It's strange that no one has yet invented a word to define and encompass all apocalypse fictions, now that every week, if there isn't a movie, there's a series. Just as someone one day pulled actioner out of a hat for action films or survival for extreme survival ones, an apocalypter, to say something, might facilitate labeling for the viewer. Today's is Ridley Scott's latest. And the truth is, it's hard to determine the purpose of this film, where it's going, what it intends, what it exactly wants to tell us. What is clear to us is that it's no longer enough to make Jacob Elordi as handsome as possible: now he also has to know how to fly planes, fix any contraption, cook well, be affectionate with children and animals, seem like the best possible son-in-law, and seek fraternity among the dregs of the world even if the Armageddon has arrived. A post-apocalyptic saint. Oh, and also include existentialist shots of him flying his rickety little plane over National Geographic-beauty landscapes with a deep, sad gaze, as if reminding us that if he's such a good person, it's because he actually feels very lonely. It's to be appreciated that this time Ridley Scott isn't filming with a multi-camera, that resource that often sacrificed intentional planning. The director of Alien knows when an image is powerful. And it would be good if he were also more demanding with those that are weak or cliché.