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No One Will Save You (2023)
Brian Duffield has been an industry screenwriting phenom for years, though it took too many years for his ribald, clever, and high-concept stories to eventually find their way as finished films, or at least finished versions of his once ribald, clever, and high-concept stories. I fell in love with him as a storyteller with 2017’s The Babysitter, and that love matured into admiration and appreciation with 2020’s Spontaneous, his directorial debut, also my top movie of that year. As hyper verbal and bracing and layered as that stylish movie with major attitude was, and brilliantly so, his follow-up is a sprint in the other direction. No One Will Save You (I keep wanting to type You Will Not Survive This as its title) is a contained thriller with hardly a line of spoken dialogue as we follow Brynn (Kaitlin Dever) battle aliens. Being a nearly dialogue-free experience puts much on the immersive visual experience, and I don’t know if the movie fully sustains this, but the combined effort is solid and sneaky fun.
This is a throwback to the early 1990s invasion thriller, the heyday of The X-Files and Fire in the Sky when the little gray guys with the big black eyes became our default model for aliens. There’s an easy dread to compile when it comes to a powerful and otherworldly entity that has decided to target you, a lowly human. Duffield is able to engineer plenty of anxious moments and jump scares, allowing the scares to luxuriate by building suspense as well as the adrenaline bursts of sudden surprise (a moment with “toes” made me squirm). He makes a key creative decision early to showcase his aliens. Usually these kinds of movies are more guarded about their monsters, confining them to the shadows or at least relying upon the viewer’s imagination to fill in the blanks before pulling back and finally revealing their true form. There’s a reason that so many filmmakers follow this model, and it’s because the final reveal usually pales in comparison to whatever unseen horror the imagination can fathom. The slender creatures do make for creepy silhouettes, and there are three or four different versions of the aliens and this allows for some additional fun design discovery. A long-limbed one reminded me of a praying mantis. The chattering sound design and ominous lighting do a lot of atmospheric heavy lifting to elevate the mood. If you’re looking for a generally well-executed home invasion thriller with some gasp-inducing moments, No One Will Save You fulfills its promise. There’s a pleasing clarity to the plot mechanics, even if you are wondering why this woman doesn’t abandon her house.
There isn’t much that needs explaining, which streamlines its 90 minutes into a series of reactive responses to the home invasion, with some clues and inferences throughout for us to start to piece together why our heroine is so troubled and seems so isolated by her small-town community. It makes for a visceral, visual method of storytelling but it also limits how much information and depth we are going to encounter. Our main character is still suffused by her own guilt and lasting trauma from her past, and as the movies seem to magically allow, she’s going to be given an external struggle that might just allow her to finally exorcise and resolve a dicey internal struggle. The alien encounters don’t seem to give us better insight into who our protagonist used to be, who she is now, and the misplaced perception of the townspeople. She’s retreated inward. She’s resourceful. She uses what she has to better guard from further close encounters, but all she has are ordinary items found in an old farmhouse, not high-powered weapons and booby traps. She’s just one frightened young woman in an old house trying to do her best. By holding back, we’re only given so much with this character, so she can feel somewhat underwritten and kept archetypal, underpinned by her past mistakes and her current otherworldly dilemmas. I just don’t know if there’s enough going on with this character even with the repeated alien visitation.
Dever (Booksmart) is one of our best young actresses and an excellent choice to anchor our drama. Without the safety of words, much is required from her, and Dever provides a compelling presence even when I feel like the character is hitting her limits. Carrying an entire movie and doing so much with non-verbal acting techniques can be a weighty ask, but Dever relishes the challenge, and through her capable performance we are given a hero worth rooting for.
The movie does an acceptable job of keeping us, and her, relatively in the dark while still not making the sides too overwhelming. How can one Earth girl combat a species with such advanced technology, size, and power? Well, we don’t fully know what they want, and these little green men are still made of fleshy stuff and can still be hurt and killed like any other fleshy goo-filled life form. They may be advanced but they can still get killed, and that at least gives our heroine a chance that she shouldn’t have. The aliens’ plan is generally unknowable, and just trying to piece together a fuller picture of who they are, the different species and forms, and what their purpose might be for the town is plenty of work for the rest of us that don’t speak the space language. It’s enough of a reasonable learning curve to fill out a short movie while keeping focus on the task at hand, whether it’s hiding under the bed, running around the house, or simply trying to figure out whether going into town for help is worth the effort. I wish there was a little more deliberation on her part about whether the aliens might be preferable to her neighbors. The ending isn’t exactly ambiguous but reminds me a little of 2019’s Midsommar, where letting go of one’s personal hang ups might not be the catharsis of enlightenment it may appear to be.
