Marcel the Shell with Shoes On

 

Gillipedia Official Rating: So wholesome I can’t even make a joke in this tagline

Score: 10/10

          I recently had the opportunity to do a bit of traveling for work, and part of that ritual is watching movies on flights. While I’m debating reviewing some of the others I watched, there was one clear standout, Marcel the Shell with Shoes On. This movie oozes wholesome content through a brisk runtime. For 90 minutes straight, I was grinning from ear to ear, even possibly with a tear in my eye from time to time.

          The best way to describe the first dozen minutes or so in terms of tone is honestly a bit like the opening of Up. There’s this montage-like quality as we’re introduced to our here, Marcel, who is… a shell… with shoes on. He’s only one-inch tall and lives in a suburban two-story house. His dialogue feels very stream of conscious as we’re guided through the house and watch how Marcel gets by on a daily basis— traveling inside a tennis ball or using a stand mixer attached to string to shake a tree to get fruit to drop. And where does this supply of string come from? Marcel’s answers and solutions to everything is always innocent, creative, and even a bit clever.

          There’s a couple other players to know. Marcel isn’t the only living inanimate object. There’s an older shell that Marcel calls Nana Connie, and a young man named Dean. It’s also worth mentioning at this point how the film actually looks. The house is live-action as is our human Dean, but Marcel and Nana are a mix of stop-motion and animation. Dean rents out the house as an AirBnB until he finds a new apartment, and upon discovery of Marcel, decides that he would make the great subject of a documentary. And that’s the style of how the film is shot. And it’s gorgeous. Playing with depth perception and those sun rays gleaming off a slightly dusty service, and then incorporating our adorable stop-motion protagonist is so thoughtfully crafted. This is an A24 film and comes fully with the expectations of how that studio’s films should look.

          Not only is the film endlessly wholesome, it’s surprisingly funny. Marcel has some great lines, but there’s many small moments too. My favorite example is Dean helping Marcel make a phone call. Marcel leaps from number to number on Dean’s smart phone until it starts ringing. We listen to the call while just to the side Nana is watching the scene unfold. And she’s casually standing on a laptop that’s open to a word doc, and since she’s on the “z” key, the doc slowly fills with “zzzzzzzzzzzzzzzzzzzz”. It’s not the focus of the shot, they never call it out or bring attention to it, but it’s a fun, clever idea executed and timed so well.

          If I had to stoop low enough to find any critiques, it’s that the way the small conflict in the middle of the film plays out is a bit pedestrian and easy to predict where the movie is headed. Part of this involves Dean uploading a segment to YouTube and Marcel gaining popularity. Stupidly, Dean includes the outside of the house and this brings unwanted attention once the public figures out where the house is. Marcel feels responsible for something that happens a bit later, but Dean never remarks about this.

          But that’s not nearly enough for me to not recommend this film. The ending made me so happy that I genuinely was starting to tear up. I honestly haven’t kept up too much with animated films recently, but this is easily the best animated film of the year, and I’d also say it’s the most wholesome film I’ve seen in the last decade. It’s an incredible feat of filmmaking that the entire family will enjoy. I am a huge fan of many genres including films like Hereditary that fill you with dread, but you have to balance that out with good-feeling movies, and there’s no better choice than this film. Tis the season to put a smile on your face, and you’ll do just that by watching this movie. Cheers, everyone.

Smile :)

Gillipedia Official Rating: Missed opportunity to use McDonald’s old motto, “We love to see you smile.”

Score: 6/10

          Smile has all the highs and lows of horror films. It has some solid scares, an abundance of jump scares, and characters making frustrating decisions. It’s one of the most entertaining movies I’ve watched all year, but I can’t overlook its shortcomings from a storytelling perspective—hence, the mixed score.

