Jacob Elordi Navigates Forgettable Wasteland in Scott’s Latest Mediocre Effort

Ridley Scott’s filmography includes undisputed classics such as “Alien,” “Blade Runner,” “Thelma & Louise,” and “Gladiator.” Yet his recent body of work has delivered decidedly mixed results, with “The Dog Stars” continuing that downward trajectory. Based on Peter Heller’s 2012 novel, the film centers on Hig, a mechanic portrayed by Jacob Elordi, who struggles to survive in a plague-ravaged American landscape years after a devastating flu outbreak.

Hig makes his base at a derelict airfield in Colorado alongside Bangley, a hardened former Marine played by Josh Brolin, and his Belgian shepherd Jasper. The protagonist regularly pilots his small yellow aircraft into Denver to scavenge supplies, revisit his abandoned home while confronting memories of his deceased wife, trade goods with isolated Mennonite communities, and assist Bangley in eliminating potentially infected trespassers. When Hig becomes convinced civilization thrives beyond the mountains near Grand Junction, he defies Bangley’s objections and embarks on a risky expedition.

Along his route, Hig encounters a cantankerous rancher named Jack and his daughter Cima, portrayed by Guy Pearce and Margaret Qualley respectively, as well as the unpredictable Darlene, played by Allison Janney. A marauding faction termed the “Reapers” poses an additional threat to his survival. While the ensemble cast delivers competent performances—Elordi demonstrates leading-man capability, Brolin and Pearce generate occasional comedic moments through their gruff portrayals, and Janney characteristically enriches her material—the narrative fails to sustain viewer engagement.

Aside from sporadic gunfire sequences, “The Dog Stars” proves remarkably uninspired. Elordi’s protagonist represents a generic post-apocalyptic survivor archetype offering minimal dramatic substance, possibly reflecting shortcomings in the source material. Composer Harry Gregson-Williams’s guitar-dominated soundtrack amplifies the film’s torpid western sensibility, though scenic mountain cinematography provides occasional visual relief.

Scott’s latest venture exemplifies his recent creative decline, joining a succession of forgettable efforts audiences quickly abandon upon leaving theaters. The picture carries an R rating for violence and strong language and runs 1 hour and 58 minutes. It is currently in theatrical release.