The first Quiet Place movie emitted the most piercing silent scream imaginable. This sequel from writer-director John Krasinski may not quite have all its focus and intimate horror, while the borrowings from Alien, Jurassic Park and Jaws are admittedly more obvious this time around. But it’s a really effective and engrossing followup, with an absolutely sensational “prelude” sequence at the top of the movie, a barnstorming shocker equal to anything in AQP1 – showing the panic and terror that hit planet Earth when we were initially invaded by these hideous blind beasts whose supersensitive hearing meant that humans could only survive by being silent. The slightest noise would bring slaughter.
AQP2 repurposes the situation as a quest narrative, intercutting with some style the nightmarish ordeals of those who venture out from their bunker, and those who have remained behind. The dual storylines are wrapped up together ingeniously with images and ideas slyly implanted at the very beginning. And there are some jump scares that had me Fosbury-flopping out of my seat with a yelp.
We begin effectively where the original film left off. Lee (Krasinski) is no longer with us, leaving behind his wife Evelyn (Emily Blunt), his son Marcus (Noah Jupe), hearing-impaired daughter Regan (Millicent Simmonds) and their new baby, a possible source of fatal screams who must be subdued with an oxygen supply. This family chance across their former friend and neighbour Emmett (Cillian Murphy). When smart and resourceful Regan figures out that there may be a community of souls out there who have figured out a way to live without fear, she impulsively goes out in secret to try to find them – and tearful, wretched Evelyn persuades the morose and resentful Emmett to follow her and keep her safe. Meanwhile, she will remain with Marcus and the baby, and the double storyline commences in parallel.
As ever, the jeopardy device is the technique Regan has discovered to counterattack the monsters: her hearing aid can be induced to go into feedback, which can be amplified through a little speaker she has to carry around with her and this causes the creatures to go into spasm. But this audio shriek can’t be maintained long and also alerts them to where the human is – so you have only a few moments to rack up your shotgun and let the alien have it right between where its eyes would be. And it’s never quite long enough.
What is interesting about this film is that it quite persuasively shows us a post-post-apocalyptic situation. In just a short time, cringing, cowed humanity has evolved into a beaten colonised life form and then evolved one step further down, into feral beings who soundlessly turn on each other.
It’s a tiny shame that the film doesn’t give more screen time to the excellent Blunt and I did wonder if Krasinski considered dreaming up some Battleship Potemkin-style scares for that vulnerable little baby; maybe he thought that was too obvious. But Simmonds is an excellent performer: bold, confident and forthright, holding her own opposite the alpha-emoting presence of Murphy.
In the end, it’s impossible not to see these gross creatures as Covid metaphors and impossible not to delight in their comeuppance. What a pleasure to see a big, brash picture like this on the big screen.
• A Quiet Place Part II is released in cinemas on 27 May in Australia, 28 May in the US, and 3 June in the UK.
