Real-life couple John Krasinski and Emily Blunt make for a stellar onscreen couple as well.
It’s not easy to make an entire room full of movie fans scream in terror. But John Krasinski’s A Quiet Place did just that Friday, thrilling the SXSW crowd with impeccably crafted scares, surprisingly effective drama, and one hell of a satisfying ending.
By the time the credits rolled, my hands hurt from clenching them so tightly. I let out a long breath I didn’t know I’d been holding. And then I felt compelled to applaud, loudly, at what I’d just seen. Judging by the dazed looks on the faces of the critics around me, I wasn’t the only one. This is that kind of movie.
For the most part, A Quiet Place lives up to its title. Krasinski and Emily Blunt play the parents of a family living out their days in near-silent isolation, lest the slightest noise attract the monsters that have already demolished most of the rest of the human population.
The film’s genius is in the way it weaponizes that absence of sound. The quiet of A Quiet Place has nuances and textures – there’s a difference in the silence a father hears as his family tiptoes around an abandoned store, versus the silence his deaf daughter (Wonderstruck‘s Millicent Simmonds) hears when she’s in the same scenario.
When sound does intrude, it’s horribly jarring. My tension spiked with each crash or yell. When those noises attracted the monsters – which are so brutally efficient that they leave little more than a blood smear behind – that’s when the audience would start to scream.
Even more harmless, mundane noises take on an outsized significance. The roar of a waterfall starts to sound like comfort and liberation, because it’s loud enough that the monsters can’t hear over it. A song played on an iPod feels downright decadent, and almost unbearably loud. Dialogue starts to seem strange to our ears, after so many conversations executed via sign language. (The same applies, unfortunately, to the score, which feels unnecessary at best and overbearing at worst.)
All this tension puts us in the same mindset as the characters: They can never let their guard down, so we can’t either. Krasinski and his brilliant sound team even manage to turn our own bodies against us – I was acutely aware of my own gasps and signs, and frequently found myself covering my mouth so I wouldn’t yelp in shock.
Still, none of this would really matter if we weren’t at least a little invested in these characters’ fates, and here this cast does some of its most elegant work.
A Quiet Place doesn’t spend a whole lot of time dwelling on who these people are (if any of them have names, I don’t know what they are) but the actors capably convey their characters’ personalities in a few deftly sketched strokes. Blunt in particular shines, building an entire emotional arc out of an unguarded smile, a weary frown, a squaring of the shoulders.
In essence, A Quiet Place is a feature-length version of that scene in every horror movie where the protagonist creeps down a dark hallway toward an unknown threat, and we grit our teeth with a mixture of eagerness and dread.
Half the time, the payoff, when it comes, hardly seems worth the fuss. A Quiet Place is the all-too-rare movie where it does. This may not be the deepest or most ambitious horror movie in recent memory – there’s not much here beyond that brilliantly simple core concept. But as a delivery vehicle for sheer, visceral terror, it’s one of the most brutally effective.
‘Incredibles’ is back after 14 years, and it hasn’t missed a step
Elastigirl is the badass star of Incredibles 2.
“In the 14 years since The Incredibles came out, superhero movies have exploded. Circa 2004, we got maybe two a year; in 2018, Incredibles 2 is the third such film within the past two months.
In that context, it’s easy to imagine Incredibles 2 getting swallowed up by the wave, buried under the meta jokes of Deadpool and the ambitious world-building of Marvel. Instead, however, Incredibles 2 rises above it. Here’s how.
The action is, well, incredible
Incredibles 2 opens with a city-destroying battle of good versus evil that’s become a staple of the genre. But Pixar pulls it off with such style and finesse that it retroactively makes the competition look sloppy.
The choreography is sharp and dynamic, playing with each character’s specific strengths and weaknesses. Elastigirl’s bendiness contrasts and complements Mr. Incredible’s brute force, while Dash’s super-speed combines nicely with Violet’s force fields.
Meanwhile, the camerawork and dialogue keep our focus on the characters, not just the spectacle. It serves as quick reintroduction to the leads, their personalities, and their relationships, in case your memory’s grown fuzzy after a decade and a half, and underlines why this particular fight is important to them.
It’s like the best of the Avenger-on-Avenger bits from Captain America: Civil War or Avengers: Infinity War – only better, because….”