          This film is basically a combination of the incredible It Follows and the classic but honestly overrated The Ring. Of the former film, there's a shot of our smiling creature taking the form of a giant person in a dark hallway-- almost the exact same shot from when It Follows hired the tallest man in the world for one of its scares. Our main character Rose is a therapist clearly still suffering from some childhood trauma. Things kick into gear when she’s called in to talk to a college student who witnessed her professor kill himself earlier in the week. The girl is frantic and paranoid, but we the audience know that this “thing” she vaguely describes is the menace of the film. She describes something that only she can see that told her she’s going to die today. Suddenly, she starts freaking out and exclaiming something is there. Then, calm. The girl looks straight at Rose, wearing a large, creepy grin, and slowly slices her throat open.

          What is revealed through the film is this evil spirit has now latched itself to Rose. It can take the form of any person with the common trait being an ear-to-ear grin and a slightly downward stare for maximum creepiness levels. The spirits like to first torment its prey, so Rose has roughly a week before the spirit will attempt to take over her body and force her to kill herself. So that’s the basic setup. What does the film do well, and where could it improve?

          First, they hired great people to be the evil spirit. The girl from the beginning who is frantic and passes the spirit to Rose is fantastic in all the different emotions she had to portray over the film. Outside of the film, they also had the best marketing campaign of recent memory having their actors attend stuff like baseball games and simply smile at the cameras for the entirety of the event. The way the spirit messes with Rose is fun in many parts, and one jump scare during the climax in particular stood out in getting me to actually flinch. The film also does its best to combine themes of past trauma to how the spirit continues to live and move from host to host and connects that with Rose. There’s creative uses of the spirit, and the sound design is far above typical horror films which made seeing this in theaters a big plus. Even the transition shots do their best to keep you feeling uncomfortable by showing you upside down shots—we as humans don’t react well to what we’re not used to.

          Lots of good stuff, right? Well, some of this bleeds into my critiques as well. There’s an overreliance on jump scares—one for opening cat food? C’mon. Since we all know this is building up to one night that actually matters, the scares along the way can feel like slight filler since even though they can be disturbing, we’re not too concerned about the consequences if Rose isn’t meant to die yet. There's also a lack of smiling imagery throughout. She sips from a smiley face mug in one scene, and stares at a doctor's chart with different levels of smiling with how you're feeling, but outside of those and the initial client's blood splatters forming a smile, I wanted to see more smiles out in the wild!

          But my biggest frustration is how much this movie relies on its characters being horror movie characters. Where the cast of It Follows logically comes up with a plan to deal with the creature from that film, Rose doesn’t think of the obvious solution to deal with the spirit until right before the ending—a conclusion I thought of at least 30 minutes earlier. Also, Rose is a therapist. You would think she could piece together how crazy her initial client looked and would more logically try to explain what’s happening to her; she even legitimately gets police reports of evidence—THIS CHICK GOT THE RECEIPTS—and instead frantically and crazily only yells stuff like, “I know I sound crazy, but you have to believe me! There’s something haunting me that only I can see!” And it’s not just Rose. We have the guy who plays A-Train in The Boys playing Rose’s fiancé, and despite him being a frustrating character, it’s actually for different reasons and is more unique from typical horror characters so I don’t mind that. But you also have Joel, a cop who took Rose’s statement after her client’s suicide and also some history with Rose that isn’t discussed in detail. He’s the one that helps Rose find out the information throughout the film, yet he acts even more clueless than her in what to do.

          The last frustration is with an ending that I have to imagine is meant to keep possibilities of sequels alive. If you’ve seen any generic horror or slasher film before, you’ll know what to expect. Which is a big reason why Barbarian from earlier this year to me is clearly the best horror film of this year over Smile. For those that have already watched this movie, I’ll go into spoilers after the end of this review on the easy fix to improve this movie.

          But if you haven’t seen Smile or don’t care either way, I’ll finish the review spoiler-free. From the way Rose acts around literally everyone, too much dependence on jump scares, and frustrating character decisions and the ending, this films refuses to rise above what has plagued horror films for years. But it’s also an easy to recommend movie because it is undeniably fun and scary nevertheless with some thrills that hint at good filmmaking. It’s some of the most fun I’ve had at the theaters this year, but the movie-lover deep down is disappointed in the missed opportunities. Keep reading if you’d like to hear me quickly fix this film while spoiling the end.

