Based on a 2020 novel by Rumaan Alam, this film was likely written in the wake of President Donald J. Trump's years in the White House. Given what happens in this psychological thriller and the explanation that is supplied at the end, it seems as if the narrative here is a critique of the Trump era and a warning of what could result as a result of Trump being in the highest office in the land, both before and again. Essentially, this film is an examination of Trumpism, its major themes and how toxic it can be. Written and directed by Sam Esmail who comes from a Muslim family, the film does invoke imagery of 9/11. There is literally a shot in this film where we see New York City's skyline looking as it did on September 11, 2001. Xenophobia and particularly Islamophobia are elements of Trumpism, but, that didn't originate with President Trump. Those elements were seen in the aftermath of 9/11, so this film could be seen as more than just an indictment of Trump's presidency, but, given the other themes that pop up in this film, the argument is stronger toward that of deconstructing Trumpism.
Julia Roberts (Ocean's Eleven and Pretty Woman) stars as Amanda Sandford, a woman who works in advertising. She lives in Brooklyn with her husband and two children. Despite loving her family members, she could be described as a misanthrope. She's highly cynical and mistrusting of anyone not directly related to her. It's this feeling that drives her to want to take a vacation with her family outside the city and away from most people. She finds and rents a somewhat isolated house on Long Island. It's not totally isolated. It's actually close to a beach where she and her family can relax with a relatively good crowd. Yet, she and her family don't do much interaction with others.
Mahershala Ali (Spider-Man: Into the Spider-Verse and The Hunger Games: Mockingjay - Part 1) co-stars as George "GH" Scott, a financial analyst who seems to specialize in market predictions. It's basically made him a fortune, so much that he can afford a large house in Long Island, as well as a luxurious apartment or home in Manhattan. He's the owner of the home where Amanda and her family are renting. During the weekend when Amanda and her family are there, George and his daughter appear on the door step needing a place to stay for the night. He gives a reason as to why they need to stay, but Amanda is suspicious that he's lying.
In fact, Amanda doesn't believe that George is the owner of the house. She thinks that he could be playing her, if only to stay at the house or to run some scam or to commit some crime against Amanda and her family. The way that it's initially played, there is an implication that Amanda's distrust of George and his daughter has to do with racial motivations. The film is divided into five parts and the first and second parts are about that racial tension and whether or not, Amanda should be distrustful of George and his daughter.
Myha'la Herrold (Dumb Money and Premature) also co-stars as Rose Scott, the aforementioned daughter of George. She is in many ways a mirror to Amanda. Rose is also distrustful and cynical, but she makes no mystery over the fact that her distrust is racially motivated. She directly says that she doesn't trust White people. It creates an interesting dynamic because she comes from wealthy parents. Normally, in any racial conflict, it's the Black people who are impoverished or financially lower than their White counterparts. Here, it's Amanda's family that is financially lower. Rose doesn't mind wielding that fact, much to Amanda's chagrin.
Ethan Hawke (The Black Phone and Training Day) plays Clay Sandford, a professor who is also the husband to Amanda and father to her two children. He's clearly more liberal than his wife. He's also more trusting and not as cynical as her. He's more open to accepting George and Rose. He's also not as strict about things as she is. He's not wealthy and he's not handy. He's a man who's more in tune with his emotions or the emotions of others. He's not this right-wing version of what masculine is supposed to be, which would have some perceive him as weak but, as the film concludes, it goes to a place which is meant to show that he's not.
However, masculinity isn't the strongest theme here. This film goes more into themes of misinformation, xenophobia, isolation, government mistrust and laying the tracks for civil war. If one wanted to make the argument, one could attack the idea of effects of terrorism and how people can devolve as a result. Esmail and Alam could also be saying how people can devolve as a result of the loss of certain technology like Internet and television. This film sees Amanda and her family losing Internet and TV here and panic quickly sets in. Her children certainly start to freak out. Esmail and Alam could be commenting on people's reliance on the media, as well as social media. The Trumpism stuff doesn't really become clear until the end with a monologue that George delivers, which is a bit on the nose.
Other than that monologue, Mahershala Ali doesn't really get that much to do that is all that memorable here. Julia Roberts is the standout along with Myha'la. Ali is more of an exposition machine, but Esmail does a good job with making this film as visually interesting as he can. His Dutch angles and awkward framing add a layer of intrigue that might not otherwise be there. He also crafts some thrilling moments involving vehicles like an oil tanker and Tesla cars that were brilliantly done. I was boggled though by a music choice involving a vinyl record of "Too Close" (1997) by Next, a one-hit wonder.
Rated R for language, some sexual content, drug use and bloody images.
Running Time: 2 hrs. and 21 mins.
Available on Netflix.
