Abstract

This article examines Harold Ramis’s 2005 noir comedy _The Ice Harvest_ as the critically dystopian counter-panel to his beloved 1993 film _Groundhog Day_, a film frequently discussed within the paradigm of utopia. While starkly different in genre, tone, and reception, the two films comprise a dialectical dyad that registers the historical transition from the utopian cultural effervescence of the early 1990s to the tragic foreclosure of imaginative horizons and the dystopian transformation of economic, political, and social landscapes in the new millennium. In _The Ice Harvest_, the author argues, this is achieved through a strategic reactivation of film noir as a variant of the critical dystopia.