 

Spoilers ahead!! You’ve been warned. Multiple times. I can prove it. I too have the receipts and am not afraid to show them.

 

So, first things first. If the film wanted to be thematic by showing that Rose had finally overcome her grief of not helping her mom when she was 10-years old, then the film could’ve taken an It: Chapter Two approach and have her stand up to the monster and confidently boast how what happened wasn’t her fault. To be fair, this would also deprive us of the gnarly visual of the creature cracking her jaw open and literally climbing inside her body.

That’s solution 1. I prefer solution 2 that lets you keep the aforementioned visual. You can either let Rose keep this trauma or give her something else traumatic, but then you should’ve had Joel literally have that same situation where he stood by when someone committed suicide and he blames himself for it. Having that backstory sets up the spirit then transferring to him since he’s there to witness her suicide. That sets up the genuine stakes. Then, before Rose is able to light the match and douse herself in fire, you have Joel sprint to her and save her from the forced suicide. It thematically is consistent, provides a satisfying ending, and curbs the norms of a horror film. And if you’re worried about pacing by adding this extra backstory for Joel, there’s easily scenes you could either remove or cut back on to keep this film around that 2-hour range.

I feel like that’s a pretty quick and simple fix to really enhance this movie. But that’s also just one of my many opinions outlined here. Maybe you preferred this movie over Barbarian, think my rating is too harsh, or actually agree with a lot of what I said. Always happy to have discussions and hear others’ opinions, so don’t be afraid to reach out and let me know!

M. Night Shyamalan's Old

 

Gillipedia Official Rating: With this movie’s logic, you’ll age 6 months reading this review. Hope it’s worth it.

Score: 7/10

          Old is fun. I do have some gripes that I’ll get into, but this is a bit of a return to form for M. Night Shyamalan with one of the most unique premises in recent memory. 2 sets of families take a vacation at a resort. When they wind up on a beach off the beaten path, it doesn’t take long before our characters start acting strange and they realize that this beach is rapidly aging them. They will desperately try different methods unsuccessfully to escape as they race against the clock to get off the beach and figure out why this is happening.

          There’s a couple of recognizable actors and actresses without any standout performances, and that works well enough as the focus is on the character backgrounds and how that plays into the overarching narrative. Shyamalan famously inserts himself into his movies, and he gives himself one of the more important roles of the movie—which I think was a bit too distracting. To give you a sense of how quickly the characters are aging, each family has young children, and you can expect to see different actors and actresses come in to represent the aging children.

          One of the biggest focuses of the story is trying to predict how the audience will discredit the film. What I mean by this are the different thoughts we’ll all have. “Can they walk back through the cliffside valley they came in from? How far out from civilization are they if they swim?” These are the earliest questions you’ll think of and unsurprisingly are the first aspects to be addressed by the film. As the characters start showing the affects of aging, the questions become more in-depth. “Well, wouldn’t they need lots of sustenance if their bodies are aging? Are their minds aging, or is it just their bodies?” As you think more philosophically, the film begins to show a couple of cracks or provide 1-2 sentences of dialogue to quickly explain something away. Probably the biggest thing I’ll mention is that later on they do attempt to talk about what exactly is happening on the beach. And it’s one of the stupidest jarbled nonsense of science to make this film stay within the realm of realism.

