The Dog Stars Review: Ridley Scott Fails to Impress with a Post-Apocalyptic Flop

      At the advanced age of 88, Ridley Scott boasts an impressive filmography of 30 feature films. His works span a wide range of genres, including classics such as *Alien* in horror, *Blade Runner* in sci-fi, *American Gangster* in crime, *Thelma & Louise* in dramedy, *Gladiator* in ancient warfare, and *Black Hawk Down* in contemporary conflict. However, he has yet to explore the realm of post-apocalyptic life—until now.

      *The Dog Stars*, based on Peter Heller’s acclaimed novel, centers on Hig, also known as “Big Hig” (played by Jacob Elordi), a thirty-something mechanic who has lost his pregnant wife to a flu pandemic that decimated the population. He resides with his dog, Jasper, in an airport hangar near Denver, alongside Bangley (Josh Brolin), another survivor who, in contrast to Hig, is satisfied with their quiet, gray existence that resembles some rural American lifestyles today. To Bangley, safeguarding their territory is crucial, and the arrival of newcomers poses a threat. Conversely, Hig is more willing to confront the unknown; the allure of finding a community outweighs his fear of potential danger. He believes he might be onto a lead.

      With a greater supply of fuel than he has ever carried, he sets off toward Grand Junction to pursue a faint signal he occasionally picks up when flying into Denver for supplies. He suspects it may be a contact from a community that has created something better—something more vibrant and communal that doesn't solely rely on self-preservation. After an unplanned landing before reaching his goal, he meets Cima (Margaret Qualley) and Pops (Guy Pearce). This father-daughter duo lives a lifestyle strikingly similar to that of Hig and Bangley, with matching temperaments.

      Pops, filled with anxiety over the appearance of a stranger, wants no newcomers. In contrast, Cima is visibly intrigued by Hig, eager to extend her trust almost immediately. Will Big Hig manage to repair his plane and return to his quest for Grand Junction? And after meeting Cima, does he still want to? If he chooses to stay, what happens to Bangley? And will Pops ever come around? These questions linger as Bangley, on his own, and the other three unite against the encroaching “new tribe” that threatens to dominate their way of life.

      The choice to portray Indigenous people as the “new tribe” posing a threat to the protagonists is intended to enhance *The Dog Stars*’ Wild West metaphor. However, this decision raises serious concerns, as the tribe is depicted as brutal and savage—a harmful stereotype often perpetuated by white creators in stories about the American West. It is disheartening to see this portrayal in 2026, presented as a shallow metaphor when such characterizations have been historically discredited, and history often continues to be narrated by the victors.

      Despite Scott’s accomplishments in storytelling and creativity throughout his career, he consistently falters when it comes to sentimentality. An example is *Legend,* where a fairytale romance struggled under his more hardened approach. The excessive sentimentalism may be *The Dog Stars’* greatest misstep. The folksy yet melancholic musical interludes of Caamp’s anthem “By and By” feel as clumsy as a corny Hallmark movie.

      The accompanying score similarly falls into a cliché, filling gaps between songs with overtly sentimental tones. The developing romance between Hig and Cima feels overly saturated with longing looks and suppressed feelings. The moments of realization that Bangley and Pops might not view outsiders negatively are conveyed with all the subtlety of a commercial. Even product placements are bluntly obvious, with certain scenes appearing more like advertisements for Coke, Sprite, and Taco Bell.

      Hig and Bangley serve as a clear representation of the American political divide. Their characterization is so overt it can be hard not to roll your eyes. They hardly transcend mere stereotypes of what separates the nation. Bangley embodies an older, cynical, gun-loving, property-focused “country boy” who derogatorily refers to outsiders as “roaches” and views kindness as naive. In other words, he prefers to erect fences.

      Hig, on the other hand, is a younger, inherently socialist pacifist who seeks hope beyond his immediate surroundings. He is proactive in helping others, exploring the city when necessary, and delivering supplies to a local Mennonite community despite the risk of illness. With less life experience than Bangley, Hig’s resilience allows him to embrace the world more broadly.

      The film leans toward Hig’s viewpoint yet neither glorifies nor vilifies either character. It aims to present an understanding of both perspectives. Consequently, their friendship is depicted in a way that seems to urge the audience to appreciate their relative harmony. Unfortunately, this commendable idea is executed so clumsily that it feels