
Leonardo DiCaprio has consistently remained one of the most prominent and recognizable actors in the film industry. His rise to international fame began with the iconic film Titanic in 1997, and since then, he has cemented his status as a leading figure on the big screen, taking on diverse roles across multiple genres. Noteworthy films in his illustrious career include titles such as The Departed (2006), Inception (2010), and The Wolf of Wall Street (2013). Recently, he starred in the acclaimed Killers of the Flower Moon (2023), further proving his versatility and appeal.
While many of DiCaprio’s films have garnered critical acclaim, not all of them have received universal praise. For instance, The Great Gatsby (2013) and J. Edgar (2011) faced mixed reviews from critics. Additionally, one of his films from 2021 created significant discussion, even though it was helmed by an Oscar-winning director and addressed pressing contemporary issues.
Director Adam McKay’s Defense of Don’t Look Up Four Years Later
A Divisive Film Starring Leonardo DiCaprio





Adam McKay has recently come to the defense of his film Don’t Look Up, which features DiCaprio and received mixed critical responses. Serving as McKay’s follow-up to Vice (2018) and The Big Short (2015), this Netflix disaster comedy follows two low-level astronomers on a global media campaign to warn humanity about a comet destined to obliterate Earth. Despite a star-studded cast including Jennifer Lawrence, Meryl Streep, and Jonah Hill, the film is marked by a mere 56% score on Rotten Tomatoes.
In light of recent environmental disasters in Los Angeles, McKay reiterated the film’s significance during an interview with NME. He highlighted the film’s remarkable viewership figures, emphasizing its global impact, a point that is particularly noteworthy for a comedy. He elaborated on the film’s growing relevance concerning political and economic issues. As McKay stated:
In the face of these dramatic catastrophes that keep happening, a movie seems really small and ridiculous. But what was inspiring and energizing was the popular response to that movie, not the critics and the cultural gatekeepers who hated it. It ended up being number one in something like 85 countries, as diverse as Pakistan, Vietnam, US, and Uruguay. That’s extremely rare for a comedy which is usually confined by cultural regional reference points.
The estimates of how many people saw that movie – Netflix will never say exactly – but it’s somewhere between 400 million and half a billion. Viewers all really connected with the idea of being gaslit. Being lied to by their leaders, lied to by their big news media, and being lied to by industries. It was funny – when I realised that was the common connection point, I was like, of course! It’s happening everywhere now with this global neo-liberal economy that we’re all living in. It’s such a cancer and everyone is feeling it.
The film faced criticisms for its blunt messaging and allegorical approach to climate change, pointing to a larger conversation within the cinematic landscape about environmental themes.
Implications of McKay’s Defense for Don’t Look Up
Don’t Look Up: A Major Success for Netflix

Notably, Don’t Look Up enjoyed greater popularity among general audiences compared to critics. While the critics’ score on Rotten Tomatoes stands at 56%, the film boasts an audience score of 78%. Additionally, viewership statistics are impressive; according to Netflix, the film is the second most-watched English-language film on the platform, following Red Notice (2021), with 171 million views and 408 million hours viewed.
Although Don’t Look Up may not be regarded as one of the pinnacle films in DiCaprio’s extensive filmography, it showcases strong performances by the entire cast, including DiCaprio himself. As discussions around the climate crisis heat up, the film’s themes may resonate more deeply over time. While it faced division among viewers initially, its standing may evolve positively as the world grapples with these pressing issues.
For further insights, visit: NME
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