“A Quiet Place: Day One” thrusts you right back into the nerve-wracking world of silence and survival, but this time, it’s the beginning of the nightmare.

Directed by Michael Sarnoski, the film captures the raw terror of the invasion’s first day with an intensity that will keep you on edge. Not quite like the original film, but not far off.

Lupita Nyong’o delivers a powerful performance, grounding the chaos with a sense of desperate determination. Her character’s journey through a crumbling city is both harrowing and deeply human, as she clings to the small things that make life worth living—even as the world falls apart around her.

Joseph Quinn shines as a terrified law student caught up in the horror, his chemistry with Nyong’o adding emotional weight to the relentless tension.

The film’s minimalist dialogue and Sarnoski’s focus on visual storytelling make every glance, every gesture, count. The result is a movie that speaks volumes even in its silence. Like the original.

Visually, “Day One” doesn’t disappoint. The scenes of destruction and panic are visceral, drawing clear inspiration from real-world disasters.

The film is a masterclass in building suspense, using the quiet moments to heighten the impact of the inevitable chaos. It’s a terrifyingly effective reminder of the power of silence—and the horrors that lurk within it.

However, “Day One” isn’t without its shortcomings. The story, while intense, doesn’t offer much that’s new to the franchise. The plot sticks closely to the formula that made the previous films successful, but this also makes it feel somewhat predictable. The characters, though well-acted, could have been fleshed out more to give the narrative a deeper emotional resonance. As a result, the film at times feels more like a well-executed spin-off than a necessary expansion of the universe.

While it doesn’t break new ground in terms of narrative, “A Quiet Place: Day One” is a solid, tension-filled addition to the franchise. It delivers exactly what fans expect: suspense, emotional depth, and a chilling look at the day the world went silent.

Twisters (2024) is a film that seems to teeter on the precipice of greatness but ultimately lands somewhere in the realm of mediocrity.

Directed by Lee Isaac Chung, this spiritual successor to the 1996 classic Twister carries the weight of its predecessor while attempting to carve out its own identity. The result is a mixed bag—a film that excels in certain technical aspects but falters when it comes to delivering a truly engaging cinematic experience.

First, let’s acknowledge what Twisters does well. The visual effects are undeniably impressive. The tornadoes are rendered with a level of detail and ferocity that puts the 1996 film to shame.

The storms here are more than just swirling clouds of debris—they’re monstrous forces of nature that command respect. The sound design, too, is top-notch, with every gust of wind and clap of thunder contributing to the film’s immersive quality.

Yet, for all its technical prowess, Twisters stumbles when it comes to its narrative. The plot, centering around Daisy Edgar-Jones’ character Kate Cooper, feels like it’s on autopilot. The film follows the predictable beats of a disaster movie, complete with the obligatory moments of tension, romance, and sacrifice. There’s little here that will surprise anyone familiar with the genre. The characters, while competently portrayed, are largely forgettable—mere vessels to carry the audience from one tornado encounter to the next.

The romantic subplot between Kate and Glen Powell’s character, Tyler Owens, is another weak point. The chemistry between the leads is lukewarm at best, and the romance feels tacked on, as if it’s there because the genre demands it rather than because it adds anything meaningful to the story. It’s a shame because Powell, who was so charming in Top Gun: Maverick, feels underutilized here, reduced to a stereotypical “cowboy” role that never quite clicks.

Chung’s direction, while competent, lacks the spark that could have elevated Twisters from a passable disaster flick to something more memorable. The film is content to play it safe, adhering to the formula rather than taking risks. It’s a solid popcorn movie, to be sure, but it lacks the heart and soul that made the original Twister resonate with audiences.

In the end, Twisters is neither a failure nor a triumph. It’s a film that does enough to entertain but not enough to inspire. It’s the kind of movie you watch, enjoy, and then promptly forget. For fans of the original, there’s enough here to warrant a viewing, but for everyone else, it’s a middling entry in the disaster movie genre—neither a storm of brilliance nor a total washout.