No One Will Save You is a throwback sci-fi thriller that speaks to the human vulnerabilities we can all feel, being helpless against overwhelming powers, be they alien or our own guilt. It’s a fun thriller with some well-wrought sequences of suspense and jump scares. I don’t know if there’s more happening beyond the visceral appeal of the experience. The character and the situation don’t provide much in the way of larger depth and analysis, and more than a few will likely be able to guess her tragic back-story, though that’s also a credit to Duffield providing the key pieces. As a change of pace, No One Will Save You proves that Duffield is an entertaining and capable storyteller no matter what restrictions he holds himself to. I just prefer my Brain Duffield stories without any restrictions because we only have one Brian Duffield.
Nate’s Grade: B
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Love and Monsters (2020)
Imaginative, quirky, and monstrously fun, Love and Monsters is a winning sci-fi monster movie and more evidence to the unique amusements provided in full from a Brian Duffield (Spontaneous, The Babysitter) story. In the near future, after blowing up a world-threatening asteroid, the ensuing chemical debris causes many lizards and insects to grow to world-threatening sizes, killing a majority of the population, and forcing the survivors to live underground in vaults. Our hero is Joel (Dylan O’Brien), a very Jessie Eisenberg-esque guy who isn’t so good at survival skills in this new world. His group looks at him like he’s a helpless kid who can’t defend himself. Joel discovers that his teenage crush, the girl he’s been writing letters to, is alive and he pledges to make the 80-mile trip on the surface to reunite with her. The resulting journey can be episodic but each section is impactful, each monster encounter is different and contributes to a fuller understanding to the world, and the character arc finds ways to surprise you, like when it acknowledges that Joel’s foolhardy romantic gesture is exactly that, him not fully accepting how the world has changed both he and the object of his desire. That sparkling creative voice of Duffield’s is alive and well throughout. His worlds feel well thought out, lived in, crazy but with purpose, and his characters are often teenagers with pointed attitude but they feel like characters rather than mouthpieces for overt stylized dialogue and pithy banter. O’Brien (The Maze Runner) is an interesting choice and gets to be far more neurotic and physically comedic than I’ve ever seen him. He’s an underdog that’s easy to root for. There are moments of wonder, moments of unexpected empathy, moments of suspense and terror, and plenty of moments of comic bemusement in the face of this crazy world. Joel befriends a very Woody Harreslon-esque father (Michael Rooker) with an adopted daughter in tow (the Zombieland character dynamics are pretty apparent but not a major detraction) and they form an enjoyable fractured family to help Joel become a better survivalist. I loved a small moment with a beaten down robot helper that manages to be sentimental as well as subverting sentimentality. The conclusion feels like a Walking Dead episode but it brings together many of the dangling storylines and proves satisfying for the character’s arc, a better understanding of the creatures in this world, and for Joel’s sense of self and community. The special effects are amazing for a movie that shockingly only had a tiny $28 million budget. Love and Monsters is a movie that makes the most of its time and money to tell a bigger story but one with enough wit, heart, and personality to draw you in and leave you happy for more post-apocalyptic monster adventures. All hail Duffield, king of spry and accessible quirk within the Hollywood system.
Nate’s Grade: B+
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Spontaneous (2020)
Spontaneous is a movie that grabbed my attention immediately, made me laugh quickly, and then made me fall in love over the course of its explosive 100 minutes. The more I think back about this bizarre little movie, based on the YA novel by Aaron Starmer, the more affection I have for it and its messy accomplishments. Writer/director Brian Duffield has been one of the most exciting screenwriters for years, penning highly inventive stories that have a distinct, vivacious comedic voice that leaps off the page and smacks you across the face with how good it is, and then you ask for more (check out The Babysitter for the closest representation of what a Duffield screenplay delivers; skip the sequel though). This is Duffield’s debut as a director and I feel like he’s a natural fit for the quirky, blood-soaked material. Spontaneous is a dark comedy that can also make you feel something because it doesn’t simply treat its characters as disposable punchlines.
