Susanne Bier
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Connections, in both directions
Although it is publicly documented that Malerman completed the novel’s rough draft before the release of M. Night Shamalyan’s “The Happening” and the cinematic adaptation of “The Road,” the comparisons to both of these films, and any given post-apocalyptic movie released in the past several decades, cannot help but be drawn regardless.
Adapted from the 2014 post-apocalyptic novel of the same name by Josh Malerman, Bird Box is oddly similar to filmmaker M. Night Shyamalan’s terrible 2008 thriller The Happening.
We’ve seen this kind of post-apocalyptic tale before, and there are bits and pieces that will remind you of The Happening, The Road and A Quiet Place.
The mysterious, invisible force driving people to suicide recalls M. Night Shyamalan’s much-maligned The Happening .
Here, as in M. Night Shyamalan’s far worse “The Happening,” is a movie that deals with two simultaneous fears at once.
If you’ve seen any film where a mismatched group of survivors has to band together to understand and survive an unpredictable and ever growing extinction level event – from Night of the Living Dead to The Mist to The Happening to A Quiet Place – you’ll know every single thing that happens in Bird Box from the moment the plot kicks into gear, and no amount of great direction or nuanced performances will distract from the fact that this has all been done so many times before that I’ve lost count, and that it has been done a whole lot better.
There is good stuff to be found, including plenty of character beats (Lil Rel Howery plays a grocery store clerk whose research for his sci-fi novel makes him a comparative expert on the events) and a trip to the grocery store that will remind you of The Mist.
Frank Darabont’s adaptation of Stephen King’s The Mist seems to be a huge influence here, too – there’s even an entire sequence set inside a supermarket, as well as mention of one neighbor suing another over a property dispute – both of which feature prominently in Darabont’s flick.
A trip to the supermarket for supplies (they black out the windows of the car and rely on the GPS to navigate the route) results in a harrowing sequence that actually does echo a horror film based on a Stephen King book: “The Mist” (2007).
Se puede contar con una amenaza inasible en el cine de horror: como prueba está The Mist, a la que Bird Box también le debe, y cuya ejecución es superior en todos sentidos.
At least, that’s what should be frightening about the “Bird Box” premise, which author Josh Malerman hatched in novel form, where readers’ imaginations were free to fill in that unseen terror as they saw fit — a device that he may as well have lifted from Stephen King’s “The Mist” or José Saramago’s “Blindness.”
If you’ve seen any film where a mismatched group of survivors has to band together to understand and survive an unpredictable and ever growing extinction level event – from Night of the Living Dead to The Mist to The Happening to A Quiet Place – you’ll know every single thing that happens in Bird Box from the moment the plot kicks into gear, and no amount of great direction or nuanced performances will distract from the fact that this has all been done so many times before that I’ve lost count, and that it has been done a whole lot better.
Now, Brothers was produced by Danger Mouse, who launched his production career with The Grey Album , a 2004 mash-up of music from The White Album with vocals from Jay-Z’s The Black Album , which was itself a reference to The White Album .
Mamma Mia! (2008)
Directed by Phyllida Lloyd
influenced Love Is All You Need (2012)
Themes Visuals Music
“Mamma Mia!” without the vocals, Susanne Bier’s lovely, silly, middle-aged romance “Love Is All You Need” gives “Mamma Mia!” leading man Pierce Brosnan a chance to shine again without all that ABBA music (we do however hear several versions of “That’s Amore”).
The temptation is impossible to resist, at first: Love Is All You Need! It’s like Mamma Mia! without the singing, and with breast cancer.
English dialogue and pic’s “Mamma Mia!”-like elements – without the Abba songs, of course – could give pic an extra B.O. bump beyond its natural specialist constituency offshore.
That the film’s central couple are a middle-aged pair only heightens the film’s sense of realism over idealism, even as Italy’s Amalfi-coast setting where much of the film transpires recalls the romantic surrounding of films such as Under the Tuscan Sun and Mamma Mia!
In the airport parking lot, she backs into Philip (Pierce Brosnan, "Mamma Mia!"), her first time meeting the groom's father, a man still taking the loss of his wife years earlier out on the rest of humanity.
Remember when you saw “Mamma Mia!” and thought it would be so much better without all the music?
We also never learn what's causing this to happen, which recalls the ambiguity in Alfred Hitchcock's "The Birds."
As in this Dawn of the Dead-ass trope of tense survivors breathing down each other’s necks in a confined space?
The rag-tag band of survivors trapped in one place feels lifted directly from Zack Snyder’s Dawn of the Dead remake.
The idea of not looking at something that could kill you is from any number of stories about boogeymen, and the large scale destruction of cities and towns is eerily reminiscent of Dawn of the Dead and 28 Days Later.
Meanwhile, the cliches multiply as Bird Box borrows and steals from the aforementioned deadly A Quiet Place, M. Night Shyamalan’s numbing The Happening, Dawn of the Dead, and others.
The Mist is arguably my favorite Stephen King adaptation, and I love Dawn of the Dead.
At least, that’s what should be frightening about the “Bird Box” premise, which author Josh Malerman hatched in novel form, where readers’ imaginations were free to fill in that unseen terror as they saw fit — a device that he may as well have lifted from Stephen King’s “The Mist” or José Saramago’s “Blindness.”
