It’s over a year into a world overrun by monsters that are trained to attack the smallest of sounds. What’s left of humanity has had to adapt to a very quiet way of life. The Abbott family has ironically be given a head start to adapt into this scary new world that prioritizes silence. Lee (John Krasinski, also co-writer and director) and Evelyn (Emily Blunt) have a daughter, Regan (Millicent Simmonds), who is deaf, so the family has learned to communicate via sign language. The family walks barefoot on paths of sand and resides in a farmhouse on the edge of a rural community. The Abbott clan is still overcoming the loss of their youngest child who, at and innocent and naïve four years old, was taken by the monsters. Now Evelyn is expecting a new child and the Abbotts must stick together if they are going to survive.

A Quiet Place is a brilliantly simple concept that’s exceptionally well developed and executed. Using the very concept of sound itself as the monster, or the prelude to the monster, is so clever and completely relatable. It trains the audience to fear sound itself. It also serves the role of placing the audience in a hyper aware state of continuous dread. Any little sound we deeply dread, and there are so many ways to make sound in this world above a whisper. The emptiness of the aural landscape creates a template to build upon, so that any small noise feels like an alarm to the sense. The gripping sound design brings a sense of the looming dangers as we hear the thundering claps and crashes of the monsters approach. Krasinski also very cleverly communicates the world from Regan’s deaf perspective. When the camera focuses on her, the sound levels drop entirely, and then when another character is onscreen, they rise back up. It’s an extremely effective and smart way to drop the audience into her vulnerable position.

This is a movie that sets up the stakes upfront. A young child dies for doing something stupid but entirely in character for a young child (whom I’m assuming never personally encountered these creatures). A Quiet Place establishes immediately that this new world is unforgiving of mistakes. A distracted mind, a false step, a sudden impulse, and anyone can be gone forever.

Like the similarly themed Don’t Breathe, the fun is setting up the world, the playing space, and the rules, and then watching it all play out. A Quiet Place does a great job of establishing its world and surroundings and once the action hits midway through it doesn’t let up until the end credits. Fortunately, the thrills never get old too because Krasinski and the other screenwriters, Bryan Woods and Scott Beck, keep finding new and intelligent challenges to explore. The pieces all add up and the details make this world feel extremely well realized, from the marked squeaky floorboards to the routines if separated to the colored warning lights. The tension is already at a constant simmer from its very effective opening sequence that sets the mood. A simple exposed nail on a stair can be a returning point of tremendous uncertainty time and again. The very presence of a pregnancy with a looming due date feels like a bomb waiting to explode. How in the world will a baby be born in a world that punishes sound? I watched this movie with my hand covering my mouth for a far majority of it. Even the jump scares feel well distributed and earned in this movie. Mostly, it’s a film that makes you twist in that delicious sense of anxiety as you wait. It’s nerve-rattling in the best possible way.

Another aspect of what makes the film so worthwhile that won’t get as many headlines is how well developed it is as a drama about a family overcoming grief and guilt. Each member of the Abbott family feels some level of blame for the tragedy and is punishing his or herself. In a way, the events of the film are about processing that grief and handing over the protection of the family. It’s an unspoken shroud that hangs over the entire family, you can see it on their faces, with the heaviness in their eyes, and in their day-to-day anxiety. The film does a great job through the character of Marcus (Noah Jupe), the middle child, of showcasing how this terrifying new normal would affect and fray one’s psyche. He’s petrified with fear and consumed with the scary burden of having to ascend into the role of protector and provider that his father is trying to groom him for when the inevitable comes. The happy version of “the inevitable” is Evelyn and Lee growing old and feeble. The more realistic version is the two of them at some point being felled by these murderous monsters. When Marcus is given a moment to let his guard down, to not worry about the volume of his voice, it’s a sweet father/son moment of bonding that feels entirely fulfilling as well as insightful about this new, peculiar way of life.

A central conflict is the friction between Regan and her father and their desire to understand and empathize with one another. The film’s biggest emotional moment is the conclusion of this, and it feels so fully earned and poignant that even typing it out now stirs me. It’s the culmination of a well-structured screenplay that has found its moments for character development in a nearly silent movie, so that when declarations are made, even with the monsters and its creepy gimmick, you’ll still feel something. These characters matter and their struggles are universal and emotionally appealing. The acting all around by the young children and Krasinski and Blunt is completely believable and engaging.

For a relatively low-budget thriller, I was surprised how much of the monsters we actually saw onscreen. Krasinski still prefers to keep his monsters on the peripheral or in the background, letting the audience’s imagination fill in the horrifying rest. That’s where I thought the movie would stay, but it does not. There are several close-ups of the creatures at work, a mass of teeth and auditory sensors. Their heads open up like blossoming flowers. I know the designs are CGI and yet they looked very realistic, as realistic as a fanciful monster can, naturally. It had the sheen of practical effects, which is the best compliment. The monsters reminded me of the Cloverfield creatures mixed with the Pitch Black aliens. It’s a spooky design and under Krasinski’s attention the menacing creatures never stop being scary.

Who knew John Krasinski had this in him? The affable actor best known for portraying Jim Halpert on the long-running American version of The Office has directed before, an adaptation of a David Foster Wallace book and an indie family dramedy. He’s never ventured into genre filmmaking before. But then again, neither had fellow funnyman Jordan Peele, who came out of nowhere in 2017 with Get Out and rode that to box-office riches, critical acclaim, and an Oscar for Best Original Screenplay. Maybe more performers we view simply through the lens of comedy have tremendous potential to be genre virtuosos. A Quiet Place is not an outright silent movie but one where silence is most keenly felt. The simple premise is beautifully realized, the characters and their plights are affecting, the details are fully thought through (though newspaper publishing is questionably late into this sound apocalypse), and the structure is smartly placed and paced. If you’re looking for a suspenseful, intense, and invigorating movie, A Quiet Place feels like a work out for the senses.

Nate’s Grade: A-