How Hig got his post-apocalyptic groove back.

After a flu pandemic catches the world unaware, scant survivors scavenge rotting ruins for their share of an existence in decline. Hig (Jacob Elordi) maintains a makeshift airfield and flies between supply stops, staying busy to avoid dealing with grief. Bangley (Josh Brolin) was born for this survivalist world, knowing he shouldn’t go it alone but also elated whenever getting the chance to defend his domicile. When an unscheduled stop introduces Cima (Margaret Qualley) and Pops (Guy Pearce) to Hig, it calls into question all the feelings and memories he’s been avoiding. Unfortunately, roving bands of scavengers threaten even these isolated homesteads hidden throughout the foothills of the Colorado Rockies, and the hope for any vigilance-free safety may indeed be just an illusion.

With zero connection to Keanu Reeves’ band of a similar name, Ridley Scott directs his latest film based upon a screenplay by Mark L. Smith from writer Christopher Wilkinson, which itself is based on the 2012 novel by Peter Heller. Audiences have watched enough “Life After People” and/or seen videos showing how civilization fails once everyone suddenly disappears, so this setting isn’t unusual or unique, perhaps ripe for scrutiny for genre lovers. The cast, however, is a who’s who of up-and-coming stars backed up by established veteran actors, hinting at the kind of action sequences and dark territory Scott’s films are known for. That said: a Ridley Scott film under two hours…?!

No alien invasion, no robot overlords, no nuclear war, and not even zombies; it’s just devoid of human life. Unlike Brolin’s Bangley, Elordi’s Hig is not emotionally built for this world, feeling the weight of personal loss multiplied by watching humanity slip away one survivor at a time. He’s a good person in a world where moral failings rule and everyone takes whatever however they can, leaving life meaningless. His course is changed by coming to grips with the here and now, balancing saving a life with a reason to defend it rather than slip away into darkness… in no small part by appreciating a bird in the hand. This is the uniqueness of our story: finding the way and means to reconnect after everything is lost.

Working against this gentle narrative are three key action sequences, each overbuilt and heavily reminiscent of similar films, from 28 Days Later to A Boy and His Dog. What’s interesting is that none of these really contribute to the central story other than being an obstacle or chase to the next sequence, essentially interchangeable. Glorious and entertaining, certainly, but also as though clipped from a completely different film. Glancing at overviews from the original novel, these sequences appear beefed up to be cinematic showstoppers, but they also help gloss over missing realistic details. Examples? Planes need fuel; weight and distance depletes fuel faster; sightseeing doesn’t help fuel conservation; aviation fuel isn’t available at your local gas station… or even lasts long even to scavenge for a modified engine.

Never mind bad guys who’ve passed up easy pickings in the big city to cover harsh terrain in enemy territory where homefield advantages are lost by any random sniper. This leans into a romantic and mental health-affirming tale of forgetting the past and embracing the future, and those parts work believably and organically enough. As for the rest? “It ain’t that kind of movie, kid.” Apparently, Mr. Ford.

The Dog Stars is rated R for strong violence, language, forbidden-ish romance, and things blowing up real good.

Two skull recommendation out of four