#jupe having his horror made into a Show. jupe growing up and continuing to do it to himself

[apple-of-my-pie]

i think the moment i really Got what nope was trying to say was when jupe was talking about the gordy’s home snl sketch and it cut to a flashback of him as a kid, terrified and bloody after a horrible trauma - and then cut right back to him gushing about the performance of the actors that turned that trauma into entertainment

[echoesanddoodles]

nope thoughts

got to see Nope today and it was honestly as good as I was hoping for. so worth the wait!

just like. my mind is still reeling and processing and there’s SO. MUCH. snuck in there i definitely want to go watch it again but just moments like:

- Em messing up how many greats (great, great grandfather) because she had memorized her father’s speech she’s later seen watching :’)

- Ricky/Jupe being like. performatively evasive/dismissive and ever the showman in talking about the Gordy’s Home incident: giving a few details then moving to describing the SNL skit and the actors being sharply cut with his face as a child during the actual tramautic event. it was so evocative and showed so much about his character in an instant.

-while on the subject, the sound editing and choices of music/moments of stillness like in the long scene of the gordy’s home incident. i found myself holding my breath trying to also stay silent.

-also during that, the emphasis on “bad miracles” and focusing on anomalies/odd moments during a traumatic experience with the peculiarity of the shoe standard perfectly upright. Something about focusing on the strangeness of that over the horror surrounding it really hit. I know personally from some traumatic events there were weird things adjacent-but-separate to the experience that I have really strong memories of, glomming onto that instead of the bad thing itself.

- when the crowd was grabbed during the show?  them being dragged inside of JJ actually made me viscerally uncomfortable. 

-Peele’s continued skill with developing tension too. the aliens in the stable scene? the long pause waiting for the head to peak around the corner? immaculate.

-i also hollered at the solemn recitation of the Purple People Eater song. I had a halloween plushy growing up that would sing it and I cannot begin to describe how insane it made me hearing it referenced in this movie oh my god

-AKIRA SLIDE

- Jean Jacket doing the ultimate defensive predator move, OJ standing his ground in that final showdown.

-the auteur camera guy and the idea of the “impossible shot”. There was this emphasis on spectacle and personally, a feeling that really hit home about an impulse in some creatives for the obsession with perfection in their craft: chasing that impossible shot. Yes he mentioned others not deserving to see a miracle, but he also went to record his own impossible shot, no matter the harm to himself. Destroying your self to achieve your own creative pinnacle, no matter the fact that others will not get to witness it.

ok also I know a few folks have said it’s kind of slow but I really didn’t feel that way at all. I think the pacing was really solid and built up well. there were no moments I was bored or like “ok we GET IT” and i think the way the main story was intercut with the Gordy’s incident was really well balanced and showcased the theme and story really well.  Idk. I thought it was really smooth, but it could also be bc i’ve watched too many cheap shitty or really old horror flicks, so I have built up a tolerance for slow builds. even if it does take a bit of time, it pays off really well.

Also, the actors were all incredible and I’m in love with daniel kaluuya and keke palmer

[aion-rsa]

A Quiet Place Part II Review: John Krasinski Brings More Sound and Fury

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Does anyone else think the first A Quiet Place was overrated? Upon its release in 2018, the John Krasinski and Emily Blunt-led movie was greeted warmly by critics and audiences, but when you stripped aside the fact that Jim Halpert from The Office directed it (and starred too as an extremely competent alpha survivalist dad, doing his damnedest to erase poor, mild Jim from our memory), it was a pretty conventional B-horror movie.

Based around a single gimmick—blind aliens who hunt their human prey by sound, thus making staying quiet essential—the film was full of contrivances designed to get its central Abbott family from one terrifying predicament to another (the worst offender being the Abbotts conceiving and having a baby—yes, a crying baby—in the midst of an apocalypse). But it also did achieve a certain amount of suspense through its premise and Krasinski’s taut direction, making audiences think they were watching something fresh, even as the movie relied on tried and true tricks the more it went on.

Since A Quiet Place made a gazillion dollars against a sensible budget, a sequel was naturally put on the fast track with Krasinski directing again and writing it solo as well (he rewrote the first film’s original screenplay, which was penned by Bryan Woods and Scott Beck). Yet A Quiet Place Part II, which on the surface is a tense and often effective ride, gets dragged down like its predecessor by the thinness of its story and its world-building. That and the actions of the characters, who once again do everything possible to put themselves in danger.

