View” there. More contemporary analogues include “Severance” and “,” both of which have recalled Rod Serling in being both surpassingly weird and on point.
There turns out to be a doozy of a twist in “Don’t Worry Darling” that feels both facile and like a wasted opportunity. There might have been some good ideas in here about ambition and ambivalence, desire and self-deception. But they turn out to be as fleeting as a tumbleweed blowing through suburbia by a Santa Ana wind.
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