Released: 2026-08-26
After the world's population has been ravaged by a pandemic, a man lives a lonesome existence in a Colorado airplane hangar with his dog and a dour gunman he has befriended. When a mysterious transmission comes through on the radio while he’s flying his old Cessna, it sparks a hunt for the provenance of the sound.
Action
Thriller
Science Fiction
7.1 / 619
Duration: 119 min.
Budget: $110.0M
Revenue: $37.4M
Brent Marchant
Rating:5/10
Life in a post-apocalyptic world is a common theme in movies (especially, if you believe what’s published in the media, the increasing prospect that such an outcome may be coming closer to a reality than any of us might like). In many cases, these films follow the experiences of a resourceful, innovative protagonist who quietly but skillfully struggles to survive, successfully managing to fend off foes while cerebrally wrestling with feelings about what’s been lost. That scenario is apparent once again in this latest release from legendary director Ridley Scott. Unfortunately, however, this is not one of the filmmaker’s better efforts, a blatantly uneven production that gets things right in some regards but woefully misses the mark in others. Based on the 2012 novel of the same name by Peter Heller, the film follows the life of a mechanic and antique Cessna pilot, Hig (Jacob Elordi), who ekes out a comparatively comfortable existence in the Colorado wilderness with his wise-cracking marksman wingman, Bangley (Josh Brolin), in a dystopian future that has been devastated by a deadly virus. Like Hig and Bangley, pockets of survivalists resistant to the pandemic’s lethal impact are scattered across the countryside, but they face constant danger from the encroachment of ruthless scavengers seeking to pilfer whatever they can find for themselves. But, despite the undeniable harshness of this new reality, Hig still pines for a way of life that once was. And he’s convinced of rediscovering that possibility when he receives radio messages from a mystery woman (Allison Janney) in Grand Junction, CO that ambiguously hold out hope for the existence of such a sanctuary. In his quest to find the truth, he embarks on an adventure-filled journey in which he encounters a variety of other survivors, such as Aaron (Bendict Wong), head of a surprisingly thriving Mennonite community, and a hard-nosed gun-toting rancher, Jack (a.k.a. “Pops”) (Guy Pearce), living in a remote and vulnerable locale with his daughter, Cima (Margaret Qualley). But can Hig survive the journey? And what might he find if he ever makes it to Grand Junction? While the premise here is solid, recalling such offerings as “I Am Legend” (2007) and films in the “Mad Max” franchise, the finished product nevertheless occasionally teeters on shaky ground. After a strong but sometimes-slow opening hour, backed by a reasonably commendable closing act, in between viewers are mercilessly subjected to a middle segment that *seriously* defies believability, taking the picture decidedly off the rails, a serious blow to the film’s overall credibility. This is truly regrettable, as this disproportionately out-of-place sequence makes it easy for viewers to quickly lose interest as the project struggles to get back on track before the credits roll. It’s difficult to fathom what the filmmaker was going for in such a ridiculously over-the-top sequence, and it detracts from the elements that truly work well (a terrific cast, gorgeous cinematography, and an emotive soundtrack reminiscent of Scott’s earlier cinematic opus, “Thelma & Louise” (1991)). I can’t help but think that this was a case of failure to “kill one’s darlings,” and, in this instance, that shortcoming nearly undermines all of the audience goodwill the picture amasses before and after it. What’s more, the script is short on its back story elements, leaving one wondering how the narrative ultimately arrived at where it is. Sadly, “The Dog Stars” could have been *much* better, both as a cautionary tale and as a fine work of big screen drama, with some deliberate tweaking. As it stands now, though, the survival considerations addressed here could be just as applicable to viewing audiences as they are to the characters themselves.
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TheStoic
Rating:9/10
What a great movie!! One of those worth seeing in the theater—and one that leaves you hoping for a sequel! Great story, great actors, great direction! No racial quotas, no trendy interracial couples, and no gender issues shoved down our throats—in short, no “woke” garbage! A breath of fresh air. I want more of this. I highly recommend it! I’m looking forward to a sequel!
Manuel São Bento
Rating:5/10
Check out my full review @ https://www.manuelsbento.com/the-dog-stars-2026-ridley-scotts-gorgeous-grief-stricken-post-apocalypse-never-quite-takes-flight/ Rating: C+ THE DOG STARS is a gorgeous, contemplative post-apocalyptic thriller that never fully earns its two-hour runtime. Ridley Scott finds real tenderness in a story about grief, isolation, and the fragile work of learning to hope again, and the ensemble cast sells that journey beautifully. But the screenplay leans too hard on familiar genre beats and repetitive detours, leaving even its most striking visuals feeling more decorative than purposeful. A film that looks and sounds wonderful, but rarely says anything new.
CinemaSerf
Rating:6/10
In a world where a flu virus has wiped out most of the human population, mechanic-cum-pilot "Hig" (Jacob Elordi) lives on a remote farm with his world-weary pal "Bangley" (Josh Brolin). He makes occassional sorties with his beloved dog "Jasper" into town (think "Omega Man" - 1971) for supplies and to reminisce at the home he shared with his late wife and unborn bairn but is spotted from the ground as he returns home one day and a violent tragedy ensues. That galvanises him to set off in his plane to find the town of Grand Rapids from where he has had intermittent radio contact over the years. It's at the extreme edge of his range, though, and so it's no great suprise when his aircraft blows a gasket and he finds himself crash-landed in a field. Luckily, that just happens to be adjacent to the home "Cima" (Margaret Qualley) shares with her curmudgeonly dad (Guy Pearce) who promptly gives him his marching orders. That'll be easier said than done as the field has to be cleared of trees and rubble before he can take off - plenty of time for everyone to get to know each other. Pretty swiftly, the question is more about whether he's going to stay or she's going to go - a decision that is made for them and so it's Grand Rapids here we come. What might they find if/when they get there? There is plenty of attractive aerial photography of the Alpine scenery and Brolin does try to bring a little gritty substance to the proceedings as the marauding "reapers" attempt to raid his only functioning fridge in a fifty square mile radius, but there isn't anywhere enough by way of action to sustain this couple of hours and the episodic storytelling strays into all too familiar territory very quickly once Elordi sets off on his adventure. Surprisingly for a Scott film, the continuity isn't the best either - the plane is spattered in blood then it isn't; it's attacked by an axe then - well it wasn't, and the radio aerials are there one minute and not the next, too. That all rather sums up the lacklustre nature of this ponderous opportunity for the charismatic but unchallenged Elordi to travel the lengths of the country in his tiny Cessna hopping from frying pan to fire. It's all perfectly watchable but there's very litle soul to the thing and with each character bogged down with pre-disease baggage it's a bit like swimming through glue at times, too.
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Bud the Lea
Rating:6/10
Rated 6. This is quite generous. Well its not much of a film but its kind of family friendly post apocalyptic domestic bliss with some killing thrown in. Not much happens and the story is paper thin but it'll fill a rainy afternoon with no other options to entertain. Brolin is always good so there is that. The lead guy is a total non entity and is anyone else in it? Dunno, its hard to remember. Yes, Guy Pearce. He must've done it for the paycheck, like Brolin. There's a surreal bit with a woman dressed in 1950s Company B type air stewardess uniform and it felt like we'd jolted into a reel from another film altogether but then we were suddenly back in the other one and really it was just all so pointless.