Hyperbole In A Quiet Place

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Is it appropriate to begin a review of John Krasinski's outstanding A Quiet Place by quoting American Idol winner Carrie Underwood's #1 hit single, "Jesus Take The Wheel"?

Who cares, I'm doing it anyway: "Jesus, take the wheel/Take this from my hands/'Cause I can't do it on..my...own."

Watching this masterful, breathtaking, 90-minute nightmare that Krasinski has created, a horror film we will be praising for a long, long time to come, I may have found a new religion. Clearly some hieroglyphics were visible on my left hand and fingers, as I clutched a water bottle so tightly, I left indents that stayed for a good hour or two after I willed myself out of the theater.

While there is perhaps some slight hyperbole offered up above there, A Quiet
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Day 482 is three weeks away from her due date, and it does not take a rocket scientist to figure out where A Quiet Place may be going with that plot development.

What sets the film apart is how brilliantly everyone commits to the concept. Within five minutes, Krasinski has his literally afraid to hear anything. Whispers sound loud to us, a creaking step feels like it could trigger an attack, and even as we learn more about the danger that lurks in and around the family farm, we still are wrecked with fear, as our heart throbs so loudly, we might worry about putting the family in harm's way.

Few films can play with atmosphere and almost weaponize sound like this one does. Krasinski, to his own admission, not a super huge of horror movies, comes at this from a more realistic standpoint. In adding a few words of dialogue to the original screenplay, he allows us to bond and relate to the family more than if the film was perpetually quiet. When Blunt whispers out loud to her son, we understand the inherent need to communicate with voice just never goes away. When we see the accidental benefit of Regan's being deaf, we recognize that her ability to communicate has ever stronger

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