Noah Jupe | Screenlife Reviews

If the first A Quiet Place film was a declaration from John Krasinski that he can do much more than comedy then consider the sequel his putting everyone in Hollywood on notice. It wasn’t a fluke, in fact A Quiet Place Part II is one of the best horror sequels ever made. The film not only cements Krasinski’s status as a bonafide AAA director who can create genuine Spielberg-ian magic from behind the camera, but – in a rarity for sequels in the horror genre – it also feels like a natural progression of the Abbott family’s story, who after having gone through so much already now find their struggles truly beginning as they venture beyond the borders of their farm home. While Krasinski’s character may be gone, his presence lingers over every character in the film, including standout newcomer Cillian Murphy, leading to a fascinating dissection of grief and strength that gives the film some real emotional depth while continuing to deliver tension-filled scares courtesy of the ferocious sound-stalking monsters.

Now that their patriarch is out of the picture, the Abbott family is forced to flee the compromised farmhouse compound where they have lived for the 400 days since the apocalyptic arrival of the monsters, setting out on a journey to find aid and shelter. Each family member responds to Lee’s (Krasinski) demise in their own way and the exploration of their grief and response to it is the most fascinating aspect of the whole film. Evelyn (Emily Blunt) is thrust into survival mode, desperately seeking a safe abode for her teenage children and newborn infant. Blunt’s character was already a tough-as-nails fighter – albeit with a softer touch when it came to her children – but now, armed with the knowledge to dispatch their foes and dealing with the unknown, she adopts more of Lee’s divisive tough-love practices in order to ensure her family’s survival. She may get the least to do in the second instalment, but Blunt makes sure you never feel as if Evelyn is on top of things, with worried expressions hidden from her children hiding a real fear which permeates the entire film: that they might not make it out alive.

Once again, the Abbott children prove to be the MVP’s of the film. Regan (Millicent Simmonds), who clashed with her father over his protective ways in the first film is let loose now in the new world, desperate to impart her knowledge of killing the creatures to as many survivors as possible. Where before there was resentment lingering over Regan for her father, now there is pride and the notion of living up to his standards drives the young girl on her journey. Through a largely wordless performance, Simmonds is able to demonstrate great strength and bravery through physicality and facial expressions; you can see the pain this girl is living with having lost her father just as she truly reconnected with him. Pairing the grieving girl with Cillian Murphy’s Emmett – who was a friend of the Abbott’s in the time before the event – makes for some extremely emotionally resonant scenes, as she initially judges the man as a coward, hiding away in a bunker and refusing to help her family.

Emmett has been through the ringer in his own rights and Murphy does a lot to show you what he has been through with only his eyes, tired but terrified; wanting to help but afraid of going the way of everyone he has held dear. When Emmett is coerced into joining Regan’s quest to find an island radio tower, the two initially clash, with Krasinski wringing a new type of tension out of the constant fear that Emmett has become morally bankrupt in this new world and will betray Regan. It goes a long way towards differentiating this new film from the first and expanding the scope in ways other than just size of the world or the number of monsters. Krasinski is more confident and drawing from a bigger filmmaking toolbox now, with everything he touches turning to gold.

That’s not to say that the impact of the monsters isn’t felt just as much as the first film. Quite the opposite in fact, with an explosive opening scene detailing the first arrival of the monsters in a small town dialling the action up to eleven and previewing the carnage to come. Setting this scene in a normal bustling town allows Krasinski to throw it all on the screen as we see what these creatures are truly capable of when surrounded by a cacophony of sound; ripping everything that moves apart in a violent rampage. This scene alone is enough to rekindle a fear of sound in the audience, as the characters on-screen discover the attraction to sound just as the audience makes a commitment to not make any out of pure fear. Nowhere is that fear expressed more than in the character of Evelyn and Lee’s son Marcus (Noah Jupe). Jupe is terrific here, extremely expressive in his facial expressions and the perfect vehicle to drive the slow-burn scares that drip with tension. His side story makes for some of the most armrest-gripping moments in the franchise yet, and one particular scene involving a baby and a vault will have you unknowingly holding your breath and shaking with unbearable tension.

A Quiet Place Part II is a masterful sequel to one of the most celebrated horror films of the last decade. With careful attention to character and meticulous crafting of an underlying sense of tension through pitch-perfect editing and sound design, John Krasinski and company have crafted a virtually flawless film that improves upon its predecessor in every way possible. Newcomer Cillian Murphy is excellent and slots into this world perfectly alongside the Abbott family, with Blunt, Simmonds and Jupe all upping their game for the sequel. Krasinski has well and truly earned his place among the top directing talent in Hollywood and as far as I’m concerned can keep churning these movies out forever, I’ll keep coming back. Don’t miss the experience of seeing A Quiet Place Part II in a cinema, you won’t be able to keep quiet about it.

A Quiet Place Part II stars Emily Blunt, Cillian Murphy, Millicent Simmonds, Noah Jupe, Djimon Hounsou, Scoot McNairy & John Krasinski – In cinemas now.

Like the racers at Le Mans, director James Mangold can’t be stopped. Following up one of the most well received superhero films of all time in Logan was never going to be an easy task, but he’s done it with his latest racing feature Ford v Ferrari. A thrilling tale of two men and the lengths they will go to to achieve their dreams, this is engrossing, engaging cinema at its finest and undoubtedly one of the best films of the year. Every aspect of the film blends together perfectly: the performances of Matt Damon and Christian Bale and the entire cast, the score by Marco Beltrami and Buck Sanders, the tension filled race scenes and the airtight story all coalescing to create one pure adrenaline shot of a movie that should not be missed.