          The actual mystery behind the beach is kind of dumb, but it’s not really a drag because the film keeps up a quick pace as the situation grows more dire. But what is easily the worst aspect of the film is how, including the mystery of the beach, the filmmakers felt like everything had to have a tidy bow and try to be as crisp as possible with its script and not trust the audience. Here’s probably the best example. A character shown skinny dipping early in the morning on the beach washes up while the 2 families are enjoying the beach, and that’s what kickstarts their realization of something off. They find the dead body, and then a few hours later, the body has reduced to bones already. The mom of the main family then provides the audience a rough timeline of how an hour on the beach must represent a few years on the beach; she explains how she comes to this conclusion because she works in a museum. And then everyone else's occupations explain how they know a specific detail of something too. Because people obviously aren’t allowed to have any basis of knowledge of the world if it isn’t directly tied who they are or what they do. The worst of this is from a character named Jarin. He’s exposition central and constantly provides one-sentence answers of what’s possible, what’s happening, or what they should do. There’s a cool visual late in the movie that was foreshadowed from the beginning of the beach, but in the middle of the visual, the character has to explain what is happening in the moment instead of allowing the audience come to that conclusion themselves. This is a relatively smart film that thinks the audience is pretty stupid.

          One thing that I briefly mentioned earlier is the mental effects. And the film felt inconsistent to me on the kids aging physically but staying the same mental age, but when the movie tries to slow down for a second for us to catch our breaths, it’s like our adult characters mature more with their age and settle the personal problems that initially plagued them. The main draw of this film is the thriller nature of rapid aging, but I feel like what could’ve pushed this film from fun thriller to genuinely great film would be to explore the psyche of the characters further. We see touches of this later in the film, but how the character backstories tie in to the story could’ve provided some poignant moments where the characters overcome the flaws that provided their motivation to come for a relaxing vacation in the first place.

          The film keeps at a great pace overall, but it also could’ve ended 5 minutes sooner as the film gloats too long about its ending and ties up all loose ends in predictable manners. How everything actually does come together is pretty smart and some of the effects on the characters are fun to see—like our adult characters starting to lose hearing or vision and how that’s portrayed on the screen. This movie is a mix of smart touches and over-explained plot points. It certainly has its flaws, but it is undeniably entertaining and one of the more unique films you’ll be able to find.

Shoo wee, we talkin bout Where the Crawdads Sing

 

Gillipedia Official Rating: Well ain’t this just the sweetest lil thang, only ain’t isn’t a word

Score: 7/10

          I think the best way to describe Where the Crawdads Sing is refreshing. You have the backdrop of North Carolina marshes filmed in Louisiana as the setting, the romantic love triangle plot elevated by the supposed murder involving the characters, and the very impressive Daisy Edgar-Jones playing a reserved, resourceful young woman. With themes of abuse and bullying, there’s added dramatic heft. Not quite everything lands with a punch, but with what has felt like oversaturation of mediocrity from 2022 films unwilling to take chances, this movie does a good job standing on its own two feet.

          We start the film with the discovery of Chase Andrews’ body. Taking place in the 50s, the police use small motorized boats on the hunt for suspects. They come across Daisy’s character Kya who attempts to flee in a panic. She’s caught, and as she’s thrown in jail, it’s obvious already that the townsfolk want her head as chants of “Marsh Girl” swirl around. David Straithairn approaches Kya’s cell and offers to represent her. She remains quiet, shying away from the world around; Straithairn takes a sympathetic cautious approach and says to think about his offer and he’ll return later.

          The next 25 minutes or so flashback over a decade to Kya as a kid. In what feels overhanded at first, her father is abusive and dominating. Her siblings and mother run away, and despite a terrible situation, Kya sticks it out. The marsh is her home, and she learns the key to surviving with her father is to stay out of the way. She befriends the black local convenient store owners, but her father ensures her contact with the outside world—including attending school—is limited to none. This includes a nice kid named Tate who goes fishing by himself in the marshes.

          Kya’s father soon disappears as well, and she’s then truly on her own. We primarily return back to adult Kya as she scrapes by a living. This is where Tate comes back into play. Having a history of people leaving her behind, Kya is understandably hesitant to grow attached to Tate. Continuing with this history and the themes of abuse, I’ll stop talking about the plot except to say that Chase Andrews comes into the fold as well; despite his jock-like charms that seems worlds apart from Kya, he is intrigued by her and she is able to find some solace in him as well.

