Reviews
‘A Quiet Place: Day One’ Review – A Deeply Affecting Drama Nestled Within a Creature Feature
A Quiet Place: Day One shifts gears from previous entries, but not quite in the way you’d expect. Set in a bustling New York City where the noise levels are at a constant 90dB, the equivalent of a scream, it’s possibly one of the worst places to be for an invasion by extraterrestrials who hunt by sound. Writer/Director Michael Sarnoski delivers plenty of creature feature intensity and breathless suspense but it’s used more as a backdrop to a deeply affecting drama of human connection and compassion, Day One ultimately bearing more in common with Sarnoski’s 2021 meditative drama Pig. In other words, Day One eschews the standard monster invasion origin story in favor of something far more poignant and compelling.
Day One begins in a hospice center support group, where an apathetic Samira (Lupita Nyong’o) is forced to contribute to the discussion by lead nurse Reuben (Alex Wolff). Determined to break through her defensive shell, Reuben convinces Sam to join in on an excursion into the city for an afternoon show. She reluctantly agrees on the firm condition that this trip yields pizza, bringing along her resourceful, lovable cat, Frodo. But her sole desire to get a slice of pie goes unfulfilled when creatures crash into the city and destroy everything in their wake.
Djimon Hounsou as “Henri”, Lupita Nyong’o as “Samira” and Alex Wolff as “Reuben” in A Quiet Place: Day One from Paramount Pictures.
Don’t expect any new developments as far as the creatures are concerned; Sarnoski is far more interested in the human characters here. As buildings crumble, exits out of the city collapse, and the death toll mounts, it’s the smaller moments that take precedence. The wordless acts of grace and kindness among strangers at one of the lowest points in any of their lives. That’s evident in the way that Reuben cares for Frodo when Sam is initially separated from him. Or in the way that a stranger, A Quiet Place Part II‘s Henri (Djimon Hounsou), watched over her when she was unconscious, and in how Sam aids two wayward youths. But it’s at its most impactful in the budding friendship between Sam and shell-shocked survivor Eric (Joseph Quinn).
Their journey together is the emotional throughline and beating heart of the film, peeling back layers of their humanity and backstory piecemeal and culminating in a triumphant third act sequence that reminds what life could be like if we cut out all the noise and focused on being present. Nyong’o and Quinn bring incredible depth almost exclusively through facial expressions and physical performances, in perfect unison with Sarnoski’s talent for showing, not telling. A Quiet Place: Day One doesn’t bother to explain anything, and it doesn’t need to. What’s important is the small details and nuance of its characters, and Day One is rich on both fronts.
Lupita Nyong’o as “Samira” and Joseph Quinn as “Eric” in A Quiet Place: Day One from Paramount Pictures.
Instead of an apocalyptic monster movie, Sarnoski instead gifts a touching story of a woman determined to meet life on her terms. Sam’s journey is less shaped by the harrowing, intense encounters across the city and more so by the warmth and empathy from Eric and strangers like him. It’s soulful and reflective in an unexpected way, deeper and more effective than its predecessors. Sarnoski pulls the heartstrings with ease, thanks to his naturalistic approach and two powerhouse lead performances. Well, three, as Frodo is a natural scene-stealer.
Day One shifts the franchise further into drama territory over horror, but it’s tough to care when the story is so compelling and rewarding.
Plan to grab some pizza after; you’re going to crave it.
A Quiet Place: Day One invades theaters on June 28, 2024.
The “disaster movie” is not quite as visible as it used to be in Hollywood, but thankfully for fans, South Korea has more than picked up the slack. In just the last two decades, Koreans have had to deal with a variety of catastrophes on screen, including a tsunami, a collapsed tunnel, an unstable power plant, and multiple zombie outbreaks. The latest offering in this genre, however, stands out from all the rest. Not because the disaster in question is unique; a bridge pile-up is only the beginning in Kim Tae-gon‘s Project Silence.
This movie doesn’t waste any time getting to its main attraction; after their cursory and brief introductions, the core characters all make their way to the ill-fated bridge where multiple dangers loom. When this looks to be another case of rag-tag strangers coming together for their collective survival — and it very much is one — the initial ordeal is topped off with a second helping of calamity. Straight out of left field, the story introduces a pack of killer dogs. These top secret and military trained mutts escape their masters, ignore commands, and then go berserk on the bridge survivors. The ensuing dog-on-human mayhem is less intense than you might have anticipated or desired, yet these encounters grow in number as the pared-down cast searches for help and explores the creatures’ origin.
Project Silence refreshingly comes in under 100 minutes, and its tights-as-braids pacing leaves virtually no time for collecting your breath or developing the characters. Apart from the hero, a single dad and sometimes unethical aide for a presidential candidate (Lee Sun-kyun, Parasite), everyone coasts on their meager characterizations rather than grows. Lee’s character can be especially difficult to get behind, due in large part to his compromised ethics, but his flaws also make him a tad more interesting than the usual key players in these kinds of movies. As for his character’s teenage daughter (Kim Su-an, Train to Busan), she eventually escapes her dual role as damsel-in-distress and her father’s moral compass. Directly supporting the central family dynamic is a wacky tow truck driver (Ju Ji-hoon) whose comic relief and pluckiness break up this situation’s direness.
Considering all the scenes of extensive dog action, Project Silence relies on digital effects. The stunts require much more than a real dog could or should pull off. The bleak and foggy environment helps to obscure the uncanny valley effect, although you are never at all convinced these are anything other than CGI dogs. Nonetheless, this is not a cheap movie, and the money is evident on screen. Even the four-legged antagonists — whose backstory will tug at animal lovers’ hearts, regardless of their artifice — are occasionally impressive. The disaster set-pieces, on the other hand, are consistently fun, if not fleeting; their immersive designs and thrilling executions get the blood pumping.
The late Lee Sun-kyun turned in a solid final performance, boosting the profile of an expensive “B” movie. The energetic, unflinching execution also compensates for any less innovative and more predictable parts. Without its random creature-feature aspect, though, Project Silence would likely go undetected or be soon forgotten. Fortunately, the dog element gives this movie a better chance of survival.
Project Silence is now playing in select U.S. theaters.
Image: Poster for Project Silence courtesy of Capelight Pictures.
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