The Horror Sequel Retreads Softly, But Carries Less Impact-2

The first A Quiet Place was a phenomenon for a reason — its immaculate sound design and unique premise (a post-apocalyptic world ravaged by hearing-sensitive monsters) made for a horror film more akin to a roller coaster: immersive, transporting, and almost completely experiential. But strip A Quiet Place of its novelty, and what do you have? That’s the question that A Quiet Place Part II wrestles with.

John Krasinski returns to direct and write A Quiet Place Part II, which struggles to recapture the lightning that turned the 2018 original into a hit. Because it follows the continuing adventures of the Abbott family, it can’t just recycle the premise of the first film as many a horror sequel has done. So instead, it fills up the runtime with plot — and a fairly run-of-the-mill post-apocalyptic thriller plot, at that.

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The film opens with a flashback to “Day 1” of the invasion, when a baseball game that the Abbott family is attending to support anxious son Marcus (Noah Jupe) is suddenly interrupted by a meteor cutting through the sky. While the other families gawp at the fire lighting up their familiar small town skyline, Lee (Krasinski, in full hero mode in his brief scenes) immediately thinks something is amiss. He hurries Regan (Millicent Simmonds) to his beat-up truck while Evelyn (Emily Blunt) takes their other two children home in her car. The pair of them arrive downtown just as all hell breaks loose — monsters attacking people in the streets, crashing into cars, mauling dozens of hiding townspeople thanks to an errant cell phone ring. Through it all, the Abbott family just evade death (Krasinski’s Lee Abbott weaving and leaping through the fray as if he were in an episode of Jack Ryan) but the focus is on the children: Simmonds and Jupe playing well to the trembling fear of kids in a monster movie, but with steely glints in their eyes befitting protagonists of an adventure movie.

Cut to 473 days later, the three surviving Abbotts, with newborn baby in hand, are leaving the burning remains of their home. While attempting to find shelter at an abandoned factory, Marcus gets injured and accidentally calls the attention of the monsters but also earns the sympathy of Emmett (Cillian Murphy, extremely at home in the post-apocalyptic thriller, having worn this coat before in 28 Days Later), an old friend of the the Abbotts who had been living alone in the factory. At first suspicious of the Abbotts, he quickly leads them through his redneck Rube Goldberg machine designed to fend off the monsters and hides them away in his underground bunker.

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Emmett is exactly the kind of character you’d expect to find in this apocalyptic wasteland. A grieving widower and father whose only comfort is his fast-depleting bottle of alcohol — which he immediately gives up to help Marcus — Emmett’s role is to have his walls worn down by Regan, the spunky heroine of this story who believes she has a solution to save the world. There’s a strange thread throughout this movie wherein Krasi“nski’s Lee is frequently alluded to as some kind of messianic hero — Regan and Evelyn evoking his name whenever Emmett balks at helping them — and I couldn’t tell if this was pure narcissism on Krasinski’s part or an actual necessary story device.

Regardless, Murphy and Simmonds are a fantastic pairing. Murphy brings a likability and tenderness to a fairly well-worn archetype, while Simmonds is allowed to shine as the clear-eyed heroine of the piece. Having discovered the effects of her hearing device’s sound waves on the monsters, she sets out to broadcast the sound to the entire world — to the irritation of Emmett and the despair of Evelyn. Emmett is unwillingly dragged along on her quest, and the two of them set off on the latest iteration of “reluctant father figure and spunky young girl” that we’ve seen pop up in almost every post-apocalyptic story as of late. But Murphy and Simmonds make it work, and keep us engaged even as the film starts to sag underneath its contrived plot twists and even more plot holes. Sadly, outside of Murphy and Simmonds, the rest of the characters are given squat. Aside from a few great moments, Blunt mostly gets sidelined, while Jupe falls to the horror pitfall of becoming the character made deliberately dumber to engineer conflict and build up to a big climax. Meanwhile, Djimon Hounsou is a welcome sight a pretty thankless role.

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That being said, Krasinski is a confident and and oftentimes inspired director. Where the script is lacking, his steady direction and sure hand make up for it. Krasinski is clearly hankering to direct a Jurassic Park or to adapt The Last of Us; the influences are apparent throughout the movie, which sheds the experiential audio-driven aspect of the first film in favor of a straightforward action thriller, though it can still pull off a few good jump scares. What Krasinski has done is direct a solid post-apocalyptic adventure with some horror flair, which is totally fine, but it’s a clear step down from the first film.

It’s a dichotomy that makes up most of the movie — is it a horror or a post-apocalyptic adventure? Krasinski frequently rejected the “horror” label for the first A Quiet Place, presumably to make the film more accessible to all audiences, but it might be that he doesn’t have the interest in making a straightforward horror film. In the process, A Quiet Place II falls somewhere in between, with the effective thrills and jump scares of a horror film, but with an overly familiar post-apocalyptic plot that we’ve seen many times before.

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When Warner Bros. announced that every one of its 2021 releases would be dropped day and date on HBO Max, several high profile directors and actors did not react well to that news because it impacted the amount of money they could make based on a film’s theatrical performance. Fast forward several months, and a similar conversation is happening again, this time at Paramount.

John Krasinski and Emily Blunt, the creative forces involved in A Quiet Place Part II, are in a battle with the studio over their paydays for the upcoming sequel, which will likely be significant impacted by Paramount’s decision to put its new films on the new Paramount+ streaming service just 45 days after it debuts.

 
In February, Paramount announced that it plans to put big movies like Mission: Impossible 7 and Top Gun: Maverick on its new streaming service 45 days after they’re released in theaters, instead of keeping the typical 90 day window intact. That decision also applies to A Quiet Place Part II, and a new report from Bloomberg says that Krasinski, the film’s writer and director, and Blunt, its primary star, are not thrilled about it.

 
Their contract is directly tied to the movie’s box office performance – which, in a non-pandemic time, would be great for them, considering the 2018 original became a huge hit, making $341 million on a $20 million budget. But with some movie theaters still restricting their capacities, and audiences not back in the habit of visiting movie theaters in person, they fear that people will just wait the 45 days and see it on Paramount+, which would majorly impact the amount of money they would make. (Bloomberg says “tens of millions of dollars” are at stake.)

Paramount has so far “rebuffed” their efforts to obtain compensation that would approximate how the film might perform under better circumstances, and the studio has also turned down a request for more money from Michael Bay, who is one of the producers on the movie and who also stands to lose money from its shortened theatrical window.

WB eventually paid off big names like The Little Things star Denzel Washington, who were impacted by its HBO Max decision. I’ll be curious to see if we get a follow-up to this report about Paramount, because it seems likely that Tom Cruise has similar language in his contract about box office bonuses that will also be impacted by the studio’s choices. What happens with Krasinski and Blunt could set a precedent that the studio might have to stick to for the foreseeable future.