So the senior class of Covington High School has a serious problem. They’re spontaneously exploding. Nobody knows why, nobody knows who will be next, and even after a government quarantine, the answers aren’t any clearer. Mara (Katherine Langford) just wants to live to grow into a badass older lady who lives on the beach with her best friend Tess (Hayley Law). Her dreams of a life after graduation might never come true. Dylan (Charlie Plummer) introduces himself to Mara and they begin a tender courtship, falling in love during a precarious time where either of them could explode and soak the other in gore and viscera. Can these two crazy kids make it and grow up when their own bodies might betray their fleeting happiness?
Almost instantaneously I was drawn into the romance between Mara and Dylan, and I enjoyed deeply how each helps to shape the other, finding a sincere connection in the most extreme and unexpected of circumstances. Their budding romance dances with tragedy and dread as we worry over the fate of our lovers; surely, with this horrific premise, they won’t end happily ever after, or could they? Every time another student exploded, I winced. I laughed a few times, I’ll admit, because the context can become darkly hilarious and absurd, but it’s also a natural human reflex to relieve tension. Each one of these kids is a potential suicide bomber and they don’t know it. It’s sudden and something that you, even as a viewer, will never get used to. What you will do is start to dread who is next and whether that explosion sound was someone you liked. With an omnipresence of tragedy, it pushes the characters to make the most of their potentially short lives and that brings a greater significance to their next steps, the little attempts to “feel like an adult,” to reach for their desires, and to declare who they are while they are still standing to do so. It takes the coming-of-age setup and deftly dials up the emotional stakes.
Make no mistake though, Spontaneous is an uproariously funny movie. We’re primarily seeing the world from the perspective of Mara and her narration and occasional fourth-wall breaks. There are some fun asides where other characters take over narration duties, but this is chiefly her movie and she’s delightfully odd, prickly, and worthy of our attention. Duffield’s screenplay is brimming with wit and the conversational banter flows with such a confident cadence, all while not being overly mellifluous and self-satisfied. I adored just spending time with the characters because I was anticipating what they would say and do next. The social satire is present but not as substantial as I would have thought. The film trades in familiar stereotypes we’ve come to associate with high school movies, yet it can take some interesting detours, like when the football team cheers in support about their fellow player for coming out as gay. This is a high school movie mixed with a horror movie, where a big party to cut loose could become the latest crime scene. Most of the adults are simply scared and don’t know what to do, and that helpless vulnerability extends outward and keeps going. Just because you may be older doesn’t mean you know what you’re doing. I cackled plenty from the physical humor, slapstick gross-out gags, but when Duffield wanted to be serious, you better believe I shut my trap and pulled up the blanket.
I think it’s worth acknowledging, and I don’t consider this a real spoiler, that the cause of the spontaneous combustion is never resolved. There is no explanation, and if that’s a deal-breaker for you then I think you’re prioritizing the wrong parts of what Spontaneous is offering. It doesn’t really matter why it’s happening because the movie isn’t a scientific mystery. As much as it might seem bizarre to declare, this is far more than the “kids blown into bloody bits” movie. It’s not about what is happening per se but how it emotionally affects the characters. The unknown bodily explosions could serve as a gory metaphor for modern-day threats of school shooters, terrorism, or even our current pandemic (pick your metaphor, anything really works). Students don’t know who will be next, when their time will be up, and an anxious pall hangs over their day-to-day lives as they trudge onward trying to regain a sense of normalcy during a troubling and uncertain time of numbing trauma. That’s really the core of the movie, the response to inexplicable trauma. Some characters maintain a blasé, nihilistic attitude, questioning whether their minute remaining time has value. Others look at the random threat of exploding as a motivator to overcome the obstacles that kept them from achieving their goals, ignoring social hang-ups and personal misgivings. It’s the proverbial kick that Dylan needs to finally talk to the girl he’s been crushing on. He elects to live with his remaining time on this planet, no matter how brief, and elects to be happy, which is about one of the bravest things a person can do. That’s why the combustible student body doesn’t need an explanation, and to be fair what possible explanation would ever have been truly satisfying (“Oh, we all just ate too many carbs. Huh.”)?
