Leave the World Behind Review: Asks Big Questions, Doesn’t Answer Them

Leave the World Behind grabs you right from the opening scene, immediately pulling you into the story through Amanda’s ironic declaration that she “f*cking hates people.” This establishes her as the cynical character, while also nodding to the isolationist themes that will come to define much of the plot. As the Sandfords set out on their weekend getaway, there’s already a tension brewing that director Sam Esmail seeds through subtext—you can tell just from the family dynamics that everyone here is a bit stressed and disconnected.

Then comes that knock on the door which ramps up the unease tenfold. Esmail knows how to turn the screws here in classic thriller fashion, deftly shifting gears from family drama to something more sinister with the promise of apocalyptic mystery in the air. And he wastes no time diving right into the racial tensions and biases that will highlight some uncomfortable truths as society itself starts to unravel along with the Sandfords’ vacation.

It’s a solid setup filled with ominous portent, and while the expansive ideas might get a bit unwieldy, the performances anchor it with humanity. Esmail succeeds in dropping us straight into the pressure cooker right away, locking us in with the characters as paranoia begins to take hold. Where it goes from there makes for an uneven but watchable apocalyptic potboiler.

Tracking the Slow Unraveling

Without getting into any big spoilers, Leave the World Behind follows the Sandford family—parents Amanda and Clay and their two kids—as their weekend getaway goes awry. As creepy happenings pile up around their rental home, tensions flare both within the family and with the home’s owners, George and Ruth, who show up unexpectedly.

Amanda is the tightly-wound cynic who spearheaded this vacation, hoping to escape her urban annoyances. Clay plays the patient peacekeeper, while their daughter Rose’s obsession with bingeing Friends drives much of the plot’s social commentary. (We’ve all been there, stuck without wifi!) Archie, the moody teen son, doesn’t get much development early on.

When George and Ruth come knocking, that’s when things get racially charged in the pressure cooker. Amanda eyes them with suspicion, the cracks in her polite liberalism starting to show. Ruth calls her out for these microaggressions, leading to some fraught exchanges infused with generational angst. But these social wrinkles fade into the background as the broader threat takes shape.

And that threat remains ambiguous for a while as cell service drops, strange animal behavior ratchets up the unease, and reports trickle in of a wider catastrophe. Is it cyberattack? Solar flare? The characters speculate as ominous signs multiply. Before long, personal conflicts give way to survival instincts as the scope expands.

Yet through it all, Esmail keeps the focus tight on the characters’ experiences within the chaos. We track their shifting priorities and compromises in judgment as the rule of law erodes. The specificity of the characters grounds the sensationalist scenarios, with the mounting weirdness neighbors and driverless Teslas upending their realities playing as a kind of analog for our screens-and-devices-dominated world turned upside down.

It’s an unsettling slow peel into apocalypse that prioritizes mood over clarity, staying creepy and foreboding throughout. For fans of cerebral, character-driven thrillers, Leave the World Behind offers a haunting if uneven experience.

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Probing the Fragile Bonds of Society

For all its thriller trappings, at its core Leave the World Behind is more concerned with probing social commentary than delivering easy answers. The actual catastrophe takes a backseat to examining how the characters react when the comforts and connectivity of modern life get ripped away.

The most prominent theme is the latent racism and privilege that get exposed when Amanda confronts George and Ruth. Amanda’s microaggressions betray the way civility relies so much on outward appearances and unexamined assumptions—her own liberal self-image crumbles quickly without the insulation of technology. It highlights the fragility of social bonds in a divided America.

That extends to generational divides too as Amanda clashes with the blunt, righteous anger of Gen Z-er Ruth. There’s a mutual lack of empathy fueled by resentment. Amanda externalizes her anxiety through judgment, while Ruth eagerly adopts a persecution posture. Both reveal how easily we turn on each other when tribal lines harden.

The isolationist streak also permeates many characters’ choices, best encapsulated in Amanda’s “I f*cking hate people” declaration. The eventual societal breakdown becomes an extension of that misanthropy and self-interest taken to extremes. Community and compassion fray as survival instincts take over.

That erosion of norms also spotlights our over-reliance on tech and hollow habits. Rose’s TV addiction stands out, positioning streaming binges as a defining pastime of the young generation—it’s their main lens for understanding reality. When the wifi drops, withdrawal sets in quick alongside deeper existential doubts.

So while the mystery of the unfolding apocalyptic catalyst looms large, the thematic weight focuses more on how our manic modern era has warped our social contract and primal drives, for better or worse. And Leave the World Behind argues that just below the surface, it may not take much to unleash our baser demons when the center starts failing to hold.

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Standout Turns Amidst Uneven Development

The cast delivers solid work throughout Leave the World Behind, led by compelling turns from Julia Roberts and Mahershala Ali in particular. While not all the characters are written with the same depth, the actors find notes to play within each shifting relationship and confrontation amidst the tension.

Roberts tackles her most unlikable character in years as the cynical, suspicious Amanda. She nails Amanda’s biting sarcasm and barely repressed judgment, leaning into her characters’ questionable choices. Bubbling beneath the surface is a well of resentment and insecurity—we get the sense Amanda hoped this vacation would paper over deeper problems she’s not yet acknowledging within herself or with Clay. Roberts sells it well while keeping just enough vulnerability peeking through to make Amanda’s arc work.

Meanwhile, Ali has to pull off a delicate balancing act as George. He plays both sides of G.H.—the intimidating threat in one breath, then genteel and disarming host in another. Ali carefully threads that needle, keeping us guessing about George’s true motives as conditions worsen. Ruth gets to function as our surrogate, voicing suspicion about this too-perfect patriarch in their midst. Ali makes himcryptic yet approachable with grace and depth.

