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    Movie Review

    Star-filled satire Don't Look Up skewers targets big and small

    Alex Bentley
    Dec 10, 2021 | 12:30 pm
    Star-filled satire Don't Look Up skewers targets big and small
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    Writer/director Adam McKay, who spent most of his career making comedy for comedy’s sake, has made one of the more interesting pivots in Hollywood, turning his comedic eye on real world topics. He took on the financial system in 2015’s The Big Short and the Bush/Cheney presidency in 2018’s Vice, using satire to make larger points.

    At first blush his new film, Don’t Look Up, wouldn’t seem to be in line with the previous two. It centers on two astronomers, Dr. Randall Mindy (Leonardio DiCaprio) and PhD student Kate Dibiasky (Jennifer Lawrence), who make the shocking discovery that a previously uncharted comet is on a course to hit Earth. They quickly try to get word out about the impending disaster, starting with a meeting with President Janie Orlean (Meryl Streep), and then move on to a press tour when the president doesn’t seem to take the threat seriously.

    It’s during that tour that McKay’s real goal with the film starts to crystalize, as Mindy and Dibiasky’s urgent message to the world gets filtered through a variety of outlets, each of which have their own goals that don’t necessarily align with that of the astronomers. The deeper they get, the more it becomes clear that having the public believe in a fact in this day and age is next to impossible.

    Journalist David Sirota, who’s worked on a number of political campaigns, including Bernie Sanders’ 2020 presidential run, is given a story credit on the film, which should tell you something about where it is heading. Through a thinly-veiled lens, it gives commentary on the current state of science, politics, the influence of money on politics, media, social media, discourse in general, all-encompassing corporations, and more.

    The more McKay skewers what life is like in the modern world, and the last two years in particular, the funnier the movie becomes. Each of the people Mindy and Dibiasky encounter are ridiculous in their own way, but they’re also scarily believable in a world where a former reality TV host and his family became leaders of a country.

    And thank goodness the movie is so funny, because if you think too much about the implications of the characters and plot developments, you might start crying. That’s especially true of the film’s discussions around science, which ring all too true in a world where efforts to keep people healthy, including a life-saving vaccine, are being debated as good or not.

    The cast of the film is top-notch, and they all came with their A-games. DiCaprio, Lawrence, and Streep maintain their Oscar-level reputations, and other great performances dot the film’s landscape, including those by Rob Morgan, Cate Blanchett, Tyler Perry, Jonah Hill, Melanie Lynskey, and Mark Rylance. The cast is such that somehow Timothée Chalamet is relegated to second-tier status.

    McKay has carved out a special role in Hollywood, one where he seems to know how to tackle weighty topics without making his films feel heavy at all. Don’t Look Up may just be the best movie about the COVID era without ever mentioning the disease.

    ---

    Don't Look Up is now playing in theaters. It debuts on Netflix on December 24.

    Meryl Streep in Don't Look Up.

    Meryl Streep in Don't Look Up
    Photo by Niko Tavernise/Netflix
    Meryl Streep in Don't Look Up.
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    Movie Review

    Rose Byrne fights for her life and car in new movie 'Tow'

    Alex Bentley
    Mar 20, 2026 | 10:45 am
    Rose Byrne in Tow
    Photo courtesy of Roadside Attractions
    Rose Byrne in Tow.

    Actor Rose Byrne had a banner year in 2025, getting her first Oscar nomination for her starring role in If I Had Legs, I’d Kick You. Although she came up short in that race, she’s getting another chance to prove her acting bona fides in the new film, Tow.

    In the “inspired by a true story” movie, Byrne plays Amanda, a down-on-her-luck woman who lives in her car and can’t find a job. Living in Seattle, she tries to stay in touch with her daughter, Avery (Elsie Fisher), who lives with her dad in another city, but circumstances sometimes limit their communications, especially when her car is stolen.

    The good news is that her car is found relatively quickly. The bad news is that the tow company is charging her to get her car back, money she can’t afford. Now truly homeless, she does everything in her power to right the wrong, even taking the company to court. Without much luck, she has to start staying in a women’s shelter run by Barbara (Octavia Spencer), where she makes friends with Nova (Demi Lovato) and Denise (Ariana DeBose), among others.

    Directed by Stephanie Laing and written by Jonathan Keasey and Brent Boivin, the film has relatively low stakes going for it and never really tries to make the story feel deeper than it is. The situation Amanda finds herself in is clearly a tough one, and any empathetic person would feel for her and want her to overcome her plight. But the filmmakers keep things light and never try to up the drama in any significant way.

    The issue Amanda is dealing with, being price gouged by a predatory towing company, is one with which many people can relate. But aside from helpfully underscoring Amanda’s frustration by showing the increasing number of days she is without a car, they never establish why they felt this particular story was one worth telling. Her personal issues, including a growing estrangement with her daughter, fail to conjure any big emotions.

    The filmmakers are very loose with their storytelling, especially when it comes to side characters. The presence of the women she meets at the shelter, and Kevin (Dominic Sessa), the young lawyer who offers to help her, never makes full sense other than a need for her to have other people with whom to interact. A tighter focus on what Amanda was going through would’ve helped both her and people around her feel more important.

    Byrne is a dynamic performer who’s shown great skill at both drama and comedy, but there’s nothing special about her performance here. Hampered a bit by a blonde wig and false teeth, she feels out of sorts for much of the film. The unusually high-powered supporting cast - both Spencer and DeBose are Oscar winners - makes things interesting on first blush, but none of them outside of Sessa is given much to do, so they’re mostly wasted.

    Tow will be a disappointment for anyone hoping to see more great stuff from Byrne. While she remains a fine actor, her performance and the story as a whole are nowhere near the level shown in her previous film. The real life predicament shown in the film also never rises to the level of being of something worth showing to the masses.

    ---

    Tow is now showing in theaters.

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