The Wasp Review: Natalie Dormer And Naomie Harris Stun In A Dark, Riveting Psychological Thriller

Reconnecting with a childhood friend is always a little strange, but "The Wasp" takes it to a whole other level. This psychological thriller is all about Heather (Naomie Harris), a seemingly put-together, well-off woman who reaches out to Carla (Natalie Dormer), a standoffish pregnant former classmate who barely seems to remember her. Heather wants to hire Carla to do a dangerous, morally dubious task, but more importantly she wants to talk through everything that happened back when they were kids. Their childhood friendship fell apart the day young Carla killed a wounded bird in front of young Heather; as we learn throughout a suspenseful, emotional 96 minutes, things are weird between them for reasons far more complicated than that. 

I hesitate to say more about the plot, because "The Wasp" is one of those movies where it's best to know as little as possible going in. It's a film split into three clear acts, each of which end on a twist that radically redefines what sort of story the film's telling. Half the dialogue in the first act is given a double meaning after the first big twist, and everything in the second act has even darker connotations after the next one. It's hard to guess exactly where everything's going, but once each reveal happens you'll realize it couldn't have happened any other way. 

The final act in particular flies by, handling its heavy subject matter with an almost unsustainable level of intensity. It's a good thing the movie's only about an hour and a half long, as there's no way it could've kept up this much tension for even a minute more. The film ends on a clear dramatic high note, leaving the audience to think through its many thematic questions on their own. How far can a person go before forgiving them isn't possible, the movie asks, and where exactly is the line between revenge and self-destruction? "The Wasp" doesn't provide any easy answers, but it does wrap up all its plot threads in a satisfying, climactic bow. 

"The Wasp" is an adaptation of playwright Morgan Lloyd Malcolm's 2022 stage play of the same name, and even if you're not familiar with it, it's hard to miss this movie's theater roots. It's a film that takes place almost entirely in one house, which lives and dies on the strengths of its performers. Natalie Dormer disappears into her crass, working-class character Carla, giving us a funny, kind of trashy woman who is almost unrecognizable from Dormer's roles in "Game of Thrones" or the "Hunger Games" franchise. Harris is the real standout, though, giving what is quite possibly the most emotional and complicated performance of her already impressive career. The tension and chemistry between Dormer and Harris ensures the film is never dull for even a moment, and each of them gets a solid handful of harrowing, Oscar-worthy monologues. Both actresses are truly feasting on their material, and it's a delight to witness.

For those who've already seen the play, there are also plenty of little changes to look forward to. The movie adds in some flashbacks and scenery outside Heather's house, taking full advantage of the lack of physical restraints the play had to deal with. But even beyond making the most of the new medium, returning writer Morgan Lloyd Malcolm has added some extra scenes to the script. Speaking to the audience after its second showing at the Tribeca Film Festival, director Guillem Morales ("Julia's Eyes," "The Uninvited Guest") explained how he asked Malcolm to add a friendly mid-movie conversation between Heather and Carla. He wanted to give us a moment where the two women truly reverted back to their childhood selves, showing us how fun their dynamic used to before adolescent cruelty stomped all over it. It's an addition that unquestionably improves the film, adding yet another level of complexity to Heather and Carla's dynamic that makes the dramatic sequence in the final act hit even harder.

Although "The Wasp" ends on an ambiguous thematic note, from a sheer plot perspective it runs the risk of feeling a little too clever for its own good. One character's plan ties up a bit too neatly, in a way that could easily be torn apart by audiences willing to seriously think about its real-world logistics. For better or worse, the final act of "The Wasp" feels reminiscent of Emerald Fennell's "Promising Young Woman" and "Saltburn," in that its darkest moments might feel like cheap shock value to some, and its "triumphant" moments might feel hollow to others. 

As someone who mostly enjoys Fennell's work, I didn't mind the familiarity. The most welcome similar element was this film's commentary on class, with Heather originally coming across as almost a parody of a sheltered rich girl and Carla as a more grounded (if much ruder) working class woman. But much like "Saltburn," this story is far more complicated than any straightforward "eat the rich" message. Things gets messy here, and there aren't any easy heroes to rally behind. 

Even if the final moments might divide audiences, it can't take away from just how engrossing the movie is. The pacing never lets up, the tension never dies down, and its two leads are always fully convincing in their roles. "The Wasp" is a movie all about lingering rage and regret, about the festering, often-justified resentment that seemingly happy people can carry with them all their lives. It's disturbing and uncomfortable, but it's certainly never boring. At the very least, "The Wasp" will stick with you long after the credits roll.

/Film Rating: 8.5 out of 10