          How the love triangle unfolds is the most by-the-books aspect of the film, but even this is redeemed with that lingering thought of what must have led up to the demise of Chase Andrews and how Kya is involved. And in that regard, we’re really only given a couple of options of what could’ve happened. There’s a lot of moving pieces to this film, but I still think there could’ve been more red herrings. But I will say I am really satisfied with how the case is resolved and the truth of what happened.

          Daisy Edgar-Jones is a great British actor, and so far I’ve seen her as a modern American woman in Fresh and now a real Southern gal in this. She looks just like a young Anne Hathaway, and continuing down the line, the actress that plays young Kya reminds me of a younger Abigail Breslin. The auditions for her love interests must’ve had the requirement of super strong chins because oh boy are they sharp. I think the directing is pretty basic and has some awkward delivery of lines with the kid actors, but I do appreciate how they shot the film at real locations. The Louisiana bayous provide some great shots, and having lived in North Carolina in 2021, it was fun to hear some shoutouts to cities there.

          The end credits are worth watching for the Taylor Swift song. I’m not like her biggest fan, but that song slaps—give her an Oscar nom. I haven’t read the book, but I’m guessing some lines were taken straight from the pages and translated really well to the screen. Some elements of the love triangle are simplistic and the themes can be just a bit heavy-handed, but all in all, I think I was missing a bit of Southern culture being up here in Wisconsin; this was one of my favorite movies of 2022 and easily receives my recommendation for anyone looking for a romantic movie.

Don't Worry Darling

 

Gillipedia Official Rating: Pretty sure a comma is needed in the title

Score: 5/10

          The score above might feel harsh. This isn’t a terrible movie. But it’s certainly also not great. It relies too heavily on shock factor moments and the reveal behind the plot, but the story has holes and the flow of the film is far too inconsistent. Since this is a spoiler-free review, we won’t talk heavily about the plot, but there’s plenty to discuss.

          Don’t Worry Darling had plenty of drama outside of filming. It’s the sophomoric film for director (and supporting actress) Olivia Wilde, and we have Florence Pugh, Harry Styles (yes, the guy who puts sugar on watermelons or something), and Chris Pine. A video went viral with Styles possibly spitting on Pine, and Styles’ relationship with Wilde appears to be quite rocky. In a strange way, it made the whole experience of watching the film more entertaining, but outside of that, none of the outside drama affects my scoring.

          Stars Pugh and Styles are lovers living in an idyllic community against what appears to be the backdrop of the 50s—think Marty McFly traveling to the past. While Pugh lovingly takes care of the house and day drinks with bff Wilde, their husbands, including Styles, go to work for the community company referred to as Project Victory. The leader is Pine, and he clearly comes across as charming and dominating; the community loves him, but it’s very apparent something else is happening.

          One of the best things Wilde captures as a director is the synchronicity of the daily activities (Pugh making coffee and breakfast and wiping windows, the husbands driving off to work). It’s hypnotizing to watch, and it only adds to that feeling of something off with the world around. From the very early scenes, I was getting huge The Truman Show vibes.

          The film is played as a psychological thriller as Pugh starts questioning everything, and nobody appears to take her seriously. And this is where the film falls flat most. If you watch the trailer for the movie, you’ll see quick moments like Pugh wrapping her face with plastic wrap, glass squeezing her against the wall while cleaning a hallway, crushing eggs without any yolk inside, etc. All of these moments are certainly engaging and slightly unnerving. But that’s also exactly what they are—moments. There’s never buildup to these actions—only occasional quick changes to obscure and somewhat abstract shots of stuff that are, again, in sync and played both forward and backward. And once the film reveals its revelation, it works but won’t blow you away. It fits well with the underlying narrative, but it won’t really shock anyone and leads to some plotholes.

          But the film is still entertaining! Florence Pugh can do no wrong, and if anyone is questioning Styles as an actor, don’t forget that Christopher Nolan gave him a substantial role in Dunkirk. Styles does overact sometimes, but he’s still fun. Pine is good, but he also does this small chuckle after going through all of his monologues. The best way to write out what his chuckle sounds like is: “heh heh.” And he does it way too much. The soundtrack is great, and the costumes are amazing.

