Ever since I heard about the negative reaction it received from Telluride’s selection committee, I’ve been very wary in having, really, any high expectations for Olivia Wilde’s “Don’t Worry Darling.”
A festival programmer told me it was puzzling that Venice decided to screen the film, maybe they needed the star wattage? Regardless, we have a reaction via Gold Derby:
I’ve been trying to keep so mum and to myself on this, as everyone all signed NDAs after the test screening last fall, but I will keep it very basic and very to the point. The drama being created around the film seems like a mere coincidence to cover up the fact that is was an absolute misfire and absolute mess, and not a fun one in the least. I can’t imagine people caring about me the supposed personal drama on set after they see this. No one will talk about that, they will just talk about what a waste this was. It’s flat. The performances were flat. The story falls apart quickly and gets messy quickly. The script, THE DIALOGUE, The direction, The cast, (outside of Flo she did her best) All bad all the way around. I can’t wait for everyone to see it so they know I’m not bullshitting here. Ironically, Flo and Henry had chemistry, so that’s why these reports made me speak up. I think it’s a mere scheme to cover up for the fact this was awful and there’s no need to create drama, let this be the failure it is on its own.
Wilde raised some eyebrows at CinemaCon by comparing her film to “Inception”, “The Matrix” and “The Truman Show.” Talk about raising expectations.
The film is said to be a psychological thriller about a 1950s housewife (Florence Pugh) whose reality begins to crack, revealing a disturbing realization that she is being suppressed. The premise itself sounds intriguing and the relevance of its #TimesUp themes will no doubt be zeroed in on upon release.
As it stands, “Don’t Worry Darling” is set to only screen at the Venice Film Festival, there will be no Toronto or Telluride screening. The film is set to be released in theaters on September 23rd.
Nathan Fielder and Lance Oppenheim's "You Can See Everything" has been in theaters for, what, three days? And it's already the highest-rated feature film of all time on Letterboxd.