'Don't Worry Darling' Review: 'Get Out' But For White Women
Essentially 'Get Out' but for white women, 'Don't Worry Darling' has strong material with its twist reveal, but the writing and directing falter trying to execute it.

Tsujiko is a college student who suddenly cuts her hair short like a man. Her ordinary daily life is captured with an ultra-long camera that is almost always left unmoved. Episodes with her friends from her high school days are cut back and forth in black and white, and the past and present are told in an unhurried manner. However, the past soon becomes a duplicate of the present, and every day turns into a daringly extraordinary one. Inspired by a short film of the same title by Fumiko Takano.
Essentially 'Get Out' but for white women, 'Don't Worry Darling' has strong material with its twist reveal, but the writing and directing falter trying to execute it.
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
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If you want to feel the rush, you have to take the risk.
The Djinn is about childhood traumas and lifestyle changes. It tells the story of Dylan (Ezra Dewey), a mute boy who blames himself for his mom’s death. He also condemns himself for being speech-impaired, and he thinks that if he did not have that condition, everything could had been different.