I don’t really know what writer/director Quinn Shepherd (Blame) was trying to say with Not Okay. It’s supposedly a jet black comedy about social media celebrity and FOMO, and the lead character Danni Sanders (Zoey Deutch) is definitely a callous hanger-on wanting to taste fame by gloming onto real-life tragedy, but the tonal inconsistency hamstrings the cohesion of the message and the overall entertainment value.
The film begins well, establishing Danni as selfish and clueless, with some sharp lines like her feeling she missed out on a big millennial formative experience of 9/11 and asking, “Can tone deaf be a brand?’ She fakes being in Paris to impress a douchey vaping influencer (Dylan O’Brien) and during this time terrorists bomb the French capital. Sensing an opportunity, Danni pretends to be a victim and she is given a voice, a platform, and sympathy from strangers. Halfway through, however, the movie transitions into something more earnest by introducing a real survivor of trauma, Rowan (Mia Isaac), a school shooting survivor who advocates for political reforms. Until this character, everyone is the movie has been a stereotype, pastiche, or easy send-up, and now the movie wants us to take it seriously, and the satire just atrophies. You can either go one of two ways with a concept like this: satirize some aspect of our shallow society in go-for-broke style like World’s Greatest Dad, or turn it into a personal thriller of how far will she go to maintain the lie and will she be caught like Shattered Glass.
Not Okay tries to do both and in doing so the accrued tonal dissonance causes both approaches to suffer. I don’t care whether she’ll get caught because she’s not interesting as a person because she’s made to be an avatar of attention-seeking validation. I am not laughing because the movie drops being a comedy for much of the second half and its satirical points are fairly broad and already been done in better movies. The end has a blunt message about white saviors co-opting the voice and spotlight from genuine suffering of people of color, and in a smarter movie it would resonate more. However, with Not Okay, it’s just another example that all human suffering can be co-opted to make more obvious insights appear more meaningful.