          Don’t let the score get too much in your head. If you want a good time at the movies, you’ll probably enjoy Don’t Worry Darling. But it doesn’t succeed as much as it hoped. For an “R” rated film, it’s pretty tame in terms of disturbing content. I’ll defend only giving this a 5/10, but hey, I was still entertained at the end of the day.

Barbarian

 

Gillipedia Official Rating: Felt like a barbarian eating my popcorn watching this

Score: 9/10

          This is the best horror film of the year for me. It’s also the twistiest. So with that said, I’ll keep the details limited to preserve the experience for you when you take my advice to go watch this movie. And without much else at the theaters to pay attention to, now is a great time to check it out.

          I’ll say this much about it. We start off with our star Tess arriving to her AirBnB on a dark and stormy night. To her surprise there’s already a man there. His name is Keith, and he genuinely appears to be a normal guy, if a little reserved, wondering why there’s a woman at the doorstep in the middle of the night. It turns out that he rented the place using a different app, and rather than putting Tess out for the night, he invites her to come in just to be able to use the wifi and figure this situation out. You can see the skepticism and internal alarms going off in Tess’ eyes, but she relents. And of course with this being a horror movie, there’s more to this setup than meets the eye.

          It’s also absolutely worth noting that Keith is played by Bill Skarsgard. If his eyes look at all familiar, it’s because he played the titular clown in It. And that knowledge kept playing in my mind as Tess reluctantly stepped into the unknown house. In a great coincidence, I had just recently watched the horror film Drag Me to Hell from a decade ago. I don’t recommend that Sam Raimi directed flick; however, it has Justin Long playing the sweet, sympathetic boyfriend. Why do I bring this up? Well, the only other piece of information I’ll divulge is that he makes an appearance in this film.

          In a bit of a redundant statement, this movie starts immediately. What I described above consists of the first 10 minutes of the film. And this is a brisk film, but how does it fill the rest of the screentime? Well, that’s where the twistiness comes into play. But it takes more than the ability to make M. Night Shyamalan proud to create a great film. Without beating you over the head, Barbarian really impressed me by its ability to have me wonder about the morals of the characters and what the film is ultimately trying to say by the time the credits roll around. It’s not like material that you take to Sunday Bible School, but it scratches beneath the surface that say slasher flicks don’t even make an attempt at while being wildly entertaining.

          There’s plenty to rave about this film. The dialogue has a naturalistic feel to it. There’s a couple lines that feel closer to lazy writing, but it works really well overall. The score is also great. And one of my favorite things is how the film shoots its different characters. The film frequently is on Tess’ face, but we also get to peek over her shoulder. So as she faces forward, we’re squirming in our seats and wondering what might be behind her. In contrast, once Long makes his appearance, he brings about a carefree attitude like he won’t ever end up on the bottom no matter what life throws at him. Thus, he is shot more from behind as he frantically twists his head with no clear direction on what he’s doing.

          I am not familiar with leading actress Georgina Campbell, but she does a great job portraying a capable woman who is still aware of the dangers around her. Outside of a couple lines of dialogue, the only thing I feel like the film could’ve possibly improved upon was more of a character arc for the leading lady. But even writing out that critique, I have to recognize that not every movie needs to have the protagonist experience some sort of epiphany. The film had its goals with its story, succeeded, and excelled beyond what I was expecting in terms of simply being entertaining. So who is the barbarian of the film? In a twist piece of writing, I don’t reveal that answer. If you’re a fan of thriller horror films, you have to check Barbarian out.

Bird Box

 

Gillipedia Official Rating: Please don’t bring back the Bird Box challenge

Score: 6/10

          Bird Box is ultimately fine. There’s nothing egregious about it. But it does frustrate me in ways that I’ll discuss, and it also has the unfortunate circumstance of releasing after A Quiet Place and inevitably drawing the comparisons of being that movie except you can’t see instead of speak. It’s really more like M. Night Shymalan’s The Happening but better. Where the aforementioned film has people killing themselves for smelling the roses, Bird Box has people commit suicide after seeing some “creatures”.

