Episode 281: A Quiet Place Part II

It’s finally back to the theater for us, along with many others, and we are thrilled to have such a fantastic sequel to one of the most wonderfully unique thrillers in years to talk about. Yes – spoiler alert – we loved what John Krasinski came up with for how to move the Abbott family’s story forward in an interesting, gripping way.

A Quiet Place Part II Spoiler Review – 07:06

The Connecting Point – 1:10:14

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MOVIE REVIEW: Underwater

Underwater, no one can hear you scream!
(unless of course they have a mic in their dive suit helmet and you do too, and then you can definitely hear them scream but I digress)

 

It’s easier to just get the comparisons out of the way right off the bat. The hot take will be that “Underwater” is “Alien” at the bottom of the ocean. And, of course, there’s some truth to that, or people wouldn’t be saying it. Sure, “Underwater” follows a female primary protagonist, who is part of a crew trying to stay alive amidst the presence of mythical deadly creatures, but much of the film plays out a lot more straightforward than you might expect, instead resembling a traditional natural disaster escape movie.

Narratively, “Underwater” isn’t too deep (heh), and that’s perfectly alright. Director William Eubank makes a great choice utilizing the credits sequence to provide background information that normally would be delivered via boring, pace-slowing exposition. Instead, a collection of newspaper articles, scientific papers, and memos flashing behind the credits tell us that our setting is a drill site in the Mariana Trench, where the deepest drilling in history is taking place, and that reports of mysterious shadowy creatures have been made. Once inside Kepler Station, we meet Norah (Kristen Stewart), reflecting on the isolation and timelessness of life in the deep while brushing her teeth. Within minutes, though, a breach of the station hull occurs due to an earthquake and what follows is a 90-minute rush to rescue, survive, and escape. Along the way, Norah, a mechanical engineer, teams up with fellow survivors. They include a wise-cracking, Alice in Wonderland obsessed goof played by T.J. Miller (who surprisingly has a few jokes actually land), their calm and collected Captain (Vincent Cassell) of the station, and a few others. The Captain proposes a dangerous plan where they will don their deep-sea suits, descend, and then traverse the nearly 7-mile deep ocean floor to reach another station that still has working escape pods. They all know it’s insane, but they have no choice. What follows is a suspenseful group effort to stay alive; some do, some don’t. At times it definitely gets ridiculous and some of the more chaotic action is nearly incoherent in the dark watery setting, but mostly it’s a hell of a lot of fun, with the dialogue kept at a minimum and the propulsive intensity dialed up high throughout. Stewart is a capable lead and her considerable talent is on display, even when not really necessary. She carries an emotional weight for the crew that elevated the film for me, and she is also a part of the film’s most memorable monster moment.

The concept of “Underwater” certainly could have been presented in a longer, smarter, and more dramatically heavy film – one that isn’t so predictable, doesn’t play fast and loose with science, and gives a more thorough explanation about the creatures encountered. But that’s not this movie, and as I said in the beginning, that’s okay. What “Underwater” does is deliver a fast-paced, claustrophobic, action-thriller (backed by an excellent Marco Beltrami/Brandon Roberts score) that works perfectly fine without sea monster aliens even introduced, but that takes joy in leaning into its creature feature third act. It’s wild and at times silly, but I had a great time watching it and would gladly sit through it again when it releases on home video. Not every movie needs to have depth (heh again) to be entertaining, even if its title makes you think otherwise.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 198: Ford v Ferrari

We love biopics, and this week we’re excited to chat about director James Mangold’s newest that tells the story of the events leading up to and including the 1966 LeMans 24-hour race. With strong relationships throughout, the film gives us plenty to connect with and talk about in addition to just geeking out over the exhilarating racing sequences. 

Ford v Ferrari Review – 0:01:56

The Connecting Point – 1:02:20

 

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MOVIE REVIEW: Ford v Ferrari

The 24 Hours of Le Mans is one of the world’s oldest and most prestigious endurance races in autosports. Conducted on an 8.5-mile circuit in the sleepy French town of Le Mans, the race travels over countryside roads throughout the course of an entire day, requiring teams to swap between three drivers regularly, relay-runner style. Drivers and cars must be prepared for the elements as it rains frequently, and within each lap lie both a challenging 90-degree turn and 200+ mph straightaways. Even beginning the race is dangerous, as drivers uniquely line up on the track opposite their cars and at the drop of the starting flag sprint to their vehicles, rushing to take off in a flurry of chaotic action that is as exciting as it is insane. Winning the race isn’t easy, but accomplishing the feat against fellow manufacturing giants of the industry brings the victorious automotive team great glory and often heavy sales. In 1963, Henry Ford II decided that he wanted a piece of this action, and after a failed bid to purchase Ferrari (including its racing team that won the Le Mans in 1958 and every year from 1960-1965), he decided that if he couldn’t own the Italian sports car manufacturer, he would do everything in his power to beat them where it would hurt most – on the track at Le Mans. And in doing so, a rivalry was born.

