Life in a post-apocalyptic world is a common theme in movies (especially, if you believe what’s published in the media, the increasing prospect that such an outcome may be coming closer to a reality than any of us might like). In many cases, these films follow the experiences of a resourceful, innovative protagonist who quietly but skillfully struggles to survive, successfully managing to fend off foes while cerebrally wrestling with feelings about what’s been lost. That scenario is apparent once again in this latest release from legendary director Ridley Scott. Unfortunately, however, this is not one of the filmmaker’s better efforts, a blatantly uneven production that gets things right in some regards but woefully misses the mark in others. Based on the 2012 novel of the same name by Peter Heller, the film follows the life of a mechanic and antique Cessna pilot, Hig (Jacob Elordi), who ekes out a comparatively comfortable existence in the Colorado wilderness with his wise-cracking marksman wingman, Bangley (Josh Brolin), in a dystopian future that has been devastated by a deadly virus. Like Hig and Bangley, pockets of survivalists resistant to the pandemic’s lethal impact are scattered across the countryside, but they face constant danger from the encroachment of ruthless scavengers seeking to pilfer whatever they can find for themselves. But, despite the undeniable harshness of this new reality, Hig still pines for a way of life that once was. And he’s convinced of rediscovering that possibility when he receives radio messages from a mystery woman (Allison Janney) in Grand Junction, CO that ambiguously hold out hope for the existence of such a sanctuary. In his quest to find the truth, he embarks on an adventure-filled journey in which he encounters a variety of other survivors, such as Aaron (Bendict Wong), head of a surprisingly thriving Mennonite community, and a hard-nosed gun-toting rancher, Jack (a.k.a. “Pops”) (Guy Pearce), living in a remote and vulnerable locale with his daughter, Cima (Margaret Qualley). But can Hig survive the journey? And what might he find if he ever makes it to Grand Junction? While the premise here is solid, recalling such offerings as “I Am Legend” (2007) and films in the “Mad Max” franchise, the finished product nevertheless occasionally teeters on shaky ground. After a strong but sometimes-slow opening hour, backed by a reasonably commendable closing act, in between viewers are mercilessly subjected to a middle segment that *seriously* defies believability, taking the picture decidedly off the rails, a serious blow to the film’s overall credibility. This is truly regrettable, as this disproportionately out-of-place sequence makes it easy for viewers to quickly lose interest as the project struggles to get back on track before the credits roll. It’s difficult to fathom what the filmmaker was going for in such a ridiculously over-the-top sequence, and it detracts from the elements that truly work well (a terrific cast, gorgeous cinematography, and an emotive soundtrack reminiscent of Scott’s earlier cinematic opus, “Thelma & Louise” (1991)). I can’t help but think that this was a case of failure to “kill one’s darlings,” and, in this instance, that shortcoming nearly undermines all of the audience goodwill the picture amasses before and after it. What’s more, the script is short on its back story elements, leaving one wondering how the narrative ultimately arrived at where it is. Sadly, “The Dog Stars” could have been *much* better, both as a cautionary tale and as a fine work of big screen drama, with some deliberate tweaking. As it stands now, though, the survival considerations addressed here could be just as applicable to viewing audiences as they are to the characters themselves.