‘The Wasp’ Review: Naomie Harris and Natalie Dormer Play Old Friends With Fresh Grievances

As someone who has spent countless hours immersed in the intricate world of cinematic storytelling, I must admit that “The Wasp” left me feeling somewhat underwhelmed. It started off promisingly with Naomie Harris’ captivating monologue about tarantula hawks, but alas, it didn’t quite live up to the initial promise.

In the beginning of the movie “The Wasp,” Naomie Harris delivers a detailed account about tarantula hawks, a type of spider that preys on tarantulas. These creatures render their victims immobile before consuming them while they’re still alive. This chilling concept is a key element in the film, directed by Guillem Morales, which follows a tense and intricate confrontation between Natalie Dormer and Harris’ characters, former friends engaged in a dangerous game of retaliation and coercion. Regrettably, Harris’ monologue stands as the most impactful moment in the movie. None of the subsequent plot twists — there are many — manage to match the intensity or suspense established during this initial scene.

I, Heather, a well-off Londoner without kids, find myself in a strained marriage with Simon (Dominic Allburn). In my school days, I was pals with Carla (Dormer), who’s currently working as a grocery store cashier and is about to welcome her fifth child. Her husband, an unfortunate gambler, contributes to her life of hardship and alcoholism. The stark contrast in our lives sets the stage for Carla’s eagerness to accept whatever I propose, yet the screenplay by Morgan Lloyd Maclolm, adapted from his play, seems to overlook this disparity as a chance to add depth to our characters or their connection.

Malcolm often employs motherhood and pregnancy as symbolic themes in his script, laced with allusions to wasp colonies. On one hand, Heather yearns deeply for a child, while Carla might willingly relinquish one for financial advantages. The roots of their tumultuous bond are gradually unveiled through flashbacks. As the narrative progresses, Heather proposes a means for Carla to escape poverty, but it comes with a steep cost. This is where we witness how their friendship turned adversarial and why neither can be relied upon to uphold honesty towards each other.

In my opinion, Harris and Dormer deliver a captivating dance of animosity and allure in this film, creating an electric atmosphere that constantly teeters on the brink of explosion. However, just as the tension threatens to erupt, director Malcolm and screenwriter Morales abruptly shift gears, transporting us back to pivotal moments involving Heather and Carla, portrayed by Leah Mondesir-Simmonds and Olivia Juno-Cleverley. These flashbacks often serve as misleading clues to the story’s central enigma. Despite the actors’ best efforts to keep the narrative centered on the characters, the plot becomes increasingly complex and predictable, appearing to be a clever distraction until the climactic, twist-laden finale.

In this movie, as the storyline became increasingly contrived, I found Harris’ acting less convincing. She skillfully delved into the mindset of a woman buckling under unfulfilled dreams and lack of support from her husband. However, as the plot twisted Heather into melodrama, Harris struggled to infuse her character with authenticity. On the flip side, Dormer started off as a cliché of a working-class complainant, but she gradually layered her performance with intricate nuances, subtly showing the sorrow hidden beneath the rage. Both actresses could have shone brighter if the script had focused more on character development rather than trying to confound audiences for sensational effects.

In the film, it would have been beneficial for Morales, known for his darkly humorous work on “Inside No. 9,” to infuse more of that unique humor. Instead, the storylines here seem overly structured and lack the necessary playfulness. Morales cleverly leverages the talents of his two main actors to inject tension into the narrative. However, by repeatedly inserting similar, circular scenes, the actors’ intense performances become inconsistent.

“The Wasp” initially showed great potential, but by over-relying on deceptive elements, it struggles to maintain the storyline and leaves its talented cast high and dry. This is an example of a screenplay that strives too hard for clever twists but ultimately gets lost and ends up somewhere between questionable and implausible.

2024-08-31 16:17

‘The Wasp’ Review: Naomie Harris and Natalie Dormer Play Old Friends With Fresh Grievances

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