'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.

Franck (Pierre Lottin), an all-time squatter, finds himself in a complicated trade-off: sell coke for his friend Malik (Yasmin Houicha) in exchange for a place to sleep. The problem is, Franck is no dealer, he even never took coke. Between his slip-ups, the meeting of a dealer, a real one (Clara Ponsot) and his colourful clients, the night is going to be long for our dealer wannabe. Very, very long...
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.
I understood post-memory as passing down stories and images of one’s experiences that are not your own. For decades, rape has been depicted in cinema through a third-person perspective, leaving the viewer to observe rape; not to experience it.
April, a professional dancer, reluctantly trains a group of girls at a dance school for the dance competition.
The Invitation takes a creeping look at two simple premises: reuniting with forgotten friends and new-age spiritualism. Though one seems a bit scarier than the other, the film heightens social awkwardness to a macabre level that puts an uncomfortable look on when the social taboo of grief is put on public display.
We can criticize depictions from old media, but they weren’t simply “good for their time”. They were fighting and struggling in a world we can’t imagine.
The Olivia Wilde renaissance is upon us.