5 Frustrating Flaws That Ruined Tom Holland and Daisy Ridley’s Sci-Fi Epic
Tom Holland and Daisy Ridley’s 2021 film Chaos Walking had all the makings of a blockbuster, but it stumbled at nearly every turn. Discover the five biggest missteps that kept this ambitious adaptation from reaching its full potential.
When Chaos Walking hit theaters in 2021, it seemed destined for success. With Tom Holland and Daisy Ridley leading the cast, a director known for his sci-fi chops, and a beloved novel as its foundation, expectations were sky-high. Yet, the film ’s box office numbers told a different story, and critics were far from impressed. What went so wrong with this high-profile adaptation?
Missed Opportunities With the Source Material
Patrick Ness ’s original trilogy was more than just a futuristic adventure—it was a sharp commentary on society. The books introduced the concept of ‘Noise,’ where men’s thoughts are broadcast for all to hear, exposing the dynamics of power and control. In the novels, this idea serves as a metaphor for how women are silenced and scrutinized in male-dominated worlds. The movie, however, barely scratches the surface of these themes. Instead of exploring the unsettling implications, it often turns the concept into a running joke, especially with Tom Holland’s character’s awkward inner monologue. The film shies away from the darker, more thought-provoking aspects, leaving the story feeling shallow and missing the depth that made the books stand out.
Unconvincing Relationships and Character Arcs
At the heart of the story is the relationship between Todd and Viola, but the film never gives viewers a reason to care. Their connection, which grows naturally in the books, feels forced and underdeveloped on screen. Both leads are talented, but the script doesn’t give them room to build real chemistry. Daisy Ridley’s character comes off as distant, while Tom Holland’s Todd seems more confused than conflicted. The movie rushes through key moments, focusing on world-building at the expense of emotional depth. Even Ridley admitted she wasn’t creatively involved, saying,
That’s something I really wasn’t involved with creatively. Not out of choice, just because it was one of those things. I was like: ‘This is great: I come in as an actor, do my thing and then off I go.’ It’s so funny, we were watching a show and someone used the phrase: ‘It didn’t trouble the box office’. What can you do?
The result is a romance that never feels earned, weakening the story’s emotional core.
Wasted Plotlines and Questionable Choices
Many of the book’s most powerful moments and characters are either watered down or left out entirely. Todd’s loyal dog, Manchee, is reduced to a minor role, making his fate far less impactful than in the novel. Todd himself loses much of his cleverness and resourcefulness, coming across as less capable than his literary counterpart. Key scenes, like Viola’s dramatic bridge explosion, are missing, robbing the film of memorable moments. The decision to limit ‘Noise’ to men alone also strips away some of the world’s complexity, and the creative potential of visualizing animal thoughts is left unexplored. Instead, the film relies on repetitive spoken thoughts, missing a chance to make the world feel truly unique.
Plot Holes and Production Woes
Beyond adaptation missteps, the film is riddled with plot decisions that don’t hold up under scrutiny. Todd’s instant loyalty to Viola lacks believable motivation, and Viola’s inability to swim—despite her background—feels contrived. The villain’s motivations are muddled, and the sudden ability of characters to manipulate ‘Noise’ undermines its supposed rarity. The ending, which skips over the journey to Haven in favor of a convenient solution, feels rushed and unearned. Behind the scenes, the movie faced delays, extensive reshoots, and a release during the pandemic, all of which contributed to its chaotic final form. By the time it reached audiences, the film felt stitched together, with shifting character motivations and abandoned themes, leaving viewers with a sense of what could have been.