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    Movie Review

    Silence is deafening and terrifying in A Quiet Place

    Alex Bentley
    Apr 5, 2018 | 3:22 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

    Nick Jonas and Paul Rudd chase their dreams in music-heavy Power Ballad

    Alex Bentley
    Jun 8, 2026 | 10:30 am
    Nick Jonas and Paul Rudd in Power Ballad
    Photo by David Cleary for Lionsgate
    Nick Jonas and Paul Rudd in Power Ballad.

    Writer/director John Carney is one of the great purveyors of movies featuring music (as opposed to musicals) in the 21st century. Starting with Once in 2007 (which was turned into a Broadway musical several years later), he has made music-themed stories like Begin Again, Sing Street, Flora and Son, and now Power Ballad.

    Rick Power (Paul Rudd) is a former wannabe rock star who is now the lead singer of “Ireland’s #1 Wedding Band,” The Bride & Grooves. While they mostly play smaller weddings, a gig at a country estate leads to an encounter with Danny Wilson (Nick Jonas), a former boy band member struggling to make it as a solo artist. Rick and Danny wind up bonding in a booze- and pot-filled jam session, sharing various song ideas.

    After returning to Los Angeles and desperate for a hit, Danny steals one of Rick’s songs, which miraculously turns into the No. 1 “How to Write a Song (Without You).” Rick, initially overjoyed that something he wrote has become big, is crushed when he finds out Danny didn’t give him credit. His quest to find a way to prove his worth sends him into a spiral, upending the ordinary life he had built.

    Co-written by Peter McDonald, the film is a nice exploration of two men trying to hold on to their music dreams. Their individual circumstances could not be more different, but each of them knows the ups and downs of the business as well as the other, as well as the ineffable magic of creating that one great song. While the music scenes are hit-and-miss because of a reliance on lip synching, the scene featuring Rick and Danny trading ideas is electric with creativity.

    Oddly, though, the film could have used a bit less music and more of a focus on the two men’s personal lives. Rick wound up living in Ireland after falling in love with his future wife, Rachel (Marcella Plunkett), while on tour with his former American band. He spends a decent amount of time with her and his daughter, Aja (Beth Fallon), but his story needed a few more family scenes to drive the point home. Danny’s personal life is all but nonexistent, giving his arc less impact than it could have had.

    Instead of loved ones, Carney and McDonald try to give Rick and Danny more depth through friends and business associates. Rick’s bandmate Sandy (McDonald) is a ride-or-die kind of guy for him, but his presence is only good for a few humorous distractions. Danny’s manager Mac (Jack Reynor) is difficult to parse, as he goes to bat for Danny on multiple occasions, but also seems to keep him at arm’s length.

    It’s long been joked that Rudd never ages, and that youthfulness serves him well in this role, in which his character is supposed to be much younger than his actual age of 57. His energy and enthusiasm make his character appealing throughout, even when Rick starts to go off the deep end. Jonas is decent in his role, selling the music side well, but there might be a reason his character doesn’t have many scenes requiring him to show emotions.

    While Power Ballad has all the hallmarks of another great Carney music movie, it’s missing a few pieces that could have put it over the top. It’s still a fun film with an insanely catchy song at its center, but it’s not quite as memorable as most of the filmmaker’s previous efforts.

    ---

    Power Ballad is now playing in theaters.

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