Don’t be fooled by the title, this is first and foremost a character study of two men: former racer turned car salesman (and the first American to win the 24 hours endurance race at Le Mans in France) Carroll Shelby (Damon) and down-on-his-luck British racer Ken Miles (Bale), who Carroll has his eyes set on to drive in the 1966 Le Mans championship. The racing comes second to the deep dive we take into these two men’s psyche’s; both damaged from their past and from different worlds but who share a unified passion and goal in their love for racing and desire to be the best and chase that perfect lap. Damon and Bale are pitch perfect in their respective roles and their chemistry is electric. Their friendship is the heart of the film and they sell it wonderfully, coming to understand and value each other more and more as the race looms closer. Each party is tested in their own way, whilst the other witnesses the lengths their friend will go to in order to chase this dream. This slow reveal of just how important this race is to both men in turn influences the audience, as you find yourself becoming more and more engrossed in the story as each new obstacle on the way to Le Mans is overcome. It’s an extremely effective and subtle way of making you care and by the end of the film you’ll likely find yourself on tenterhooks as the race unfolds, as you know full well what is at stake for Shelby and Miles.

As complex as these two characters are they are also a ton of fun, with both men getting to chew the scenery in different ways. Damon gives his best Texan accent here as the loud, proud Shelby, who succeeds as a car salesman by charming clients with stories of his racing heydays, which he longs to return to after being forced to retire due to heart issues. He plays these loud, braggadocios beats of Shelby with supreme confidence but it’s the quieter moments with Shelby that really allow Damon to explore the character, and he does this extremely well, whether it be through a simple facial expression or the tone in his voice on a quiet telephone call. He’s constantly forced to make hard decisions and is torn between his own self-preservation and putting it all on the line to win and it’s hard to imagine anyone other than Damon doing justice to the role. Bale as Ken Miles alternates between a quiet, reserved man – the opposite of Shelby – and a powder-keg, ready to explode at a moment’s notice at whoever draws his ire and insults his skills with a car. It’s a more obvious range than Damon’s and while he may seem like the more predictable, easy to read character, Miles harbours some real trauma and self-doubt – struggling with the choice to chase his dream or give it up to provide for his family – which Bale portrays in a variety of subtle ways. It’s rare that a movie these days allows you to learn about the character in real time with the other people in the film and it’s a welcome choice, helping you to invest yourself more in the plot and in Miles.

The supporting cast is all excellent and every character’s involvement in the plot is specifically tied to Miles and Shelby (whether serving as obstacles or inspirations), never distracting from the task at hand and further narrowing the film’s laser focus to these two men and the race to come, tightening the tension as we come to realise how many other people’s fates are tied to Miles and Shelby’s mission to win Le Mans. Caitriona Balfe excels as Mollie, the tough-as-nails wife of of Ken and the only one able to really keep him in line, whilst running the household in his absence. Balfe makes her presence known when she’s on screen, commanding the scene as she does all she can do to ensure her husband fulfils his destiny. Similarly, the character of Ken is further fleshed out through his relationship with son Peter, played by Noah Jupe. Jupe is fine in the role, playing a boy who completely idolises his dad, but who also recognises the extreme risks associated with the race and is torn between his desire to see his father win and to keep him safe. The scenes between Peter and Ken are some of the most heartfelt and help to flesh out the character of Ken, giving him something to lose but also a reason to succeed. Rounding out the cast is a bevy of Ford employees who both help and hinder the two men as they approach the race, including Jon Bernthal, Josh Lucas and Tracy Letts. Lucas is at his dastardly best here as Leo Beebe, a Ford executive who is vehemently opposed to the decision to have Miles race the first Ford race car and who goes out of his way to make sure it doesn’t happen. It’s a character that you love to hate and Lucas hams it up in all the best ways, creating someone who audiences purely loathe, but who also has understandable motives.

On a technical level Ford v Ferrari is a masterclass in filmmaking; with Mangold utilising every trick and technique up his sleeves to ensure that every element of the film is there to enhance the story being told. This is perhaps no better demonstrated than in the racing scenes, with quick cuts between shots of the cars , point of view shots from the driver’s seat and reaction shots of the people outside the car helping to sell the speed and intensity of the races. The quieter moments are equally well assembled; shot gorgeously and with purpose – a particular scene between Ken and his son is shot against a gorgeous sunset, setting the tone for the emotional exchange to come. It’s this kind of attention to detail that goes that extra mile (sorry) to envelope you in these two men’s story and it makes the whole affair an absolute joy to watch. Marco Beltrami and Buck Sanders’ score elevates the film to another level, adding to the quieter moments and capturing the electric intensity of the races, which Mangold makes even more impactful by fading the score in and out so that when it comes in booming you feel it and the music almost feels earned after the heart-stopping scenes preceding it.

Ford v Ferrari is a special film. A near perfect blend of classic moviemaking skills that perfectly captures the spirit of 60’s Americana and racing; the inherently simple premise disguises so much more, at the centre of which is a wonderfully deep and realised friendship between these two men and a story of chasing your dreams no matter what. This is a film that will stick with you long after you leave the cinema: it’s blend of heart, action and humour never disappointing and keeping you glued to the screen. The best film of the year so far in every way, a Skywalker is going to have to rise pretty high to clear the bar Mangold has set in order to overtake Ford v Ferrari.

Ford v Ferrari stars Matt Damon, Christian Bale, Caitriona Balfe, Jon Bernthal, Noah Jupe, Josh Lucas & Tracy Letts – In cinemas now.