Amid the natural existential despair in the face of such a discovery, the story shoots up with a frenzy as the pair of researchers, with the company of Dr. Oglethorpe (Rob Morgan), do their best to install the theme and give humanity a chance to prepare for catastrophe.
In this unfolding of the events, the story opens two fronts in which the protagonists and their precarious group of followers fight: the politician and the media, two strong counterweights in the mission of convincing the public of the inevitable collision.
First comes another industry name, like the legendary Meryl Streep, in the role of Janie Orlean, the president of the United States, who with her son-chief of staff, Jason (Jonah Hill), make up a mocking and sad mime of the right-wing governments and the use of relevant and critical issues for the future of society only for electoral benefit or to hide scandals.
The matter is moved to the big screen by Cate Blanchett y Tyler Perry, Transformed into a stereotypical duo of hosts on The Daily Rip, a heavily washed-up morning show that seeks to put a smile on even the most dire news, in which Dr. Mindy and Dibiansky take their first public step on a quest to gain attention of the public on the fateful asteroid.
The lack of coherent answers and the indifference on the part of the first and fourth estates consummate their character of unreason when the American government decides to back down with the launch of a ship – manned by a heroic astronaut in the form of human sacrifice, played by a sympathetic Ron Perlman- who would collide with the threat to divert it from its course.
Instead, the new proposal of the authorities is to join with Peter Isherwell (Mark Rylance), a multimillionaire who suspiciously remembers other technology gurus such as Steve Jobs or Elon Musk and who plans to blow up the asteroid into “recoverable” pieces to get a financial profit. , after learning that it is composed of coveted minerals that are not abundant on Earth.
With its cynical perspective on the lack of seriousness and the trivialization that social networks are capable of producing in the face of fundamental problems for humanity, the film does not limit itself to making an acid caricature of the world context but also offers a more humane and sensitive in the story through the personal becoming of the protagonists.
Without appealing to the low blow or dramatic moments typical of catastrophe cinema, “Don’t Look Up” builds a reverse side of laziness that represents the behavior of those who know that all is lost, still holding the importance of friendship, family and the conviction to fight, regardless of the result.
Source From: Ambito
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