The two of them share the film’s most poignant scene as George opens up about his regrets and Woodwardian aspirations. It’s a moment that complicates both characters sympathetically while deepening the themes around status, opportunity and the tenuousness of our ambitions.

Of the younger cast, Charlie Evans and Farrah Mackenzie have thinly-written roles, but they hit their notes. Mackenzie in particular instills the haunted, perturbed Rose with life—her disconnect from reality without her online fix is played subtly but stirringly.

Myha’la as Ruth also captures a Gen Z POV with razor-sharp attunement to microaggressions and liberal hypocrisy alike. She delivers Ruth’s self-righteousness with a righteousness that might irk older viewers but feels grounded in a generational outlook forged from instability and outrage culture.

Uneven development means not every player fully registers. But the core cast keeps this slow-burning pressure cooker grounded in credible personalities undergoing duress. Within the looming danger, their choices and changes staying compelling, upping the investment factor.

Hitchcockian Style Heightens the Unease

Director Sam Esmail brings a slickly unnerving visual approach that amplifies the apocalyptic dread. Channeling Hitchcock, he utilizes ominous angles, graceful tracking shots and strategic quick cuts to reinforce the chaos unfolding.

Cinematographer Tod Campbell gives us dynamic camerawork that swirls around the remote rental home, often peering through cracks or raining glass as if to hint at the fragility of normalcy. The verdant location also gets milked for creep factor once animals start amassing in the woods—Esmail lingers on deer standing motionless, barely blinking, to skin-crawling effect.

He also sprinkle in effective action via crashing tankers, runaway Teslas, and a standout plane sequence. The sudden shock factor plays up the feeling of erupting mayhem surrounding our protagonists.

Simmering tensions boil over more rapidly too thanks to sharpening edits, with accusations and suspicions amplified by jarring changes in perspective. It manifests the characters’ fraying psyches and stability amidst external bedlam.

Little stylistic flourishes like Rose’s flipped Friends shots visually clue us in to her own world flipping. And Esmail finds moments of semantic wit too—when the Sandfords first arrive at their rental called “Point Comfort,” the expectation of a cozy getaway curdles quickly in the face of menacing mysteries.

If anything, Leave the World Behind almost seems more engaged with crafting small unsettling vignettes than binding them to generator coherence. Esmail invites us to luxuriate in between ominous plot beats with detours into ambient sound design and playful allusions to cinematic influences.

The result is an often-hypnotic descent into societal collapse accented by artful style. Esmail directs with the self-assurance of someone having fun foreshadowing doom.

Great Parts Undermined By An Uneven Whole

For all the talent on display, Leave the World Behind suffers from an inability to bring all its lofty ideas together into a narratively cohesive whole. Esmail has a grasp of tone and potent themes but struggles to develop them fully or guide them toward a fulfilling climax.

While the social angles around privilege, bias and generational divides have resonance, they get sidelined as the apocalyptic mystery takes center stage. Beyond idle speculation and a few poignant confrontations, the story has little new insight to share from pitting Amanda against Ruth and George. Once survival fears take over, the racial tensions fade into the background without a meaningful arc.

Many characters also feel thinly sketched, particularly the Sandford children. Archie borders on two-dimensional sullen teen caricature, while Rose’s obsession with Friends, however amusing, gets hammered one too many times as symbolic of Gen Z disconnection. We get that she binges shows instead of dealing with reality—the dead-horse continually returns with diminishing returns.

Pacing issues also weaken the thriller element that should be the backbone. After a gripping setup, the middle sections grow draggy with repeating ominous signs and speculative conversations instead of driving plot movement. It’s a recursive loop of the characters reacting without progression.

While the strong visual craft from Esmail and gorgeous photography ground us in mood, when the characters start making bafflingly questionable choices clearly meant to service plot rather than behavior, that further dampens investment. The climax also arrives abruptly and many symbolism-drenched moments feel more pretentious than profound.

In the end, it seems Esmail never quite figured out how to braid his social commentary fully into the genre thrills. The parts centered on human dynamics are far more compelling than the sensationalist societal collapse happenings. Still, memorable imagery and a committed cast make much of the journey gripping even if the destination proves an odd letdown. Less scattered focus could have helped steer this into masterpiece territory.

An Uneven Slow-Burn Thriller

Leave the World Behind brings enough creepy style and paranoid tension to get by on mood alone for stretches. Between Esmail’s flair for visuals and his ensemble rising to the challenges of this pressure cooker scenario, there’s plenty of grist for chilling moments.

But an inability to stick the landing with the intriguing ideas in play keep it from resonating as deeply as it might have. Stray threads dangle all over the place—from social angles abandoned to thinly written characters to anti-climactic endings.

Still, Roberts and Ali deliver nuanced turns fitting of more measured character drama. For those simply seeking some stylish apocalyptic escapism accented by stark imagery and simmers of suspense, Esmail broadly delivers. Just don’t expect tidy explanations or thematic closure.

In the end, you’re likely to come away haunted by provocative scenes yet underwhelmed by the disjointed big picture. Leave the World Behind aims to get under your skin more than fire on all cerebral cylinders—mission accomplished, for better and worse. If you can content yourself with soaking in the atmosphere and performances without demanding tidy plot logic, this one may sufficiently scratch that highbrow thriller itch. Just brace for an ending that fizzles as sharply as the early hooks snatched you in.

All told, it’s a solid try but significant shortcomings leave this a missed opportunity. Here’s hoping Esmail’s next effort in this space hones the palpable strengths on display while avoiding the messy sprawl that dilutes the impact.

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