Stars over silence: Who would have thought the apocalypse could be so boring?

Ridley Scott’s Zvezde nad tišino has sparked mixed reactions among critics and audiences alike, with many calling it a predictable and slow-moving adaptation of Peter Heller’s 2012 novel. Released in August 2026, the post-apocalyptic film follows two surviving members of a family, mechanic Hig, played by Jacob Elordi, and his father Bangley, portrayed by Josh Brolin, as they attempt to survive in a world ravaged by a deadly virus. Set in 2035, the story unfolds in remote valleys near the abandoned city of Denver, where small groups of survivors try to rebuild their lives amid chaos and uncertainty. Despite its high-profile cast and the director's reputation, the film has been criticized for relying heavily on genre clichés and failing to offer fresh perspectives on survival and human connection. The narrative centers around Hig and Bangley’s contrasting views on how to navigate this new reality. While Bangley adopts a strict, defensive stance toward outsiders, believing that trust should be earned through force, Hig holds onto hope that there are still others who share their values. This ideological divide drives much of the plot, culminating in Hig’s decision to fly his plane to explore whether other communities might exist beyond their isolated valley. Along the way, he encounters various groups of survivors, each with their own interpretations of what it means to endure after the collapse of civilization. However, these encounters often feel contrived and formulaic, reinforcing rather than subverting the familiar tropes of the post-apocalyptic genre. Scott, known for his versatility across genres, from historical dramas like Gladiator to sci-fi epics such as Blade Runner, has faced scrutiny in recent years over the quality of his output. His films House of Gucci (2021), Napoleon (2023), and Gladiator 2 (2024) have received both praise and criticism, with some observers questioning whether the 88-year-old director is still at the peak of his creative powers. Zvezde nad tišino appears to reflect this tension, offering a visually competent yet emotionally inert experience. The film attempts to balance action, introspection, and social commentary, but its execution feels disjointed, as though it is trying too hard to appeal to multiple audiences without fully committing to a singular vision. One of the film’s most contentious aspects is its reliance on well-worn storytelling devices. From the lone hero facing off against monstrous threats to the emergence of authoritarian factions, Zvezde nad tišino seems determined to tick all the boxes of the post-apocalyptic genre. Yet, instead of offering a nuanced exploration of survival, the film leans heavily into melodrama and sentimentality, often at the expense of credibility. The performances by Elordi and Brolin are solid, but even they struggle to elevate a script that lacks originality and emotional depth. Meanwhile, the inclusion of Margaret Qualley, who plays Hig’s love interest, adds little to the narrative beyond aesthetic appeal. Critics have pointed out that while the film aims to provide a more grounded take on post-apocalyptic life, it ultimately fails to deliver. Rather than focusing on the practicalities of rebuilding society, the movie prioritizes visual spectacle and emotional beats that feel out of place. This approach has led many to question whether the film justifies the involvement of its star-studded cast and acclaimed director. For fans of Scott’s earlier work, Zvezde nad tišino may feel like a step back, while newcomers might find it frustratingly unoriginal. Despite the backlash, the film’s release has generated considerable buzz, particularly due to its high-profile production and the anticipation surrounding Scott’s return to the post-apocalyptic genre. As the film continues to make waves in theaters and online platforms, discussions about its strengths and weaknesses will likely persist. Whether it succeeds as a standalone piece of entertainment or as a statement on modern cinema remains to be seen. What is clear, however, is that Zvezde nad tišino has become a point of contention within the industry, highlighting ongoing debates about innovation versus nostalgia in contemporary filmmaking.