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Movie Review

Silence is deafening and terrifying in A Quiet Place

Alex Bentley
Apr 5, 2018 | 3:00 pm
Silence is deafening and terrifying in A Quiet Place
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The element of silence, accompanied by menacing noises, has long played a crucial role in many horror movies. Fans can likely come up with multiple memories of characters trying to be quiet while navigating creaking floorboards or hearing creatures scuttling nearby.

Those fleeting moments are ratcheted up to an almost unbearable degree in A Quiet Place. Co-written, directed by, and starring John Krasinski, it’s set in a world where much of the human population has been decimated by creatures that hunt using only sound.

The film centers on one family — father Lee (Krasinski), mother Evelyn (Emily Blunt), sister Regan (Millicent Simmonds), and son Marcus (Noah Jupe) — who have devised many ways to avoid making unnecessary noises. They include lining pathways with sand, using soft materials when at all possible, and, most importantly, speaking almost entirely in sign language. That last part comes more easily for them as Regan (and Simmonds herself) is deaf.

Unlike other films that try to overly explain their stories, A Quiet Place drops the audience directly into the middle of an ongoing saga, giving only minor clues, such as newspaper headlines, to indicate how the family and the world at large got to be in their situation.

To say that the movie is “silent” would be inaccurate, as sound effects and music play a big part in it. But the film contains perhaps 10-15 spoken lines of dialogue, making it the quietest film to hit screens in quite some time. In fact, the audience at my screening had at least 15-20 deaf people in attendance, who by all indications enjoyed the film as much as the hearing members of the crowd.

All of this silence serves the movie extremely well. Not only are you afraid of anybody on the screen making a noise, but the lack of sound transfers over to the audience wanting to be as still and silent as possible. When characters are put into situations where screaming would be the norm, their inability to give in to that impulse somehow makes the scenes all the more terrifying.

Special note should be made of the design of creatures in the film. Krasinski and his designers seem to have taken the best parts of other scary beings and combined them into one completely horrifying beast. Krasinski isn’t shy about showing close-ups of its intimidating features like razor sharp teeth and claws, making it extremely memorable.

All four actors do well in the film, but it’s Blunt who makes the biggest impression. Her character is put through the wringer, and her ability to emote without sound in such a way that you understand everything going on in her mind is astounding. Simmonds is as good as she was in 2017’s Wonderstruck; here’s hoping she continues to lead the way for deaf actors. Krasinski still has trouble shaking his natural jovial persona, but he does a solid enough job. His skills in putting together the film as a whole cancel out any acting shortcomings.

A Quiet Place is a film that will satisfy horror fans, but its family drama also gives it a broader appeal. Either way, it’s a quietly chilling experience that you won’t soon forget.

Emily Blunt in A Quiet Place.

Emily Blunt in A Quiet Place
Photo courtesy of Paramount Pictures
Emily Blunt in A Quiet Place.
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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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