Nolte: Woketard Olivia Wilde’s ‘Don’t Worry Darling’ Blasted by Critics

How awful does a woketard movie like Don’t Worry Darling have to be to earn negative reviews in this fascist era of the Woke Gestapo, especially when it’s directed by a woketard?

Well, that movie has to be pretty, pretty, pretty, pretty bad.

In this increasingly dumb world of ours, woke is graded on a major curve and has been for years. If your unwatchable movie or TV show is woke, even though it’s unwatchable, the moral cowards in the Fascist Critical Class almost always find a way to gush and praise.

So just imagine how bad Don’t Worry Darling is to come out of the Foo-Foo Festival Circuit with a brutal Metacritic score of 49 out of 100.

Not only is Don’t Worry Darling a feminist screed against the patriarchy and yet one more  *yawn* attack against suburbia and the awful and oppressive Eisenhower Era (that only gave us rock n’ roll, the Beat Generation, Tennessee Williams, Little Richard, Elia Kazan, Marlon Brando, Miles Davis, Marilyn Monroe, Catcher in the Rye, Charlie Parker, Invisible Man, and the computer), but it’s also directed by Olivia Wilde, who currently enjoys the ignoble status of America’s Woke-Affirmative-Action Poster Child.

Wilde directed one woke flop, something called Booksmart, which critics pretended to like, and now — and only because she’s a lefty chick — she’s a major director, a serious auteur. Something like a dozen studios put in bids for Don’t Worry Darling. That’s how desperate these cowards are to get in line and prove their Woke Purity. She also has movies set up with Marvel, Universal, and Fox Searchlight. The whole thing is pure farce, but Don’t Worry Darling — which has been plagued by scandal and gossip, all of which makes Wilde look like the worst person in the world — is currently getting its Woke Butt kicked…

Far-left Daily Beast:

As Alice, in Truman Show-like fashion, sprints toward the ugly truth, Don’t Worry Darling’s entire narrative collapses, exposing Katie Silberman’s script as a glaringly obvious one with precious little to say about the ever-growing tension between modern-day feminism and incel culture. It also reveals several early scenes, including that kitchen table cunnilingus, to be nothing more than empty misdirection.

The far-left Guardian:

It is a movie marooned in a desert of unoriginality – and the desert doesn’t bloom.

The fake news addicts at Rolling Stone:

Olivia Wilde’s fuck you to the patriarchy isn’t quite the flaming car wreck that the film’s P.R. tour was — but it also isn’t what you’d call “good.”

Woketard IndieWire:

It’s disingenuous, easy, cheeky — much like the film itself, which starts off strong before crumbling into baffling storytelling choices made worse by the revolting intentions behind them.

And on and on it goes… 

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