          The film begins with a tense situation where our hero, Sandra Bullock’s Malorie, tells her 2 kids that they have to make a journey down a river blindfolded. It’s a fun premise, sets the tone appropriately, and introduces us to our main character in what feels like a post-apocalyptic setting. And it’s just enough of a tease for when it flashes back 5 years to Bullock pregnant and talking with her sister Jessica—played by Sarah Paulson—about mass suicides happening across Europe. During a prenatal visit at the hospital, the mysteries from the East have suddenly made their way over to the U.S., and Malorie and Jessica frantically start driving back while chaos ensues around them. Jessica is presented as the level-headed sister while Malorie doesn’t appear to have taken to the role of an expectant mother yet. But when Jessica’s eyes appear to simultaneously glow yet appear blank, she rambles about their mother and drives their car into incoming traffic. Malorie gives her best efforts to stop this episode, but the car crashes, Malorie escapes, and she manages to get people inside a house to let her in.

          This sets up the main focus of the story. We’re introduced to many characters in a classic apocalyptic setting now together all trying to survive. But as their story continues, it periodically flashes forward to Malorie and her 2 kids on the river; we assume we know the fate of everyone in the house, but there’s still the intrigue of what happens next and the hope that we as an audience want things to end well in both timelines—although we both know that’s more than likely not the outcome. So that’s the goal of the movie: make us care about the characters in the house knowing full well that all except Malorie and her unborn child most likely won’t make it. Oh, and before we talk about this more, I do need to address that on the river, Malorie calls the kids “Boy” and “Girl”. While I can see this as something you can get away with in a book, it feels hollow and too sharp from Malorie. Anyway, keep reading this review, People.

          The characters in the house are my biggest frustration with the film. We have all the stereotypes at this party: two young adults who are horny because they’re young, a sweet old lady, the grumpy old man who wants everyone off his lawn, a comedic relief, and the charming and caring romantic interest. Oh, and there’s also BD Wong who doesn’t fit any mold actually and isn’t actually trying to genetically mutate a giant dino for the literal, what would it be, 5^th film. Soon afterward, there’s a knocking at the door, and a young, sweet pregnant woman joins their crew as well.

          There’s some scenes with genuine tension like when they run out of supplies and take a car to the supermarket (they cleverly use GPS and detection systems on the car since they black out the windows) and back on the river when a crazy man encourages them to open their eyes. But since it’s proven that if they don’t look out at the open world they’re fine, some other scenes’ tension feels more manufactured. I do have to compare this to A Quiet Place. Yes, I understand the novel Bird Box is based off was released prior to A Quiet Place; however, I can still compare the quality of story and filmmaking and not run into the debate of originality between the two. But I digress. Whereas John Krasinski’s film introduces the malevolent creatures in the opening scene, we never see the creatures of this film. The rules feel more defined and it’s interesting to see how the characters in A Quiet Place have adapted to survive. Bird Box puts less emphasis on their vague creatures and focuses more on the characters. But that does put the mindset of, “Okay, just don’t look outside,” in my mind; plus, I didn’t find the Bird Box characters well fleshed out—which is central to the success. You learn a little about the creatures and their effects and how it affects the outside world, but it honestly isn’t as compelling as A Quiet Place.

          I see what Bird Box was going for, and all in all, it’s entertaining. The latter half is better with the focus being on Malorie, Boy, Girl, and the love interest Tom. John Malkovich plays a pretty decent role, and Lil Rel Howery is obviously the comedic relief. While I find A Quiet Place a true masterpiece in its execution of horror, Bird Box has some solid moments as well as more phoned in portions. But if you take it compared to The Happening, it’s basically what that movie could’ve been. If you haven’t watched it yet, I’m sure you’ll enjoy it enough. But for those that have already seen it, I have a feeling if you go back to it, you’ll see where I’m coming from in it not being as complete a film as it wants to be. Oh, and it took the birds thing from War of the Worlds. Sorry about it.