![]() ![]() ![]() The throat-gripping suspense, ever-rising in intensity, is evident from the usage of cross-cutting itself, so there's no need to add any "look at what we're doing" stylistic bravado atop (an odd case of this film being "subtle," given the cannibal crew and the CGI creature and the baby in peril and the wild Marco Beltrami score and etc., etc.). Krasinski and Shawver don't make ostentatious meals out of these scenes' cross-cutting. Then, jeopardy strikes all three stories: a feral cabal of sickos led by Scoot McNairy capture Simmonds and Murphy, Blunt realizes a creature is about to strike their hideout, and Jupe finds the corpse of Murphy's wife right before accidentally locking himself and his baby brother in the safe, their oxygen running out. And Jupe is holding down the fort, watching his baby brother while exploring their new hideout. Blunt has traveled to a local pharmacy to get medical supplies. ![]() Simmonds and Murphy are at the marina trying to find a boat. Out of all these split-up sequences, the three-tiered midpoint shook me the most. Its "surprise ending" is a perfect payoff of the cross-cutting technique it shows us how that technique played us like a fiddle while being the maestro the whole time. In cutting between these different scenes, the film suggests, on a basic level, that they're happening at the same time, while emotionally juicing the feelings of suspense, narrative stakes, and dramatic irony (in that none of the subjects know the other scenes are happening, but we do). And if you're unfamiliar with "cross-cutting," think The Silence of the Lambs' editing between Buffalo Bill in his home, an FBI unit raiding "a home," and the eventual realization that Clarice Starling was in front of Bill's home this entire time. In emphasizing the visual similarity of these two literally disparate subjects, the film draws a conclusive relationship between them, arguing directly that one leads to the other and both exist together. If you're unfamiliar with a "match cut," think 2001: A Space Odyssey's sudden edit from a prehistoric bone to a satellite in space. In fact, the sequel's most tension-stoking, rawly terrifying moments come not in sequences of filmmaking fluidity, but in sequences that love rapid editing, fence-jumping cynicism be damned. Shawver a series of oners to plop into Avid and export. But A Quiet Place 2 isn't solely a showpiece for director Krasinski and DP Polly Morgan to flex, to bust out the longest shots possible, to give their editor Michael P. And they are confidently beautiful in their dissemination, playing so subtly even as what they're capturing is full of terrifying bravado the prologue sequence is one for the ages, be it Emily Blunt's backwards car driving or John Krasinski walking by the same dog under wildly different contexts twice in a row. Conversely, you start chopping your genre film up enough, you get ridiculed and memed.Ī Quiet Place Part II, a film full of action, sci-fi, and horror is founded on these types of long takes. Fluidity, comprehension, and the subconscious assurance that what we're seeing play out is "actually happening" - these are the signifiers of a well-crafted film. Editor's note: The following contains spoilers for A Quiet Place Part IIIn our contemporary discourse about visual-driven genre cinema, be it action, sci-fi, or horror, a surefire way to denote quality is to mention its usage of long takes. ![]()
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