Every once in a while you come across a movie that is so intense, so relentless, so frustratingly immersive that you almost feel angry at the film for making you feel so alive. Only to slowly rewind and remind yourself that, as adrenaline-inducing it all was, it's still just a movie. These kinds of films can be tough to make and even harder to watch, but when they are as well made as this one, it can be one hell of a ride. It is a true testament to the power of cinema in that it can move you in ways you often seem to forget it can. These kinds of films are the very reasons I am so passionate about cinema.
Based on the novel by Josh Malerman, the story takes place in a post-apocalyptic world in which strange and unknown entities have populated the planet. They appear to be invisible, but upon looking in their general direction, they apparently take on the form of your worst fears or deepest regrets and cause you to commit suicide. Even worse, some of the people who have seen these entities have lost their minds and systematically seek out survivors to force them to look. One such survivor is Malorie (Sandra Bullock), a depressed and isolated painter with two small children. When we first meet Malorie, she and the kids begin a long boat ride down the river in search of sanctuary. All the while cutting to flashbacks of the events leading up to the boat ride. To better assure their safety, they must make the trip wearing blindfolds the whole time. Will they find their new safe haven, or will they be tempted to look?
Many of the films story elements seem heavily inspired by other movies and media. The notion of avoiding an unknown entity by depriving oneself of a specific stimulation seems lifted from A Quiet Place (the significant difference being sound as opposed to sight). The plot dynamic of a parent and kids traveling through a post-apocalyptic wasteland in search of a safe haven is very similar to The Road. And of course, the idea of blindness being not only a side-effect of the inciting incident but also the means of survival can be traced back to Day of the Triffids. Yet, despite all of those connections, coincidental or not, Bird Box succeeds in making everything feel as if it was all its own. Every single element I just listed is taken into account, and the film mashes them into its own identity, which makes this film a genuinely unique experience. In the words of Stanly Kubrick, "everything has been done before, it's up to us to make it fresh again." Those may not be his exact words, but the point still stands.
Sandra Bullock delivers her usual professional powerhouse performance. Her wide emotional range and a tremendous sense of conviction never fail to get one invested in the story. Even when she seems unlikable at first, as she does in this film, she still manages to make you curious enough about her character to allow the benefit of the doubt. One could argue that it is mostly the doing of the screenplay, but I say that any writing is only as good as the one who has to deliver it. I have always admired Sandra Bullock as an actress, and it is always appreciated to be reminded as to why.
The film was directed by Susanne Bier. A Danish director whom I mostly remember for her original film Brothers from 2004, which was remade in the United States in 2009 and was far less impressive, but I digress. Susanne seems to have a talent for telling dark and intense stories but in such a way that it never devolves into complete bleakness. She seems to relish in bringing you close enough to the edge that you can just barely see the bottom only to reel you back in forcing you to only imagine what might have been down there. Despite the film featuring some rather gruesome and disturbing images, none of them every outstay their welcome or feel out of place. It's the perfect example of how less is more or how you don't have to show every single gory detail. The implication is far more potent than full depiction, and Susanne Bier has prover herself to be the master of that philosophy.
The cinematography by Salvatore Totino deserves special mention as it arguably contributes the most to the films visual realism. The lighting feels naturalistic and never stylized, which is a big plus for me personally. The camera often feels like it's being operated by a person in the scene, thereby making the audience feel more like a participating character. Best of all, no shaky cam. These may be minor things to point out, but speaking as a cinematographer as well as a critic, I appreciate seeing my personal preferences being practiced in other big budget productions.
This film may not be the easiest to watch, but it is one you must check out when in the proper mood, especially if you happen to have a Netflix account. This streaming service turned premium network has been on fire with its original content getting better every year. It's almost enough to encourage me to give up attending the movie theater entirely. Mind you I said "almost" as I still enjoy the theatrical experience. Even so, it's nice to know that quality control always seems to exist, at least in some capacity.
If you have Netflix, or you have access to a friends account, check this one out.
Ladies & gentlemen, I am TheNorm, thank you all for reading.
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