#In sound mind sequel movie#
Not that this two-story apartment is as grim as the script’s obsession with money would have you believe Brigid may not have gotten the grant she wanted (which is funny when you consider that her baroque music was composed for the movie by the prodigiously talented Nico Muhly), but anyone under 40 who can afford to live in a turn-of-the-century tenement unit with its own corkscrew staircase is doing just fine, no matter how much urine water leaks down from the ceiling. Here, Karam has made a movie that sounds like a play, which is far more unsettling than a play that sounds like a movie combined with the ashen November sunlight, the effect is so purgatorial that it feels as if the Blake family may already be dead, their monologues delivered from beyond the grave like a version of “Spoon River Anthology” that’s been squeezed into a duplex. No unapologetic voices carry up from the sidewalk, which proves eerie in a town that talks to itself in order to spare the people who live here from the white noise of their own thoughts. No honking car horns bleat through the windows.
People are loud, but New York is even louder - except here. “People are loud.”Īnd yet, the second thing we notice about “The Humans” is something that no one in the film itself seems to hear: the silence. “This is New York,” Brigid says, trying not to roll her eyes. But what really frays Erik’s nerves, and ours, are the intermittent thuds from the tenant upstairs. Water drips from the ceiling, a boiler hums down the hall, and the pre-war floorboards groan as if senile grandma Momo (Squibb) were being pushed over them in a tank instead of a wheelchair.
It’s Thanksgiving - a holiday that always hinges on slaughter, even when it’s not celebrated in the absent shadow of the Twin Towers - and Erik’s composer daughter Brigid (Feldstein) has invited the whole family up from Scranton to help christen the creaky old place that she’ll be sharing with her people-pleaser of a boyfriend, Richard (Steven Yeun).
The first thing we notice about “The Humans” is also the first thing that Erik notices about the unfurnished Chinatown apartment in which virtually all of this movie takes place: the sound. Over time, patriarch Erik Blake (Richard Jenkins) takes on existential dread like ocean water until his once-unsinkable sense of self is nothing but a ghost ship washed to shore a few blocks from where the World Trade Center used to be. The result is a stilted and unnerving film that chips away at the petrified staginess of its origins with every sudden noise, as if Karam were sledge-hammering little cracks into the hull of his film’s WASPy modern family.
#In sound mind sequel tv#
'Sansón and Me' Review: This Melodic Documentary Recreates an Unsettling True Storyīest Movies Never Made: 35 Lost Projects from Christopher Nolan, Quentin Tarantino, and MoreĢ0 Controversial Film and TV Book Adaptations That Rankled Their Audiences and Authors 'Space Oddity' Review: Kyra Sedgwick's Directorial Debut Is a Spaceless, Sexless Rom-Com A prestigious screen adaptation of a Tony-winning play is just not the sort of thing that one expects to watch between their fingers, even if it stars legendary scream queens Beanie Feldstein, Amy Schumer, and… June Squibb? Indeed, even those familiar with Karam’s widely fêted one-act may be rattled by the extent to which “The Humans” eventually blurs the line between Chekhov and Polanski - Broadway and Blumhouse.
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