No mires arriba

Una comedia de Hollywood sobre el fin del mundo mucho mejor que Juerga hasta el fin :-) Inteligentemente no sólo escrito, sino también interpretado. Por ejemplo, el uso de Ariana Grande y su canción es top. Las escenas de retransmisión en directo me parecieron las más satíricamente acertadas. Otro papel interesante para Mark Rylance. La última frase de DiCaprio, aunque no es reveladora, es acertada y da en el clavo de mis creencias. Y este es exactamente el tipo de Cate Blanchett que quiero como amante. (06.03.2022)

It's easy to see why Leonardo DiCaprio, an environmental activist who chooses his films carefully, gave his nod to this one – substitute a deadly comet for current and worsening climate change in the coming years and you get the picture. On the one hand his character, Dr Randall Mindy, and on the other – in real life – deniers like Klaus, Trump and similar idiots who, despite clear scientific and factual evidence, deny the human effect on climate change, just as McKay's film shows. And the people who, just like in this story, generally don't give a shit, they'd rather superficially like an article about how some pseudo-celebrity broke up with her boyfriend and completely ignore something that will be in a few years, or is slowly coming, because celebrities and other such superficialities in commercial media (and now, unfortunately, in public media as well), which focus primarily on entertainment, are pulling their weight these days. You can't be surprised, then, that Ariana Grande's breakup is hilariously taking precedence on TV over information about impending danger from outer space. Unfortunately, after an energetic first half, when McKay, in addition to the aforementioned, aptly addresses the unfortunate influence of social networks, the superficial and short-term thinking of politicians and the herd mentality of the population, the film loses its grip and its momentum and reaches the end at an idle. It just goes from a biting satire to an overly activist thing with no insight. But overall, the 4 stars are well deserved for the message that we're sitting on a barrel of dynamite while laughing like idiots. (29.12.2021)

The worst thing is that in a world where populists rule politically, where even infotainment is no longer enough for the media but pure entertainment, where much of the real power is held by unaccountable tech giants headed by eccentric megalomaniac billionaires, where social media trends set the agenda, where likable bullshit carries more weight than fact-based opinion, a doom-comet could very well end up exactly like this. Scary, true, and funny at the same time. (25.12.2021)

Is this a brilliant satire that affects a sensitive point? Nope. Rather, it’s a very dry affair that fails in all disciplines. It strikes out in all directions indiscriminately and sometimes hits something rather unintentionally. That humanity is, at its core, a bunch of greedy assholes driven by the lust for riches and the desire to be better off than our neighbor is nothing new. Yet the film shouts it out to the world with the smiling naivety of young teenagers who want to save the world with a banner in one hand and a cobblestone in the other. Maybe these old-fashioned thought "overlaps" are enough for some people, but if I’ve got the laziest dramaturgy, I'm damn well taking the opportunity to be really clever and, above all, funny. This collection of caricatures without a single full-blooded character just travels around America, decrying concentrates of media outpourings, billionaire complexes, and political clownery, where it's fine to look for all the real-life foreshadowing, but absolutely no one is standing on their own two feet. It's like the jokes my fourth graders sometimes tell me at school: it has a confusing beginning, everything gets repeated about four times, and by the punchline, you have to help it or it's never going to end. This simply lacks effort and cuteness. The condescending smile is nowhere to be found. Middle finger up. (21.02.2022)

I liked you, Adam. Your sarcasm, your snappy dialogue, your discomfort, your sense of deranged characters. This is like Roland Emmerich trying to be very clever and insightful. Everything is hollow, the timing is off, and the ironic jabs are very off indeed. I understand that it's part of the general annoyance at the state of the world, but it actually reflects much less of it than it seems. It's kind of a scented bubble. With a fart inside. (29.12.2021)

Adam Mckay and political comedy satire at it's best! The timing for this film couldn't be better. I'll admit I had low expectations, it's not exactly my cup of tea and I'm definitely shocked that it ended up being one of the best films with the most stellar cast this year. The film benefits the most with an attractive (read topical) plot where two low level astronomers discover an approaching comet that is hurtling straight towards our planet and it's funny that no one actually cares about it properly. DiCaprio is traditionally excellent (the scene where his nerves snap is a clear acting highlight), but for me the film was pulled mostly by Jennifer Lawrence, who stole most of the scenes to herself and made it clear that she is a strong rival to Sandra Bullock in the battle for the Oscars. The dramatic and tense moments worked well, giving me goosebumps several times. The film has so many amazing and memorable scenes where I said to myself many times “this is powerful!”, and I definitely don't say that often with conversational films. The humor wasn't the strongest point, but that didn't bother me that much. I also liked Ariana Grande's performance and the epic sci-fi finale of Emmerich proportions with a downright top notch post-credit scene. Stylish, apt, funny, disturbing, entertaining and very chilling. Netflix got their shit together and once again made one of the films of the year. A filmmaking and acting treat that I will happily repeat. Story 5/5, Action 2/5, Humor 3/5, Violence 0/5, Fun 5/5 Music 4/5, Visuals 5/5, Atmosphere 4/5, Suspense 4/5, Emotion 4/5, Actors 5/5. 10/10. (28.12.2021)