‘Ocean’s 8’ is a fizzy good time, and not much more
Round up the gang this one’s a good group hang.
“Ocean’s 8 is the LaCroix of movies: It’s sparkly, it’s fizzy, it goes down easy, and there’s not really any there there.
It’s not totally dumb, but nor is it particularly clever. It’s nice enough to look at, thanks to all its glamorous stars and their glitzy costumes, but not especially stylish.
But just as flavored water can really hit the spot on a hot summer day, so can Ocean’s 8. It’s fun enough to serve as an excuse to chill with some friends, or while away an afternoon in movie theater air-conditioning.
And for all its shortcomings, it does deliver in some key areas. Here are five reasons to check it out.
5. The girl-power message, I guess
The basic premise of Ocean’s 8 is that it’s Ocean’s 11, only with eight women instead of eleven men, and with the Met Gala instead of Las Vegas. In this era of shared universes, of course there’s a narrative link to the earlier films – the ringleader in 8 is Sandra Bullock’s Debbie Ocean, sister of George Clooney’s character from the Steven Soderbergh movies.
The act of recasting what was once a “male” property with female leads still feels like a statement in this day and age – even if it all it’s saying are “women are people, too.” Ocean’s 8 occasionally nods in the direction of feminist messaging, having one leading lady point out to another that women get ignored (a plus, when you’re trying to pull off a heist) and another execute a stunt involving the country’s “Founding Mothers.”
For the most part, though, Ocean’s 8 lets those themes recede into the background. It doesn’t want to tell you how powerful it can be when women band together in a man’s world – it just wants to show you how fun it’d be to round up a girl gang and steal some jewels. In its own way, that’s kind of empowering, too.
4. The vivid personalities – and fanfic-worthy pairings
Like any good ensemble caper, Ocean’s 8 establishes a cast of colorful personalities, and spends some time sitting back to see what happens when they mix.
There are a few scenes that seem tailor made to inspire fan fiction.
This particular crew does happen to be starrier than usual. In addition to Bullock, there’s Cate Blanchett as….”
Reviews are in for ‘Jurassic World: Fallen Kingdom’
“The latest installment of the Jurassic Park series sounds like a palatable film for fans of the series but doesn’t offer up a completely enrapturing experience the whole way through.
Reviewers have weighed in on the upcoming Jurassic World: Fallen Kingdom, the sequel to Jurassic World, and it isn’t getting the most thrilling praise so far. In this movie, a volcano at the Jurassic World theme park has erupted, sending the human protagonists and a handful of dinosaurs away from the island and into normal society which is fine for the humans but not so great for the dinosaurs.
Read on to see what the critics thought of Jurassic World: Fallen Kingdom
The visuals don’t disappoint
Matt Chapman, DigitalSpy:
Claire Dearing (Bryce Dallas Howard) guilts Owen Grady (Chris Pratt) into returning to the island to rescue his beloved raptor Blue, before an out of control volcano kills every living thing. What follows is some of the most beautiful destruction you’ll ever see onscreen, with a few heart-in-mouth moments for our intrepid dino wranglers and their support staff, Daniella Pineda’s spunky scientist Zia and Justice Smith’s jumpy tech guru Franklin.
Gav Murphy, IGN:
If you thought there was going to be too much CGI in Fallen Kingdom, you’re wrong. There’s a surprising amount of practical effects on display – in fact, it’s the first time I’ve felt genuinely disgusted by these creatures. From the flies buzzing around Rexy’s stinking sleeping body to the mucus and phlegm we see, there’s an impressive blend of both CGI and practical effects in use that helps bring us closer to the dinosaurs. This closeness helps us either feel more afraid or in the case of Blue, a dramatic medical treatment scene really highlights the bond that Owen has with her. Practical effects and CGI are merged seamlessly here and we end up with a touching sequence that also draws in video flashbacks of Owen raising Blue which are obscenely cute.
Dinosaurs aren’t the main event
Owen Gleiberman, Variety:
The film provides plenty of encounters with our stomping, gnashing primeval beastly friends — yet for much of Fallen Kingdom, they are caged, shackled, sedated, wounded, and otherwise subdued. They’re right up there on screen, but too often they don’t feel like the main event….”
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