‘The Dog Stars’ Gives Jacob Elordi His Clint Eastwood Moment

Somewhere just outside the town of Erie, Colorado, you’ll find the rusted-out remains of an airfield that’s home to a boy and his dog. The “boy” is Hig ( Jacob Elordi ), a twentysomething former mechanic. The dog is a Belgian Malinois named Jasper. The world they currently live in is both naturally majestic — all that bucolic Rocky Mountain High scenery! — and dystopian, having been ravaged by a flu pandemic that’s taken out roughly 95 percent of the population. Most days, Hig and his faithful pooch hop into his Cessna and scour the ruins of downtown Denver for supplies, fly recon missions, help out the local Mennonite community that’s a short flight away.

Sometimes he’ll stop in to the old apartment he shared with his late wife, which has been preserved as a sort of memento mori museum to the days before everything fell apart. Occasionally, Hig turns off the propeller mid-flight and simply lets the plane drift in the air; the fact that he usually does this while pointing the aircraft at a large mountain in Telluride, one with a lot of backstory-related significance, hints at some troubled thoughts. Mostly, though, this stoic gent and his canine best friend return back to base, which they share with a cantankerous old ex-Marine named Bangley ( Josh Brolin ). Barring the occasional attack from outsiders, it’s a relatively calm and stable existence, all post-apocalyptic things considered.

The loneliness of the long-distance grieving survivalist is the main preoccupation of The Dog Stars, Ridley Scott ‘s moody, surprisingly sensitive adaptation of Scott Heller’s 2012 novel. We say “surprisingly” not because the 88-year-old filmmaker is incapable of trying a little narrative tenderness — you can find handfuls of examples in his five decades’ worth of features — but because this type of source material usually brings out the go-for-broke maximalist in him. The knock on Sir Ridley has always been that he’s a production designer trapped in a director’s body, and the man does love a nice, big epic canvas. Especially if it’s attached to a genre exercise that allows for him to craft woozy visual spectacles and meticulously imagined landscapes. There’s a version of this movie that Scott might have made years ago, in which the bulk of its attention would be lavished on its scorched-earth variant of the Mile-High City. Editor’s picks The 250 Greatest Albums of the 21st Century So Far The 100 Best TV Episodes of All Time The 500 Greatest Albums of All Time 100 Best Movies of the 21st Century

What we get instead is closer to a character study of stoic, psychologically shattered man who, despite having the company of his pooch, a paternal but also possibly psychotic housemate, and a local-ish religious community, is trapped in his own isolation. Look, it’s still a Ridley Scott production. A visit to an abandoned airport outside of town gives way to a highly set-designed 1950s fever dream that David Lynch would applaud, complete with Allison Janney chomping scenery. There are two siege set pieces that come practically back to back, both engineered to inspire their own unique adrenaline spikes.