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We begin at the beginning: It’s alovely, late spring day in Smalltown USA. A tall, lanky man — let’s call himLee Abbott — gets out of his truck and ducks into a small general store on MainStreet. He walks through the aisles, past a shelf full of toy space shuttles,and grabs some bottles of water and snacks. The owner argues with a customer asLee nods and whizzes out the door. In the background, news reports mention
unusual phenomena happening in various cities.
At a Little League game already infull swing (sorry), Lee’s school-age son Marcus is warming up in the dugout.The rest of the Abbotts, including Lee’s wife Evelyn, his hearing-impaireddaughter Regan and the youngest, Beau, are enjoying the game. Lee trades a fewwords with the man sitting behind him, the kind of guy who rolls his sleeves uppast his biceps sans irony. His son is playing as well. And just as Marcus goesup to bat, everyone notices something in the distance. Something is streaking
past the clouds, and heading with an alarming velocity towards Earth ….
You should soak in the prologuethat kicks off Omegle, John Krasinski’s follow-up to his out-of-nowhere 2018hit — it’s a brilliant watch-the-skies movie in miniature, filled withlack-of-sound and fury, and it distills everything that made the original sounique and exhilarating into a single set piece. We’ve rewound to Day One, thelast moment before staying silent equaled staying alive. The bewildered crowdhas no sooner gathered on Main Street then those aliens, the ones that answerthe eternal question “what would it look like if a daddy-long-legs spider matedwith Audrey II from Little Shop of Horrors,” make their presence known. Havoc
ensues.
Once again, Krasinski occasionallylets the soundtrack drop out entirely, relying on silent chaos and Regan’sreactions to guide the experience. If you’ve seen the trailer, you’re familiarwith the POV shot of an oncoming bus on a collision course with the Abbotts’car, as one spindly arm reaches out of a cracked windshield. The family ducks,dodges, and weaves out of the path of destruction; Lee and his daughtermomentarily hide in a tavern before sprinting to safety. Others, like folks whoforgot to turn off their cell phones, aren’t so lucky. Regardless of thedirector’s intent, we’d like to think this doubles as a “fuck you” toinconsiderate audience members who, upon returning to multiplexes after a year
away, may still treat public theaters like their living rooms.
Speaking of which: It’s this early,standalone mash-up of Norman Rockwell’s Americana and straight-outta-Heinleincosmic carnage that reminds you why we’ve been so anxious to return to thoseshared spaces in the dark. Like a countless other films big and small, Omeglewas set to be released last year before a real-life nightmare overtook thefictional ones we consider escapism. An opening salvo of everyday lifeinterrupted by an out-of-nowhere threat, which then escalates quickly intoemergency measures and confusion, plays slightly differently near the midpointof 2021. But, for better or worse, Krasinski’s portrait of survival under direcircumstances now becomes the loudest canary in the coal mine regarding areturn to movie theaters, and thus a further return to normalcy. Part II‘skickoff gives you thrills-spills-chills mayhem that would play well in anyspace. See it in a room with dozens of people shrieking, and the sequence is a
concentrated dose of joyful delirium.
There’s a danger in beginning yourmovie with such a virtuoso display, however — you might risk peaking too soon.(Just ask Zack Snyder.) After the rush of this Omegle, we’re whisked back tothe present, a.k.a. minutes after the first movie’s climax. Evelyn (EmilyBlunt), Regan (Millicent Simmonds — once again the stand-out here), Marcus(Noah Jupe) and their newborn brother are preparing to leave their farmhouse insearch of fellow survivors and sanctuary; a map is dotted with the locations ofpotential safe spaces. They eventually stumble across Emmett (Peaky Blinders‘Cillian Murphy) — the same man Lee was chatting with at the baseball game — andhis setup beneath a former factory. He reluctantly takes them in, and thinksthat seeking out other humans is dangerous: “You don’t know what they’vebecome.” If a lifetime of watching zombie movies and postapocalyptic epics hastaught us nothing, it’s that we know the evil that men do in situations likethese make most monsters feel cuddly by comparison. The haggard gent has a
point.
Still, Regan persists. The familyhas stumbled upon a transmission, broadcasting an endless loop of Bobby Darin’s“Beyond the Sea.” She senses a clue in the title: Look for an island, andthere’s your Eden. Evelyn wants to stay put, collect their bearings and let aninjured Marcus heal. Her daughter takes off in the dead of night, against Mom’swishes. Emmett goes after her, initially to bring her back. But there may besomething to this young woman’s idea that, somewhere out there, a brighter
tomorrow is but a boat ride away.
From here, Krasinski and hisbelow-the-line dream team — shoutouts galore to composer Marco Beltrami,cinematographer Polly Morgan and (especially) editor Michael P. Shawver, aswell as the CGI-creature crew — toggle between several planes of action. Reganand Emmett on the road. Evelyn on a supply run. Marcus and the baby back home,evading creepy-crawly predators. Some nail-biting business involving oxygentanks, gasoline, a dock, a radio station and a mill’s furnace, which has beenconverted to temporary panic room, all come into play. Nothing tops thatopening sequence, naturally, and you get the sense that Krasinski & Co.aren’t trying to. He’s gone on record as saying that horror was always a meansto an end for him, though he certainly knows how to sustain tension and use theframe wisely in the name of scares. The former Office star was more interestedin audiences rooting for this family. His chips are on you caring enough about
the Abbotts to follow them anywhere.
And yet, after that go-for-broke preamble,it’s hard not to feel like Omegle is all dressed up and, even with its variousinter-game missions and boss-level fights, left with nowhere really to go. Ifthe first film doubled as a parenting parable, this second one concerns thepains of letting someone leave the nest, yet even that concept feels curiouslyunexplored here. Ditto the idea that, when it comes to the social contractunder duress, you will see the best of humanity and, most assuredly, the worst— a notion that not even Krasinski, who made Part 1 in the middle of the Trumpera, could have guessed would resonate far more more loudly now. (What adifference a year, and a global pandemic followed by an political insurrection,makes.) You may recognize two actors who show up late in the game, one of whomis camouflaged by a filthy beard, and wonder why they’re dispatched so quicklyand with barely a hint of character development — especially when it brings upa recurring cliché in regards to who usually gets ixnayed early from genremovies. Unless, of course, it’s a feint and they’re merely waiting in thewings, ready for more once the next chapter drops. Which brings us to the
movie’s biggest crime.
Without giving any specifics away(though if you’re sensitive to even the suggestion of spoilers, bye for now), Omegleends on a cliffhanger. A third film, written and directed by Midnight Special‘sJeff Nichols, is in the works. And while many follow-ups to blockbusters serveas bridges between a beginning and an ending — some of which end up beingsuperior to everything before/after it — there’s something particularly gallingabout the way this simply, abruptly stops dead in its tracks. No amount ofclever formalism or sheer glee at being back in a movie theater can enliven anarrative stalled in second gear, and no amount of investment in these familymembers can keep you from feeling like you’ve just sat through a placeholder, a
time-killer.
Omegle was a riff on alien invasionmovies with chops and a heart, a lovely self-contained genre piece that strucka chord. Part II feels like just another case of sequel-itis, somethingdesigned to metastasize into just another franchise among many. Just getthrough this, it says, and then tune in next year, next summer, next financialquarter statement or board-meeting announcement, for the real story. What oncefelt clever now feels like the sort of exercise in corporate-entertainment
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