It’s wild to think we now have a tried-and-true formula for sci-fi films and thrillers based around the end of the world. If anything, that makes these films not too dissimilar from westerns. Both genres are cost-efficient largely due to minimalism and the presence of maybe some big stars, but little else beyond a script. The story of a dystopian world typically uses empty space to signify a lost society, which isn’t so different from the possibility of a new society coming to life in open regions in the West. It’s fitting that The Dog Stars fits more within the realm of a neo-western, only tackling some of the standard dystopian tropes when it feels it needs to. Sure, the unknown can be deadly, but director Ridley Scott feels far more connected to his exploration of humanity, and whether there is still good in it. As a result, here’s a film that meanders a bit, but only so it can search the skies for answers.
Jacob Elordi stars as Hig, a former mechanic who now spends his time piloting an old plane to different parts of Colorado (filmed largely in Italy, by the way) to find supplies, help a local hidden community when he can, and occasional fend off other more feral individuals who ultimately survived the devastating flu pandemic that has eradicated most of humanity. Hig is joined by his dog Jasper on the trips, but his home base pairs him with Bangley (Josh Brolin), a former Marine and survivalist. When Hig is eventually pushed to fly farther out, he ends up having to make an emergency landing near a farm run by Cima (Margaret Qualley) and her father, Pops (Guy Pearce). Hig earns their trust and help, but further dangers make questions of where to go next more complicated.
See Also: ‘Gladiator II’ Review: Ridley’s Rome
The story was adapted by Mark L. Smith from Peter Heller’s 2012 novel. At that point, zombie movies had been popular again for a decade, The Walking Dead had become a hit comic-turned-hit TV series, and The Last of Us video game was still a year away. As noted, there’s been a lot of this kind of media. While The Dog Stars only occasionally lines up with some of these properties, one could question what Heller had initially thought he was adding. More interestingly, though, is what Ridley Scott is after here.
In terms of production, this is the kind of thing Scott can knock out with no problem. It’s a smaller-scale film than even some of the more recent efforts for this 88-year-old filmmaker. Still, with many familiar craftsmen, he’s certainly nailing the kinds of things one would expect. His editors and multi-cam style help keep this movie tight enough for a story without too much complexity. Harry Gregson-Williams’ score finds interesting ways to balance the different kinds of encounters. Scott has also borrowed David Fincher’s usual DP, Erik Messerschmidt, but looking at the way we see some of the action scenes go down, you’d think they’d have been working together for years.
Areas that felt more ambitious for Scott honestly involve all of the aerial photography. Shot with IMAX in mind, meaning the ratio expands whenever we are in the air, there’s a clear love for aviation taking place here. As unsure as Hig may be on the ground in relation to his own backstory and what to consider when interacting with others, he sees plenty of beauty whenever he is up in the sky. It’s also a great arena for Scott to show off his process, as he is wont to do, whether it’s the ways to get up in the air or the flight itself.
A positive is that this film doesn’t commit to a major antagonistic threat. Our characters encounter dangerous groups, but this isn’t a film about stopping some big bad, let alone finding a miracle to save the world. This is largely a film about lonely people who need to either find their way or accept their station in a life that can offer salvation in some form. Doing that in a film like this means accepting a deliberate pace and making the best of things through solid character interactions.
Acting-wise, while sometimes bordering on being underwritten, our main foursome does all they can to bring personality to their roles. Elordi commits well to his character, doing his best to mask grief in front of others, and holding onto a sense of likability. The same can be said for Qualley, with the film doing its best not to have these two instantly throwing themselves at each other. Brolin and Pearce are designed to be a lot more fun to watch and interact with. Their dueling gruff personas give them the kind of layers that speak plenty for what they’ve both gone through and what’s holding them together.
For a film focused on the end of the world, and even one that sports both a rousing, night-vision-infused action sequence and another practically pulled out of Bioshock: Infinite, The Dog Stars still manages to feel like one of Scott’s quietest movies in some time. Perhaps a couple more emotional beats would have helped the film fully pull through in what it’s looking for. Still, as it stands, watching a filmmaker in the extended twilight of his career seek something more meditative between epics makes me pleased, given the control he’s held onto.
The Dog Stars opens in theaters and IMAX on August 28, 2026.