I've been thinking for the past two years that making a satire must be pretty hard when reality keeps overtaking it. But Don't Look Up manages very tastefully to poke fun at our times, no matter what we apply it to on the list of what's happening now. It's probably obvious to anyone who's read the cast that the acting is going to be okay at the very least. I downright needed DiCaprio's "dry" role, and I even liked all the women around him a bit more than usual. For me, it's one of those movies that downright makes you feel better and you're happy to give something five stars after a string of fours because finally there's no BUT. (20.03.2022)

I might be a heretic for it, but I will not join the large fan club of this film. I have, let's say, a reserved relationship towards Adam McKay's work, we don't understand each other, and Don't Look Up is unfortunately no exception. In my eyes, satire should be smart and sophisticated above all. However, this film is kneaded from the same material that it wants to make fun of. It is a pop culture comedy for viewers who are satisfied with little effort in character development, who want to have things served nicely, and, above all, who want to reinforce their view of the world. The film has such a strong cast that I was almost certain I would give it at least three stars, but in the last third, it really annoyed me. If there are comments comparing Don't Look Up to Wag the Dog, with the claim that Don't Look Up is superior, I see it the other way around. Wag the Dog defeats McKay's film not by one or two horse lengths, but at least by a whole stadium. Overall impression: 45%. (03.10.2022)

A well-fed DiCaprio strides in for another Oscar. A rather shaky, but occasionally unexpectedly realistic picture with a powerful message which shows where we have got to and how bad things are. We could just laugh, but McKay really wanted to terrify us. A modern horror wrapped in cynical humor and dispassion. Showing us prime examples of bad decisions that are constantly being made today on a regular basis. This is filmed for dumb people too. (25.12.2021)

A bit overdone and insanely talky agitprop for saving the world, which is lifted up by a strong ensemble of actors, a decent turn of phrase and depiction, or at least a hint of a lot of themes that trouble us humanity and sooner or later will have to be solved somehow. It also includes stalwarts in the style of the miserable political establishment, the negatives of social networks, etc. It's clear why DiCaprio is involved, but beyond that, it's nice to see the likes of Ariana Grande, where I want to believe she knew out why she was cast and why she's playing what she's playing. Too bad about the length and some unnecessary "off topic" scenes. (09.01.2022)

I don’t know, after all those raving reviews, one would expect almost a new Dr. Strangelove. And yet it's such a simple satirical comedy with predictable one-note humour. It’s a shame. Most of all, Don’t Look Up! reminded me of Death to 2020 if someone unwise had made an almost two-hour film out of it. (14.01.2022)

Yo fui uno de los pocos a los que les dejó completamente fríos La gran apuesta. El vicio del poder me pareció bien y Master me gustó bastante como comedia sin pretensiones. ¡Pero no ha sido hasta hoy cuando Adam McKay como creador me ha interesado realmente gracias a su No mires arriba! No es fácil hacer una buena sátira, como descubren unos cuantos pretenciosos cada año, pero aquí salió genial. Está equilibrada tanto en la dosis de gags sencillos (algunos de los cuales no me gustaron del todo, mientras que otros me provocaron una carcajada), como en el humor satírico inteligente (tuve una sonrisa en la cara durante toda la película) y en las escenas serias que invitan a la reflexión (de las que Leonardo DiCaprio se roba unas cuantas para sí mismo y se sale con la suya). A finales del año pasado, Netflix me deleitó con Mank, y este año lo ha hecho un poco antes de Nochevieja con esto: se está convirtiendo en una tradición. PS: Que esta refrescante obra tenga actualmente un 55% de valoración de la crítica en un agregador web no identificado (es decir, menos que la terrible Venom 2: Habrá matanza), mientras que la piruleta de feria Spider-Man: No Way Home tenga 90% demuestra una vez más que el pozo negro hipócrita no es una fuente de opinión relevante y que debería dejar de tenerlo en cuenta, aunque sea mínimamente. (25.12.2021)

Cuando alguien de los estadounidenses se dispara, me gusta mucho. Cuando ellos mismos lo logran, así que me quito el sombrero. Si esta película durara noventa minutos, estaría emocionado. Desafortunadamente, la segunda mitad mató todo lo bueno de la primera y casi me aburrió desesperadamente. El personaje más divertido y mejor interpretado - Jonah Hill (dentro de cinco años podría ser tan delgado como una caña), el personaje más incómodo y molesto - Mark Rylance, el personaje más innecesario - Timothée Chalamet. (01.01.2022)

Now that's what I call entertainment! I don't remember the last time I laughed so hard during a disaster movie. The Americans indulged in some self-criticism, allowing Meryl Streep to take on the role of a female version of a hybrid between Donald Trump and George Bush, and she clearly relished every moment of it. The film was packed with contemporary elements: visionaries, internet weirdos, political weirdos, cutting-edge technology, national heroes, renowned scientists, and even a global threat. But the best part? The creators weaved all of this into a pretty functional script, backed by a quality cast, a healthy dose of humor, and it put me in a great mood. Beyond the laughs, the film also left me with a clear sense of hope for the future. Even in humanity's darkest moments, two certainties remain: people's narrow-mindedness and tendency towards herd behavior. It might not seem like much, but it's something to rely on. / Lesson learned: Watch out for Bronterocs! 4*- (27.02.2022)

A great comedy, an even better satire, and unfortunately a pretty unpleasant drama that mercilessly weaves in perhaps all the current global ills of a post-factual and "over-digitized" society. Luxurious casting (with the exception of Jonah Hill, who is absolutely awful), awesome gags, and together with the still unsurpassed The Big Short perhaps the best of Adam McKay. [80%] (02.01.2022)