Leave the World Behind

Director: Sam Esmail
Starring: Julia Roberts, Mahershala Ali, Ethan Hawke, Myha'la, Farrah Mackenzie, Charlie Evans, Kevin Bacon
Running Time: 141 min.
Rating: R

★★★ (out of ★★★★)

Writer/director Sam Esmail's Leave the World Behind follows a long tradition of apocalyptic thrillers that stretch beyond the likes of M. Night Shyamalan's Knock at the Cabin from earlier this year. Comparing the two, this isn't as much a departure in tone than execution, as the Mr. Robot creator prioritizes interpersonal relationships over mystery. By doing this, his characters exist to make broader generalizations about America's infrastructural and societal vulnerabilities, zeroing in on how people respond to chaos and crisis. 

Based upon Rumaan Alam's 2020 novel, it's easy to see how these elements attracted producers Barack and Michelle Obama, even if it's not necessarily the type of project you'd expect to see them credited on. But it is one that very much exists in the here and now, setting its sights firmly on a frightening near-future that already seems to have arrived. There are eye-rolling moments and plot holes, but as far as doomsday scenarios go, it doesn't fly too far off the rails. We watch as these people scramble, their best and worst traits coming to the surface in the midst of an unpredictably hopeless situation.

New York-based advertising executive Amanda Sandford (Julia Roberts) wakes up one morning and informs her college professor husband Clay (Ethan Hawke) they're going on an impromptu vacation to Long Island with their two kids Rose (Farrah Mackenzie) and Archie (Charlie Evans). Upon arriving at the luxurious rental house, they decide to hit the beach, where an incident involving an out-of-control oil tanker and their sudden loss of TV and Wi-Fi raises suspicions. But it isn't until the home's self-proclaimed owner G.H. Scott (Mahershala Ali) and his daughter Ruth (Myha'la) arrive at the front door in the middle of the night that things get complicated.

Financial advisor G.H. cites a citywide blackout as their reason for returning, and while a distrustful Amanda isn't buying it, the more amiable Clay agrees to let them stay overnight when G.H. offers them a refund. With news alerts reporting hackers are behind the cyberattack, the two families argue about the right approach, gradually realizing this situation is far worse than any of them assumed. With the clock running out to formulate a plan, Amanda further questions how much G.H. and Ruth really know, as everyone's chances of survival hang in the balance.

It's to Roberts' credit that she's all in for this since it just might be her most unlikeable character yet. The performance is essentially a more nuanced take on Sandra Bullock's privileged white woman turn in Crash, complete with some of the racist undertones. Amanda isn't shy about sharing her world view in the film's third wall breaking opening scene, establishing herself as a miserable, self-loathing elitist who indiscriminately despises everyone. The actress believably pulls this off, all while exploring some greyer areas that have us questioning Amanda's true feelings and motivations.

Hawke's more easygoing, far less confrontational Clay seems to accept H.G.'s story with little hesitation, even as he sees no issue with the homeowner and his daughter being relegated to the basement. But H.G. knows something more than he's letting on, and to a far lesser extent, so does Ruth, which only adds to the tension. Mahershala Ali is subtly effective as the calm, steady voice of reason, particularly shining in the scenes where he and Roberts' characters loosen up, discovering more in common than either anticipated.

Myha'la sort of steals the film as rebellious, free thinking Ruth, going toe-to-toe with Roberts in some of the best scenes. While Amanda's disdain for the young woman is evident from the moment they meet, Ruth's easily the most observant and practical of the bunch. Telling it like it is without fear of consequences, she pushes the buttons that shake them out of their bewilderment and complacency.

Self-driving Tesla car wrecks, severed body parts, plane crashes, alarmingly large herds of deer and deafening noises aren't isolated incidents and indicate a worst case scenario that's further confirmed when they step outside. Kevin Bacon appears as a paranoid survivalist and it's downright surreal to see him and Hawke together on screen for first time, maybe finally disproving that popular theory they're the same person. There's also a pretty humorous subplot involving daughter Rose's obsession with finishing a Friends binge cut short by the cyberattack. This seems like a throwaway joke, but Esmail remains committed to paying it off.

By the time viewers are clued into how cataclysmic this event is, it's too late for the characters, who will either turn on each other or unite to pull through. At points, you'd be forgiven for thinking the plot's a troll job intended to send conspiracy theorists into a tailspin, especially since it's so firmly rooted in current events, with few, if any, supernatural elements at play. Its ironic conclusion doesn't insult the audience's intelligence either, with Esmail resisting that temptation to explain everything away. If nothing else, it makes an unusually strong case for holding on to your physical media. 

Like 2022's White Noise, or even the more similar 80's cult classic Miracle Mile, Leave the World Behind deals with philosophical and existential questions resulting from such a disaster, especially the mistrust. It's in good company, despite conveniently withholding certain information and biting off more than it can chew at nearly two and a half hours. Thankfully the cast carries it, with talented actors squaring off in a genre they've rarely tackled.