Tom Holland and Daisy Ridley star World in Chaos, the film adaptation of the eponymous book written by Patrick Ness. The author also signs the script alongside Christopher Ford (Spider-Man: Homecoming), while Doug Liman (The Bourne Identity) is responsible for the direction.
The film shows a rare and dangerous infection that caused the death of all women and made men’s thoughts audible in what is known as Noise. However, with the appearance of a girl and the discovery of a terrible secret, young Todd Hewitt [Holland] he is forced to flee before it is too late.
Below you can see what the critics are saying about the film, which opens on March 5.
Tom Holland and Daisy Ridley during the recording of ‘Mundo em Chaos’.Source: IMDb / Reproduction
THR – David Rooney
The film has a hint of the intense chase action that Doug Liman choreographed so vigorously in The Bourne Identity, and takes the director back to a futuristic scenario, as in On the Edge of Tomorrow. But something essential was missing this time. Characters are not engaging, emotional bets never fully take over, and physical action invariably promises more than delivery. And the main weakness is the adaptation of Christopher Ford and Ness, which lacks the most subtle nuances.
IGN – Tom Jorgensen
World in Chaos it doesn’t even come close to taking advantage of its talented cast or the Noise that plagues the men of its world. Worst of all, Noise is rarely used effectively to promote the film’s story or themes. Of course, the film has interesting discussions like personal autonomy and toxic masculinity, but as Viola [Daisy Ridley] is the only character in the film who is not used to the Noise and is concerned with his mission, World in Chaos he rarely finds a reason to stop and have in-depth discussions on these topics. Tom Holland and Daisy Ridley could have been an attractive duo, but they did not have a creative team capable of deciding what the focus of the film should be. Meanwhile, Liman seems content to move on to the next chase or fight scene, instead of stopping to explore the conflicts that the Noise causes Todd.
Comic Book Movie – Josh Wilding
There is definitely some franchise potential here and moments smart enough and inventive to make you curious about how the ideas presented in this film can be expanded and developed. The premise alone is undeniably convincing and, despite a few missteps, it can still prove to be a good film for science fiction fans, thanks to some action scenes and unexpected twists. In the end, the pieces don’t always fit perfectly, but if you’re a fan of the two protagonists and are after a fun blockbuster, this is a good choice.
IndieWire – David Ehrlich
Unfortunately, a fascinating book about the moral usefulness of male thinking and the need to mediate it through action becomes an unfocused action movie about people chasing each other in big cold space settings and trying to avoid the big things that inevitably fall from the sky in the third act. As original as it seemed on paper, what could better crystallize the spirit of modern studio cinema than a film about someone who is mortally afraid to project a single provocative thought?
EW – Christian Holub
Mads Mikkelsen has played iconic villains before, and although Prentiss is not as memorable as Hannibal Lecter or Le Chiffre, he still manages to offer a sense of danger. However, although the film presents some points about patriarchal oppression, it does so in a way that deprives the story of female characters and belittles those that appear. Noise does not affect women, which makes New World men uneasy with Viola’s arrival. But without access to the film’s primary narrative innovation, Ridley’s performance is less interesting than his male counterparts. Viola also looks a lot like Rey: a strong, independent young woman who doesn’t need men to save her, but whose worldview is entirely focused on long-dead parents that she barely knew.
Variety – Peter Debruge
When it comes to confrontations, the film fails, putting more effort into the construction of the New World than in the broadly generic characters that populate it, and that is also true for “aliens”. World in Chaos presents only an interaction with this species, whose repulsive design leads one to wonder how Avatar I would have stayed if the Na’vi were presented not as blue, sensual feline creatures, but as ugly monsters. Noise, on the other hand, only verbalizes what a talented actor can convey in silence. And the execution is further confused by Holland’s body language and overexpressive face. When a director has that kind of charisma to work with, Noise is just … well, noise.