If she hadn’t already established herself from Netflix’s somber soap 13 Reasons Why, this would have been a star-making role for Langford (Knives Out). She’s captivating from her first moment onscreen when she discusses the mundane details of her day at school right before the girl in front of her explodes. Her sardonic and spiky attitude permeates the movie and gives the film an energetic jolt, amplified by Duffield’s stylish flourishes that reminded me at points of Edgar Wright with how playful and involved the visual transitions could get. Our leading lady is a force of nature, and after enough time, you can understand why Tess wants to be her bestie, why Dylan would fall in love with her, and why other students would be afraid of Mara. There are moments where Langford can be silly and diverting, like dressing in mourning over the 2016 election, and others where she feels like she’s harnessing the totality of youthful feminine rage (I loved a late declarative statement directed at our current president) to be a symbol. The “same old” just isn’t going to cut it when the stakes are this high. Langford isn’t just the too-cool gal spitting pithy insults from a safe distance. There’s some heavy-duty existential drama here that she carries while through the prism of her eccentric teenager’s attitude. Her romance with Plummer (All the Money in the World) is sweet and affecting and feels entirely genuine.
Sticky, sweet, and wickedly funny, Spontaneous is obsessed with death, the uncertainty of knowing when your time is up, and yet I came away feeling ultimately uplifted and moved. There are some jolting moments, both funny and heart-breaking, and Duffield wants you to take the time to feel the full experience of being young and angry and hopeful and anxious and in love and feeling weird. In a disastrous year of worldwide calamities, Spontaneous is a bright spot, and given the bloody premise, that should tell you everything you need to know about the year 2020. This is a delightful, heartfelt, and surprisingly mature teen drama that also happens to have people bursting like balloons. Duffield even touches upon the profound at points, which is hard to do with any filmmaker, let alone one playing with these crazy genre elements. Spontaneous is a coming-of-age drama with equal parts ache and warmth, gallows humor and personal insight. Find this movie, devote 100 minutes of your time, and wear a poncho if necessary.
Nate’s Grade: A
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The Babysitter: Killer Queen (2020)
I very much enjoyed 2017’s The Babysitter from the very start. The characters had such vitality to them, Samara Weaving (Ready or Not) gave a star-making performance, and it was a wild ride while also having an emotional core with the relationship between the babysitter and her charge, a designated Satanic sacrifice. It was silly, clever, but also satisfying with its character dynamics, and it proved successful for Netflix so they felt, well, why not do it all again? The Babysitter sequel, subtitled Killer Queen, has a strong whiff of desperation trying to awkwardly rekindle the good times. The original writer, Brian Duffield, is not here as a writer but returning director McG is one of the credited writers, which made me wary. Sequel-itis plagues the story as our surviving teen Cole (Judah Lewis) gets into ANOTHER tight spot with ANOTHER group of Satanists looking to sacrifice him to make their dreams come true, and it also happens to also include the SAME supporting villains from the first movie. Even the cheeky onscreen titles go, “Again?!” Why must these killer Satanists only obsessed with this one specific kid as a sacrifice? Diversify your options, folks. It all feels more of the same but just not as good, not as memorable, and not as entertaining. It’s a low-investment movie, something where your ceiling of demands is already pretty generous, so if you enjoy comically over-the-top gore then there are a few moments that might make this sequel palatable. It’s a movie with a “so what?” attitude, adopting a flippant nihilism that makes the attempts at drama a little more forced and inauthentic when they occur, not that the comedy is much better outside the splatterhouse violence. The ending is also rather anticlimactic because it simultaneously involves a deus ex machina while also finding a way to be derivative of another very memorable ending of another Samara Weaving movie. I didn’t think a sequel was needed, and I wasn’t expecting much from a sequel, and I got about what I was expecting. The Babysitter: Killer Queen is a fast-paced and amenable work of cinematic junk food, a genre movie that might have enough genre elements to prove tasty, but by hewing so close to the original, Killer Queen feels more imitation than imagination, and it’s clearly inferior to the original.
Nate’s Grade: C+
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