A Quiet Place Part II begins with a flashback to the very first day of the alien invasion that has annihilated most of human civilization, but there’s absolutely no reason for us to see this except as an excuse for Krasinski to again portray the soon-to-be deceased Lee Abbott one more time. The sequence, which starts with the Abbott family attending a Little League game in their picture-perfect, rural American town—also briefly introduces slightly oddball neighbor Emmett (Cillian Murphy), although he makes almost no initial impact.

As with much of the backstory in these films, the reveal of the invasion’s first day doesn’t really offer any context for the events: the townspeople see what looks like a flaming meteor streaking across the sky and before you know it, the aliens are on the ground plowing through civilians like monstrous weed wackers. Krasinski never delves into questions about the creatures and how they got here, but to be fair, the daylight attack still works on a metaphorical level because of its suddenness and ferocity.

Flash forward to “Day 474” and we’re with the Abbotts (minus Lee, of course) as they prepare to leave their ruined farmhouse. The battle that the end of the first film hinted at is over, with dead creatures scattered around the still-burning and flooded home. Evelyn (Emily Blunt), son Marcus (Noah Jupe), older deaf daughter Regan (Millicent Simmonds), and their newborn baby (whose name we didn’t catch) hit the road, walking as quietly as possible in the direction of a distant fire signal that could indicate more human survivors.

With creatures nipping at their lacerated heels as they reach a abandoned steel mill, the Abbotts discover that the place is inhabited by Emmett, now a fearful loner who has lost his own family and wants the Abbotts out by the next day (one clever detail is Emmett’s use of a furnace as a hiding place, with a stopwatch to indicate how much time is left before the limited air runs out). But before he can kick them out, Regan—armed with the makeshift sonic weapon created in the first film—ventures out on her own, seeking the source of a different, more promising signal.

Although Regan evolves in this story into a more confident, mature leader (the same can’t be said of Blunt’s character, unfortunately), she still makes the first of several questionable decisions that artificially propel the story forward. The cardinal rule at this point should be “never split up,” but the Abbotts continually ignore that sound advice.

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One could argue that Regan’s journey is one of growth and necessity, as are some of Evelyn’s actions. The same cannot be said for poor Marcus, who makes the brunt of the movie’s bad choices simply because the story needs to put several family members in danger at the same time. Emmett makes some ill-thought decisions too, but at least he gets to evolve as a character, with the skillful Murphy making his progression logical and compelling.

Fortunately, Murphy, Blunt, Jupe, and especially Simmonds are all on their game here, making the Abbotts and Emmett effortlessly watchable even as the story itself takes predictable and contrived turns. But without the novelty of the premise to paper over the story’s flaws like it did in the first movie, A Quiet Place Part II can’t quite overcome the weaknesses of the narrative or the world that Krasinski builds. Instead it bounces predictably from one shock sequence to the next while introducing new elements to the story and then moving on without fully exploring them.

Aided by his cast, there’s no question that Krasinski continues to grow as a craftsman behind the camera. Even if the scares are more conventional, the director wrings as much as he can out of them in terms of suspense and dread—we found ourselves white-knuckling the theater seat armrests (yes, we did see this in a theater), even as we knew exactly where the scene was going. The sound design and music add immeasurably to the sense of terror as well, and the creatures remain disturbingly designed even if we see a lot more of them, allowing their CG seams to show a bit more.

A Quiet Place Part II tries to say something about the next generation taking over from the one before it, a theme which benefits from Krasinski’s minimalist approach to story. But at the same time, the movie so blatantly sets up a sequel that one leaves A Quiet Place Part II with the feeling that the movie has been just an extremely well-made and often gripping time-filler instead of a genuine expansion of the tale set-up by the first film.

As a final note, A Quiet Place Part II was actually supposed to come out on March 18, 2020, and there was even a press junket and world premiere held in New York City on March 8—literally days before the COVID-19 pandemic shut everything down. As a result, the film was among the first major studio pictures to see its release date postponed, with the movie shifted several times before finally settling into its final arrival on May 28 of this year. The movie will also show up on the Paramount+ streaming network 45 days after its theatrical release. But as restrictions loosen, we might cautiously suggest catching this one on the big screen if you’re so inclined.

A Quiet Place Part II opens in theaters on May 28.

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