Humor to convey the messaging of today.
Although it’s a lot of over the top over-the-topness, as far as a satire, Oscar nominated director Adam McKay nails it with Don’t Look Up as far as a movie-making ride of an experience. 
This is one of most irreverent satires for it’s sheer enjoyment of the movie-making process, acting, subject matter, laughs, and execution of a stinging, chilling film that defines the time with a grandiose approach. It’s a fine line to walk a satire. McKay hits a home run with tone even though there are times the balance is over the top but that's the fun of watching movies and this satire is sending a clear message. He generates comedy, wackiness, along with a fluid sad wake up call. The film literally goes from funny, to sad, to funny, to scary, to funny, to real, to too real, to wacky again, to too scary, to too ridiculous, to even wackier, to finally - void of emotion. By the time the credits role, you don't know what to feel anymore. It’s a ride.
The film is a satire on climate change and a very distracted society that can’t focus, but really, I say, can’t — accept. Many today have a hard time dealing with climate change and the world around us in this pandemic — in real life — let alone in a satire — but for this one — what was outstanding was — and here’s the key I feel: Our reality has become so absurd that a satire is no longer just funny but sad. Making this satire movie-going experience a new experience of conjuring up feelings you don’t usually get with humor alone.
Don’t Look Up sends a simple message. A comet is coming, will destroy the world in six months, no one is listening because no one wants to, nor can accept the depths of the reality of what is happening to the world around them. In one word: denial and a superficiality with reasoning.
Here’s what is really about. Life today as we are living it. It’s about politicians and the public that chooses to live in an "alternate" reality. People not willing to face the truth in what is happening to the world as they bury their heads with dangers at large and choose to not give up the good time.
The film's messaging is of a current world filled with an ostrich mentality of burying ones head, unwilling and unable to focus, due to a lack of desensitization of technology that allows thoughts to be in 11 characters and a simplicity of mindset that keeps people feeling safe in a pulled-up-turtleneck regime. It looks at the public’s absorption to be only capable of light, snippets of easy to absorb information that can be recited in 10 seconds or less. It shows vapid acknowledgment of reality. For those brains that aren’t fried, they are screaming inside trying to understand why no one is paying attention. They shake their heads in dismay at the realization of the lack of consumption of the facts — put right in front of them.
The acting is outstanding. The film, one of the most dowloaded movies in the history of Netflix, stars Oscar winners Leonardo DiCaprio and Jennifer Lawrence as two low level scientists who find a rogue comet on it’s way to earth which will destroy the planet in six months but no one, absolutely no one is listening. No one understands danger anymore. Danger is a joke to be sloughed off. No one wants to hear it. Bury your head in the sand.
Meryl Streep and Jonah Hill are strong in their depictions of President and President’s son in the White House.
Cate Blanchett hits a home run playing the stereotypical female news anchor in today’s world.
As an ensemble —this is a beyond winning cast.
DiCaprio is one of the greatest actors of our time. From playing the aggressive tough Wolf of Wall Street to The Aviator’s Howard Hughes and his ticks, to Once Upon A Time in Hollywood playing an actor playing an actor, to The Revenant for which he won the Oscar to this, an anxiety-riddled professor/scientist type. It is almost unconscionable that this is the same actor, same person, same face. With each performance he does, he always deserves an Oscar nomination and an Oscar win if you ask me (every year there should be two Oscars for best actor, give one to the actor of the year and just give a second to Leo for whatever he did that year.) He is a male Meryl Streep of our time and only after watching all, every single one of his movies, can you really see the diversity. DiCaprio also has an attuned perceptive way of choosing his scripts (besides wanting to be with Martin Scorsese) to really show an outstanding range of talent. For this one, a renowned global advocate against climate change, he clearly told the director he wanted to ensure a depth of script before he would sign on.
Jennifer Lawerence, also attuned to diversity of roles, is perfect with Leo. They play off each other in rhythmic synchronization as a side-by-side waltz. The arc of Leo’s character is spot on (you will make the connection.)
Oscar winner Meryl Streep as a Trump type president who isn’t willing to accept the severity of the situation in lieu of her Kardashian-esque coiff and manicured digits. McKay says Streep is a talent beyond comprehension. He says her comedic chops were beyond anything he has ever seen. He said she displayed a tour-de-force of improv talent that no one knew was there. He describes one Oval Office phone call scene that she did 20 to 25 times and each time did it completely differently. Each one was excellent and useable. McKay says it was something no one can or likely has ever done.
Cate Blanchett is superb in her role as a vapid TV news anchor.
They all give outstanding performances, though not all on screen a long time or all with one another, each one is captivating each time they are on screen.
Disclaimer paragraph: The film will bring to mind, Donald Trump, Dr. Anthony Fauci, Elon Musk, Mark Zuckerberg, Jeff Bezos, Jay Z, Beyonce and anchor Megan Kelly who left NBC in disgrace and more.
A comet — is the metaphor for life today. It is used as the satire. It represents the publics superficiality from pop culture to how ridiculously obsessed and paralyzed people are to the truth due to their smartphones to social media and how traditional media chooses to give the people what they want, rather than what they need. Many say the movie looks at how media sensationalizes news. Rather, I say, having watched two years of Covid’s missing-the breaking-news-as-it is-actually-happening on the medical news front - actually DE-reports what needs to be said — all in the sake of a chyron at the bottom of the screen.
McKay (An Inconvenient Truth, The Big Short, Vice, produced Succession) is one of my favorite filmmakers today.  He says the first two-thirds of this movie is meant to entertain, while the final third is supposed to hammer home the messaging. The first part has everyone making bad decisions. The last part is acceptance, especially the dinner party scene which will hit home. I loved the entire sub-text of this film — as weird as it makes you feel.
The metaphors of this film are eye-popping. They’re disturbing, they’re out there and they’re and disturbing, all at the same time. You get it but don’t want to accept it. You get it and can’t want to accept it, so you sit there in the final credits in a sort of silence (and make sure to watch the entire roll of credits to the very end.) After the last scene plays - you might find yourself sitting there, releasing an internal sigh wondering how to shake off what you just saw and will try to reach for the remote to put on an episode of Two and Half Men because to analyze it anymore than you just did for the last two hours might be too much just before bed.  Way to much of looking at what life has turned into. Humor aside, laughs aside, absurdity aside, this satire hits a cord.
McKay wrote a story about a comet about to destroy the earth but society can’t face it. What we got was a moment of silence for each of us.

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