In the sequel, that moment is referenced in a bandage wrapping Evelyn’s foot and spotlighted-essentially in visual quotation marks-in another scene on the same staircase, early on Day 474. Like the eye-slice in Luis Buñuel’s “An Andalusian Dog,” it leaps from the fabric of “A Quiet Place” and sparks a more intense and affecting horror than does the monsters’ menace. The nail in the foot is the film’s iconic moment of limbic horror. It’s a scene in which Evelyn, walking barefoot-in order to tread quietly-accidentally steps on a nail, grievously puncturing her sole while she forces herself not to scream. Having discovered, in the first film, that feedback screeching from the implants stops the creatures in their tracks (and retracts their head armor, rendering them vulnerable to a gunshot or an axe blow), she now prepares for the journey, in the sequel, by gathering a speaker and a mike to use as weapons.īut, before the family goes, the sequel revisits the money shot of “A Quiet Place,” the moment in the earlier film that sealed the deal with viewers, condensing the entire movie’s story and tone into a single image. Regan is deaf (as is, in real life, Simmonds) and uses cochlear implants, which play a major role in the plot-and in her inventive inspiration.
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She not only stands on the roof and notes a fire in the distance-the mark of another survivor-but also uses a compass and a map to figure out how to get there. But, with Lee dead, the family’s leader is now Regan, who displays precocious practical skills. Evelyn heads to their barn, which is flooded and on fire, and collects some needed supplies-notably, an oxygen tank, so that the baby can be kept in a basket, any cries smothered, while breathing with a mask. The surviving members of the Abbott family-Evelyn, Regan, Marcus, and a newborn infant-are struggling to evade an infestation of monsters in their vicinity. Then everyone notices and flees, and, by the time they crowd the town’s main street, the monsters have arrived: scaly, dark, fast-moving, spiderlike yet reptilian giants who are bent on slaughter and rely on sound to track their victims.Ĭut ahead to Day 474, the day after the one on which the first film ended. While taking a called third strike, Marcus looks into the sky and sees fire and smoke.
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(The movie was filmed in upstate New York.) When Lee rushes over to the playing field, his family is there-his wife, Evelyn (Emily Blunt) their daughter, Regan (Millicent Simmonds) their toddler son, Beau (Dean Woodward) and their son Marcus (Noah Jupe), who’s in the game but isn’t much of a player. The town is quiet because its noisy people are crowding the stands at a Little League baseball game, for which Lee is hurriedly gathering snacks. Out bursts Krasinski, in a rush his character, Lee Abbott, was killed off in the earlier film, but the opening sequence, labelled “Day 1” in a title card, is a snippet of prequel. “A Quiet Place Part II” begins with a wryly deceptive touch-an empty town in which a pickup truck comes to a desperate, lurching stop.
It’s a work of polished and skilled professionalism, for better and worse. It’s hard to detect anything more personal about this installment-except perhaps precisely its sense of duty, responsibility, and the fulfillment of expectations. The cramped results are all the more disheartening, given that Krasinski, who co-wrote the original, is the sole credited screenwriter of the sequel. Instead, with a self-imposed sense of duty and some intermittent cleverness, he follows the rules that he set down for himself in the original film, from 2018. That freedom doesn’t seem to have tempted John Krasinski in his direction of “A Quiet Place Part II,” the second installment in what’s shaping up to be a franchise. The chance to make a sequel to one’s own film is a gift of freedom for a director, a chance to expand ideas, reveal latent motives, and push major themes in new directions.
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