Those following Ridley Scott’s work over the last decade will have noticed a rollercoaster in terms of quality, particularly in recent years. For every underrated gem (The Last Duel), there’s a total misfire (House of Gucci). His latest directorial effort, post-apocalyptic drama The Dog Stars, is thankfully no misfire, but some audiences might not appreciate the end result as much as others.
Adapted from Peter Heller’s book, the story is revered as a humanist, poetic story. The marketing for this cinematic take on the source material might have you thinking The Dog Stars is an action-heavy thriller, but Scott leans towards the original text in tone and execution.
It’s the 2030s, and the world has been ravaged by a deadly flu. Hig (Jacob Elordi), an engineer who also acts as a pilot, spends his days surviving with trusty four-legged companion Jasper and the militant Bangley (Josh Brolin). Missing his previous life spent with his now deceased wife, Hig yearns for something more than supply runs and defending his home, so he ventures off in search of sanctuary; a faint radio signal appears to come from Grand Junction, Colorado.
There are physical threats in the form of Reapers; non-descript grunts who have gone feral since the end of the world. But the real conflict is in the character drama. Elordi delivers a riveting performance as he reaches breaking point in needing something more after years of pain. He may be alive, but he’s not truly living. Hig meets the curious Cima (Margaret Qualley), who also desires something more than just living with her curmudgeonly father, Pops (Guy Pierce). The relationships between these characters naturally blossom in warm, endearing scenes as they aid each other.
That sense of community is the heart of The Dog Stars. Scott and crew don’t just get the theme across through character arcs and drama, but through smart editing too. Two of the film’s big set pieces—which are entertaining enough—play back-to-back. The first shows the struggles of a single character neglecting community and struggling to overcome obstacles, whilst the second shows the other side of the coin: together, we can triumph even with the odds stacked against us.
Whilst Scott can’t help himself with injecting some freaky visuals and violence (it’s rated 15 for a reason), The Dog Stars strikes a great balance between grounded pessimism and hope. With everything going on in the world right now, we need a film like this. Scott had his finger on the pulse with The Last Duel (2021) in a post-MeToo world, and with this, he aims to bring people together before we all end up in Hig’s world. The ending might be the biggest surprise: there is no big third act set piece, but instead a quiet, emotional conclusion that neatly wraps up everybody’s arcs.
Some folks will see The Dog Stars as a trite post-apocalyptic adventure, but it is revolutionary in how it eschews blockbuster trends. Scott’s most soulful film in a while, the slower pace and focus on character is hugely rewarding for those who stick with Hig on his flight.
The Dog Stars is in cinemas now.