Viewers never see who or what they are, and their presence is represented by wind gusts and shadows (if you saw 1980's "The Watcher in the Woods," the technique will be familiar).
We’ve seen this kind of post-apocalyptic tale before, and there are bits and pieces that will remind you of The Happening, The Road and A Quiet Place.
Bird Box , a mix of Cormac McCarthy’s The Road and Jose Saramago’s Blindness , jumps between the present day—Malorie and co.
With hints of The Road, A Quiet Place and any number of zombie movies, this Netflix film is appreciably bleak but also sluggish, never fully fleshing out the themes at the story’s core.
Bullock convincingly transforms herself into a gritty survivalist in Susanne Bier ’s gripping thriller, which brings to mind everything from “The Road” to “The Happening” as it carves a space for itself in the post-apocalyptic canon.
Although it is publicly documented that Malerman completed the novel’s rough draft before the release of M. Night Shamalyan’s “The Happening” and the cinematic adaptation of “The Road,” the comparisons to both of these films, and any given post-apocalyptic movie released in the past several decades, cannot help but be drawn regardless.
I was equally worried that it would be one of those downer-apocalypse movies like Children of Men or The Road (as opposed to exciting-apocalypse movies such as I Am Legend or World War Z).
Unlike a Night Of The Living Dead, Bird Box doesn’t generate much claustrophobic dread during its flashbacks as the cooped-up characters try to decide what to do next.
If you’ve seen any film where a mismatched group of survivors has to band together to understand and survive an unpredictable and ever growing extinction level event – from Night of the Living Dead to The Mist to The Happening to A Quiet Place – you’ll know every single thing that happens in Bird Box from the moment the plot kicks into gear, and no amount of great direction or nuanced performances will distract from the fact that this has all been done so many times before that I’ve lost count, and that it has been done a whole lot better.
In the short time that they retain TV service, they learn that what's happening locally is also occurring globally, so they're trapped and must brace for an onslaught of zombies or whatever they are, just like the characters in Romero's Night of the Living Dead.
A sort of combination of those ideas is present in But Freundlich’s adaptation of Susanne Bier’s (the woman behind Bird Box) After the Wedding, in which questions about philanthropy, good intentions, and romantic honesty are all under consideration.
After the Wedding is based on a 2006 Danish film of the same name (directed by Susanne Bier, who later became known for Netflix’s Bird Box ).
Academy Award-winning filmmaker Susanne Bier — may be known more for her work on the Netflix film that recently went viral — Bird Box than her Academy-Award winning Danish film In A Better World.
The film is adapted from the 2006 film by Susanne Bier ( Brothers ; In a Better World ; Bird Box ), and serves as a prime example of how remakes should be done in that it introduces something fresh and creative to the original’s story.
After the Wedding is a remake of Bird Box director Susanne Bier’s 2006 movie of the same name, and while I haven’t seen that version, this one is a muddled melodrama that never comes together in satisfying fashion.
The female characters are the least interesting thing in the original version of “After the Wedding,” an otherwise exceptional, Oscar-nominated Danish drama from “Bird Box” director Susanne Bier.
Movies like Indecent Proposal (1993), Ransom (1996), and Phone Booth (2002)?
The blend of Western costumes, laser-weapons, spacecraft, and bits of advanced tech is interesting (at its worst, reminiscent of “Timerider” or “Doomsday”), but the road-movie design, turbulent quest through an overgrown wilderness, and pursuit by grubby hunters quickly resemble “The Walking Dead” or “After Earth” or “Bird Box” or the many other postapocalyptic thrillers in which mankind is the ultimate enemy against the few stragglers who cling to moral decency amid the often vicious struggle simply to survive.
I was equally worried that it would be one of those downer-apocalypse movies like Children of Men or The Road (as opposed to exciting-apocalypse movies such as I Am Legend or World War Z ).
Bird Box is post-apocalyptic horror, with moments of intense violence and elements reminiscent of movies like Night of the Living Dead , A Quiet Place , and Children of Men .
The film, so effective in its first half and featuring a touching performance from "Patti Cake$'s" Danielle Macdonald, gradually unravels, one ludicrous cliche impossible to take seriously, a pulled punch of a "Sophie's Choice" dilemma a groaner, the ending both implausible and syrupy.
Movies like Indecent Proposal (1993), Ransom (1996), and Phone Booth (2002)?
The fate of the entire world similarly remains uncertain, although there is an echo of Fahrenheit 451 to the conclusion.
While 28 Days Later predated and essentially predicted the glut of apocalyptic TV shows and movies we’ve had in this century about what humans look like when society breaks down—think The Last of Us, Bird Box, and most especially The Walking Dead empire…
“A Quiet Place,” “Hush” or even “Wait Until Dark”).
Were it but the two of them, perhaps the tension would be less, but they have an 8-year-old son, Henry (Azhy Robertson, After the Wedding ), and given that Charlie wants to stay in New York while Nicole relocates to Los Angeles, the custody battle becomes ever more complicated.
Charlie (Driver) and Nicole (Johansson) are a married couple living in New York City with their young son Henry (Azhy Robertson, “After the Wedding”).