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Movie Review

A-list movie stars face the apocalypse in Leave the World Behind

Alex Bentley
Dec 8, 2023 | 12:41 pm

Films depicting apocalyptic times can come in many forms, from blockbuster movies to studio comedies to small independent dramas. The new Netflix film Leave the World Behind takes the route of a mystery, but one stocked with A-list names including Julia Roberts and Ethan Hawke.

The film is kicked off by Amanda Sandford (Roberts) who rents a house on Long Island for her husband, Clay (Hawke) and family on the spur of the moment, after becoming enticed by an ad that says you can "leave the world behind." But their retreat is interrupted early when George Scott (Mahershala Ali) and his daughter Ruth (Myha’la Herrold) knock on their door late at night, saying they own the house and that they're fleeing a blackout in New York City.

What follows is a tightly-wound suspense story on two fronts: First, between the two families, as Amanda is skeptical of their story and displays some barely-concealed racism; and second, in the world at large, as something appears to be happening. But with the film’s characters cut off from all communication outside of the house, they – and the audience – have no way of knowing what exactly it is.

Written and directed by Sam Esmail, adapted from the book by Rumann Alam, the film feels like a chamber drama writ large. The majority of the film takes place in and around the house on Long Island, featuring conversations between Amanda, Clay, George, and Ruth in various combinations. Amanda and Clay’s children, Rose (Farrah Mackenzie) and Archie (Charlie Evans), take in the whole scene while mostly being ignored, leaving them to discover odd happenings in their own way.

But Esmail also makes time for some big set pieces, including an oil tanker crashing headlong into a beach full of people, a plane falling from the sky, and self-driving Teslas causing chaos on a highway. The juxtaposition between the two extremes, combined with a story that withholds a lot of crucial information, may have some viewers feeling emotional whiplash, but Esmail melds them together in a way that the story rarely feels disjointed.

The film also does a great job of showing just how insular people can be. The big moments that would shake most people to their core are, if not dismissed, then diminished by the characters in favor of the personal things going on in their families. On one hand, it’s understandable as everyone wants to take care of the people they love. On the other, typified by Rose’s constant complaints about the lack of internet preventing her from seeing the series finale of Friends, sometimes escaping feels better than acknowledging the world’s problems.

Esmail, who’s best known as the creator of the TV show Mr. Robot, shows a flair for the dramatic in his filmmaking style. Moments of upheaval result in the camera tilting on its axis, making the audience feel as off-balance as the characters. There are also some fantastic technical shots, including the camera traveling through a car in impossible positions, as well as a car turning around with the camera seeming to float in air in front of the hood.

Roberts, Hawke, and Ali make for a powerhouse lead trio, with Herrold more than holding her own against them. Roberts has not been in many movies in recent years (this and 2022’s Ticket to Paradise are her only films since 2018), but she proves here she hasn’t lost a step. Hawke’s milquetoast character gives him something different to play than recent roles, while Ali gives a performance that’s weighted with racial appeasement, potential grief, and intelligence. Kevin Bacon shows up for a brief but effective appearance.

The message of Leave the World Behind is embodied in two portentous lines: Amanda saying early on, “I f***ing hate people,” and George noting late in the film, “Nothing frightens me more than a person unwilling to learn, even at their own expense.” It’s far from an uplifting film, but the acting, the story, and the filmmaking make it highly watchable nonetheless.

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Leave the World Behind is now streaming on Netflix.

Mahershala Ali, Myha\u2019la Herrold, Julia Roberts, and Ethan Hawke in Leave the World Behind

Photo by JoJo Whilden / courtesy of Netflix

Mahershala Ali, Myha’la Herrold, Julia Roberts, and Ethan Hawke in Leave the World Behind.

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Movie Review

Shaun the Sheep gets PG-spooky in new movie for the Halloween season

Alex Bentley
Sep 18, 2026 | 11:50 am
Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom
Photo courtesy of Aardman / Sky UK LTD / StudioCanal 2026
Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom.

Since his introduction over 30 years ago, the Aardman Animations character Shaun the Sheep has been almost as popular as the studio’s flagship characters, Wallace and Gromit. There is never a shortage of trouble Shaun can get into as he leads his flock and proves to be a thorn in the side of his farmer and Bitzer, the farmer’s loyal sheepdog.

His antics lead everyone down some slightly spooky roads in the new film, Shaun the Sheep: The Beast of Mossy Bottom. At first, things are only slightly awry as Shaun and the flock are growing a secret pumpkin patch to have their own jack-o-lanterns. But when the farmer accidentally destroys the pumpkin patch, Shaun tries to regrow it quickly with a Frankenstein-esque experiment.

However, disaster looms when Shaun uses an old bottle of Hair-Gro as the container for the serum he creates. Naturally, the balding farmer uses it on his head, and everyone soon discovers how truly successful it is, with pumpkins growing out of control and the farmer sprouting hair all over his body. Through a series of mishaps, the farmer becomes the titular beast, creating mayhem while Shaun and others try to stop him.

Directed by Steve Cox and Matthew Walker, and written by Mark Burton and Giles Pilbrow, the film goes down just as easy as every other Aardman project has. They get the Halloween vibes started from the opening credits, with things like the sheep doing the “Thriller” dance, and continue the fun throughout, referencing everything from Psycho to Friday the 13th in a nice, PG way.

With no script — every character is mute save for reaction noises — the movie relies on sight gags for its humor, and the Aardman team is endlessly inventive in that respect. Sometimes it’s small things like a sheep using toilet paper rolls as binoculars, and sometimes it’s something like forcing the Bigfoot-like farmer to be shaped into a rectangle as he escapes through a window. But there’s a never-ending stream of such moments, so even if one doesn’t tickle your funny bone, chances are the next one will.

The biggest benefit of the characters not talking is that there’s no need for deep character development. The filmmakers do a great job of giving the basic traits of each character, and then use those attributes to color everyone’s actions for the rest of the film. Shaun is the troublemaker, the farmer is a bumbling fool, Bitzer is preternaturally smart, and the town’s vet is empathetic, and the combination of those characters and others makes for a highly entertaining blend.

Like all Aardman creations, Shaun the Sheep: The Beast of Mossy Bottom is a fun lark that doesn’t make its audience think too hard. With just enough references to keep viewers engaged but not so many as to be overbearing, the film puts its well-worn characters to good use once again, delivering a Halloween season story that can be enjoyed by people of all ages.

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Shaun the Sheep: The Beast of Mossy Bottom is now playing in theaters.

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