![]() We haven’t seen a nasty Roberts character in a while and Ali balances sophistication and slyness artfully. ![]() The acting is first rate and it needs to be - this is a drama of manners and secrets, and each sigh or glance reveals so much. Community is shattered, guns come out and protect-at-all-costs is the motto of the day. Amanda, in particular, reveals a dark side and her husband - before the disaster, a can’t-we-all-get-along bro - abandons a hysterical survivor by the side of the road. The mysterious catastrophe - ships beach themselves, driverless cars crash like lemmings - sloughs away any pretense at civility, leaving the adults and children to turn on each other. The director paces the deepening dread flawlessly and there are visual delights throughout, like when the family starts off on their adventure with their car exiting at “Point Comfort.” The camera often swirls and soars through glass cracks or holes in roofs like an uneasy bird, or parks itself at strange angles. Esmail, who manages to make a group of deer appear sinister, even makes a Hitchcockian cameo as a corpse on a beach. Robot,” who has made “Leave the World Behind” into a homage of Alfred Hitchcock, complete with the image of a man trying to outrun a crashing plane and using the master’s discordant loud music. It’s a story brilliantly adapted and directed by Sam Esmail, showrunner of “Mr. The racial divide easily swamps their joint class affiliation.Īlso along for the disaster are Amanda and Clay’s children, a “Friends”-obsessed daughter (a soulful Farrah Mackenzie, who even wears her hair in a “Rachel” ’do) and her older, slightly bratty 16-year-old brother (a brooding Charlie Evans). ![]() (a calmly sophisticated Mahershala Ali) and his savvy daughter Ruth, (a superb Myha’la). Well-to-do Amanda (a tart Julia Roberts) and her Atlantic magazine-quoting husband Clay (a hangdog Ethan Hawke) must work with the even-more-well-off G.H.
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