I hope they come up with hearing aids like that to kill rapists. Just a thought. Does a conversation done in sign language counts as Bechdel? I'm calling it. // A quiet place was everything but the theatre I saw this at. Seriously. People can't fathom the fact that there is a time for NOT EATING/NOT TALKING DURING A MOVIE ?! Guess not. Why would I expect that people would actually be c o r t e o u s and respectful? ▽
Though there are certainly issues with scripting, Krasinski has crafted an enjoyable thriller which in a multiplex of sequels and remakes comes as a somewhat breath of fresh air. What makes the film is a pair of performances namely Emily Blunt and Millicent Simmonds who are both aces here. Also of note is the camerawork of Charlotte Christensen and the fine score, used with restraint, by Marco Beltrami.
Crowd-pleasing high concept genre movies always find their audience, and Krasinksi should be applauded for pulling off his debut with verve and style - he's actually perfectly cast too, those "trust me" eyes carrying much of the tension. A film that perfectly bullseyes its objective then - though I would love to see a version without the score.
I'm not usually a "plot guy", but the source of conflict and tension (pregnancy) in A Quiet Place is absolutely ridiculous given the situation. That being said, Krasinski works well creating expectations and delivering on them (e.g. space shuttle, nail on stairs) even if the film does go for unwarranted jump scares in its first two thirds where instead it could've benefited from more effective character development.
If imitation is the sincerest form of flattery, M. Night Shyamalan and Steven Spielberg would spend an entire screening of "A Quiet Place" as blushing brides. While the movie features some of the most suspenseful setpieces in recent memory, the lack of time devoted to character means the climax fails to achieve the emotional impact Krasinski is straining for. I could scarcely believe how soon the credits rolled.
Few films make storytelling and creativity as uneven as A Quiet Place. The thematic layers end in an entirely predictable domestic drama-manner of the passing down of tradition, and the horror/action scenes vary from creative (the opening) to safe and generic (most everything else.) What is accomplished is its use of sound for filling in the lapses of words for emotion. Just wish it lacked the musical score, too.
A decent first attempt for Krasinksi, but lacks greatness that could have been in the hands of an auteur. Despite the hype, it feels dated and falls into old tropes that eschew atmosphere for cheap jumps. Ironically, it squanders a magnificent opportunity to properly take advantage of silence, instead relying on a plodding, generic score. The few precious moments of genuine silence are nonetheless highly effective.
A perceptive understanding of the genre, an acute appreciation of characterisation through gesture (internal and external) and a channeling of creative limitation not this aptly demonstrated since ‘Locke’.