“Ford v Ferrari” is a biographical action-packed drama from Director James Mangold (“Logan”, “3:10 to Yuma”, “Walk the Line”)  that tells the story of Ford Motor Company’s journey to beat its Italian rivals. The key to this project was automotive designer and former Le Mans driving champion Carroll Shelby (Matt Damon), who is brought on by Henry Ford II (Tracy Letts) to build a car that could compete with the racing titans of the world. Shelby knows that a car is only as good as the man steering its wheel, though, and despite consistent pushback from Ford marketing man Leo Beebe (Josh Lucas), he eventually brings on his close friend, the sometimes difficult but brilliant English engineer and driver Ken Miles (Christian Bale), to hopefully pilot this new machine to victory lane.

Surprisingly, “Ford v Ferrari” has less racing action than you might expect in its 2.5-hour runtime. Mangold really leans into the drama of Ford’s capitalistic motivations and how it complicated the achievement of its own goals due to control issues and typical business-driven decision-making. There are two standout racing sequences, however, that are exactly the edge-of-your-seat, heart-pumping, adrenaline-boosting, high-speed affairs that audiences desire. Expertly crafted and shot, then combined with the delightful roar of racecar sounds and backed with a propulsive score by Marco Beltrami and Buck Sanders, these scenes are intense as can be and evoke a rousing response. Character investment plays a big role in this, as audiences are easily drawn to rooting for the Shelby and Miles racing team due to their depiction as wholesome, driven men of integrity who are navigating a challenging business landscape to chase their dreams.

The cast is full of wonderful supporting performances, but lead actors Damon and Bale play brilliantly off of each other as both longtime friends and similarly-obsessed colleagues, with the latter being especially noteworthy for his portrayal of a devoted and loving family man who treads the line between egotistical and confident when it comes to his skill with a car. Both bring a great deal of humor to their roles, as well, and deliver a script full of wit and technical terminology with talent worthy of awards recognition. Letts is also a highlight as “Deuce”, the Ford Motor Company President determined to live up to his grandfather’s legacy and keep Ford at the top of the automotive world.

Mangold is in top-form, directing with a confidant, fine-tuned precision, and though long, “Ford v Ferrari” is so full of energy and so expertly edited that you never feel its length. Its legendary, wholesome central characters are full of charm and watching their journey is an exciting and joyful treat. “Ford v Ferrari” is undoubtedly one of the best films of 2019, a gripping biopic with thrilling action and smashing performances that is sure to satisfy both fans of human drama and autosports alike, and it will go down as one of the definitive race-car movies ever made.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 162: Snowpiercer

This month’s donor pick theme was comic book/graphic novel films not part of the Marvel or DC universes and our listeners still managed to get Captain America in the mix. We discuss this sci-fi, horror, dystopian, post-apocalyptic film with deep themes and kick-ass action and have a great time doing it.

Snowpiercer Review – 0:01:55

The Connecting Point – 0:54:24

 

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Minisode 053: Free Solo & Interview with Alex Honnold

Free Solo takes us on an intimate and intense journey with National Geographic’s 2018 Adventurer of the Year, rock climber Alex Honnold, as he prepares for and attempts to become the first person to ever free solo climb Yosemite National Park’s 3,200 foot high El Capitan wall. In this episode, Aaron briefly reviews the film and chats with Alex Honnold to learn more about his famous climb, lifestyle, and (of course) what kind of movies he likes best.


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Music: Going Higher – Bensound.com

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MOVIE REVIEW: Free Solo

Alex: “Look, I don’t wanna fall off and die either, but there’s a satisfaction to challenging yourself and doing something well. That feeling is heightened when you’re for sure facing death. You can’t make a mistake. If you’re seeking perfection, free soloing is as close as you can get.”


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 104: A Quiet Place

This week we’re discussing the new horror thriller A Quiet Place a couple of weeks sooner than we planned after a surprise opening weekend in which it hauled in over $50 million. John Krasinski’s film is an intelligent, family-centered, emotionally-driven creature feature that is as great as it is unique. Joining us for this conversation is special first-time guest Patrick Willems, YouTube Video Creator and host of the We Heart Hartnett Podcast. 

