And yet. Every now and then – perhaps more often than a film critic might recognize, but certainly not enough to invalidate such an observation – a piece of intellectual property actually justifies its existence as something other than a shallow cash cow. Michael Sarnoski’sadmirably makes its own case for returning us to the franchise’s clever doomsday scenario. Much of the gratitude for this should be aimed straight at its star, a characteristically magnetic Lupita Nyong’o.
The original film’s conceit allowed its director, co-writer, and star John Krasinski to play with sound while riffing on obvious forebears like: In a post-apocalyptic world, an invasion of murderous aliens with ultrasonic hearing forces the human population into a near-total silent existence, or risk being eaten., as its title makes plain, looks back to the right-before times, just as the creatures disrupt the normal way of life in New York City.
So often in Hollywood movies where the stakes are astronomically high the screenplay will call upon a long-lost loved one to do much of the emotional heavy lifting. An endangered, deceased, or murdered child/wife/parent/pet has always and will forever make for the perfect, if paint-by-numbers, narrative device. The originalis no different; it begins with the youngest child of the Abbott family meeting a swift and grisly death by one of those murderous aliens.
Sam, too, is disturbed, fearful, and enraged – by her life’s circumstances and by the world around her. Nyong’o embraces these prickly qualities, but allows warmth to creep in, too, particularly as her bond with Eric solidifies.. But funnily enough, this subsequent prequel resonates more deeply and thoughtfully than its predecessor – and far more than the third installment of a franchise has any right to.
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