Reviewed by Colin Jacobson (July 26, 2022)
Adapted from Max Booth III’s novella, 2021’s We Need to Do Something offers a tale of a family stuck together in close quarters. Perhaps it should get retitled as Pandemic Lockdowns: The Movie.
During a brutal storm, father Robert (Pat Healy), mother Diane (Vinessa Shaw), teen daughter Melissa (Sierra McCormick) and adolescent son Bobby (John James Cronin) attempt to ride out the weather inside their house. They come up with a variety of attempted diversions but none distract from the extreme events.
In particular, Melissa starts to worry that something more threatening than bad weather impacts the family. Eventually they become literally trapped in their home and they need to deal with surprising problems.
To a distinct degree, Do feels like 10 Cloverfield Lane: characters stuck in one place while mysterious events happen outside. However, Lane included actual characters and plot beats, which we don’t really find here.
Though at the start, Do displays some intrigue. We feel somewhat curious to learn of the situation in which the family becomes stuck, especially because supernatural possibilities arise.
However, we just find too little actual story or drama to sustain 97 minutes of film. This leaves us with about 70 minutes of boredom, punctuated with occasional flashes of gross-out violence.
Do often feels like a stage play, especially when it forces characters into bizarre monologues. These come out of nowhere and feel disconnected from the main story, so they simply fill space.
Though most of Do stays in the one location, we find occasional flashbacks to Melissa and girlfriend Amy (Lisette Alexis). These exist for expository reasons and connect to the main plot, but they still feel like a mistake.
The flashbacks dissipate the claustrophobia. While they communicate some useful information, the way they damage tension becomes a problem.
Not that there’s a lot of harm to be done since the movie comes with so many issues. Do just gets weirder and dumber as it goes, like the filmmakers hope these odd choices will convince us of the existence of cinematic cleverness.
The movie doesn’t make a lick of sense, however, and it fails to even bother with an actual ending or rudimentary explanations for what we saw. This feels more like copout than cleverness, and whatever potential Do boasts goes into the crapper.