What We’ve Been Up To – 00:01:17

(Aaron – Sleeping Beauty)
(Patch – A Kim Jong Il Production by Paul Fischer)
(Patrick – Unsane)

A Quiet Place Review – 0:20:57

The Connecting Point – 1:34:18


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MOVIE REVIEW: A Quiet Place

A QUIET PLACE (2018)

1 Hour and 30 Minutes (PG-13)

A Quiet Place first came to my attention when its marketing team released one of the best teaser trailers I’ve ever seen. Edited brilliantly and with no dialogue, it created a mysterious tension that left viewers anxious to find out more. So as to not be spoiled, I immediately avoided any further promotional material, and my viewing experience was definitely the better for it.

Directed by John Krasinski (Jim Halpert of The Office fame) this horror thriller follows a family of four who must live life in silence while hiding from creatures that hunt by sound. It is based on an original story idea by childhood friends Bryan Woods and Scott Beck, and though not Krasinski’s first time in the director’s chair, it does mark the first time he’s starred in a film with (and directed) his wife, Emily Blunt. Krasinski lead the film as Lee, the family’s loving and protective patriarch.

It takes no time at all for A Quiet Place to start building its world. In an opening sequence, we meet Lee’s family as they scrounge for food, medicine, and supplies in a deserted town. It’s the kind of post-apocalyptic setting that many viewers will be familiar with having spent a majority of the last decade following survivors around in The Walking Dead or playing video games such as The Last of Us. Lee’s family seem to be on their own and have developed a unique sign language that allows them to communicate without speaking. We also see them tip-toe carefully around and it is immediately apparent just how much these people fear whatever it is that is out there causing them to live in silence. It is a fantastic beginning and one that sets the stage perfectly for the unexpected story that is about to unfold.

A Quiet Place is really three things. It is a monster movie, where an unknown species has arrived on earth, possibly via meteorite crash (but honestly it doesn’t matter how). They are blind, heavily armored, and instinctively attack any sound they hear. Lee’s family lives in isolation and must carefully manage to avoid drawing the attention of these creatures, which have slowly eradicated most life from the area. For them, whatever else may be happening in the world is of no consequence, because A Quiet Place is also a survival story. Lee, his pregnant wife Evelyn (Blunt), and their two children, Marcus (Noah Jupe) and Regan (Millicent Simmonds), have developed a system of life that keeps them safe and relatively happy, considering the circumstances. They’ve worked hard to prepare for the arrival of their newborn and Lee is beginning to teach the children some of the tasks he is responsible for. A Quiet Place is also an emotional family drama. Children growing up in an awful monster-filled world still must go through stages of maturation. Lee’s family deals with the feelings of both children, all while coping with some pretty massive grief. It is in these relationships between each of the characters that A Quiet Place becomes something great. The choice to keep this story small with a one-family cast creates more time for character development of the entire group and the incredible acting by all elevates the film significantly. This is a movie where the first line of audible dialogue doesn’t come for 40 minutes, so the heavy lifting is accomplished entirely through facial gestures and body language.

When it comes to the monsters, their design is superb. They are reminiscent of a xenomorph from Alien, and there are a couple of scenes that definitely feel like an homage to that classic. What makes them terrifying, though, is the film’s sound design. For a movie called A Quiet Place (with almost no dialogue) to succeed, sound design had to be phenomenal, and it is. Every creek of the floorboard, breathless scream, and clicking of the monster’s vocal chords can be felt. This is an intense film, and the sound design coupled with incredibly strong cinematography keeps you anxious for nearly its entire runtime. Oh, and there are jump scares, but they are fairly spread out and expertly placed. This isn’t the kind of film that relies on them to carry it. The horror comes from the emotionally draining family situations as much as it does the big scary monster.

VERDICT

What Krasinski has accomplished with A Quite Place is really something special. It’s also staggering to see Michael Bay’s name attached to this (as producer) and have it turn out this good, but here we are. The technical elements of the film are top notch and the performances are marvelous all around. There may be minor plot holes or slightly unrealistic scenarios, but this is a creature feature and none of that detracted from my viewing experience one bit. To sum it up, this is the best Cloverfield Universe film ever made and it’s not even part of that series. A Quiet Place sets a new standard for what a horror thriller can be by providing an experience unlike anything audiences have experienced in a very long time. It is emotionally draining, intelligent, and clever. All while maintaining a constant sense of dread. Krasinski has made a terrifying, must-see film for fans of this genre.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.