As much as he tries to convince himself, the world has never been a place where man feels at home. When we see the light of life, we have already begun to fight the battles that define our own lives, and depending on the commitment we devote to them, our journey becomes smoother or more arduous, which in turn directly relates to the path we will be able to respond to the many other battles that will surely take shape that our vain philosophy cannot always assimilate so organically. Nonconformity with one’s condition is directly related to humanity’s eternal need to seek understanding especially about its own nature, so that it may also be able to balance its noises, overcome its fears, suffocate its needs and to make up for your misery. In the deepest and most barbaric mind of everyone who believes there is the idea of possible salvation for each of the ills that plague our existence, and it is that hope, somewhere between the foolish and the vital, that really saves dreams, of progress, of integration, of continuity. Too perversely, however, life is responsible for showing us with all wild composure that, try as we may, out of almost all the ground on which we set our feet grows only a bitter weed that neither nourishes nor sustains .
Written by director John Krasinski in collaboration with Bryan Woods and Scott Beck, the screenplay for “A Quiet Place” is based on a family where Krasinski breathes life into Lee Abbott, the father, an initially marginal figure to the plot, but that wins out Space when the story takes shape. Along with his wife Evelyn, played by Emily Blunt, and their three children, Marcus, played by Noah Jupe, Regan, played by Millicent Simmonds, and the youngest, by Cade Woodward, Lee is trying to survive in what will be of the world after what is left is the invasion of extremely violent creatures that wiped out a large part of the earth’s population, and in doing so also had to acquire an essential habit: to remain silent as much as possible, since these ruthless predators are endowed with hearing far superior to the human who is there allows them to reach the exact spot where their prey is hiding at the slightest noise they make. As a prequel and expansion to the film that features the Abbotts and their eschatological agony, A Quiet Place: Part II makes a point of emphasizing the argument of the invasion of the planet by intergalactic monsters and adds little that is new to the central story, but sets strong on the effects specials by the team led by Charles Cooley and in the edition by Michael P. Shawver, in addition to highlighting the partnership between Krasinksi and his two cowriters.
The terrifying and the poetic in A Quiet Place: Part II are equal and complete. The metaphors the director uses far from imaginative, but ordered and arranged at precise points may even get lost in the avalanche of scenes with sullen and bloodthirsty creatures, but they please the critics and not coincidentally her second incursion into this sciencefiction Fiction full of strategically hidden poetry deserved the attention it deserves from the British Academy of Film and Television. Krasinksi is yet to win his BAFTA; But as unpretentious as she may appear with her feature films, her yearning to surpass herself is palpable, and her excitement in front of an audience that responds with appropriate chills to aliens and the recognition of her artistic sensibilities. Right at the start, Lee runs a red light in a deserted town in New England, in the far Northeast of the United States. This trope of insignificance is illustrated even more blatantly shortly thereafter when the director uses a black screen in a blue sky with scattered clouds over a soccer field, on which he announces the first day of the approaching catastrophe. Evelyn, Marcus, Regan and the youngest realize the seriousness of what is about to happen from Lee’s stunned face, whose only goal to the end is to save his family or minimize the damage.
Ahead of the 89th, which is the 89th day after the aggressors emerged, Krasinski recounts the developments of two weeks earlier, the moment when “A Quiet Place: Part II” really starts to make sense. Cillian Murphy’s entry into the scene as Emmett, a type somewhere between villain and messianic, and the character’s interaction with Regan whose genuine Simmonds deafness is reproduced through the muted audio neutralizes any slipups in a plot that never fails, incidentally, on the side defect.
Movie: A Quiet Place: Part II
Direction: John Krasinski
Year: 2021
genres: Thriller/SciFi
note: 9/10