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A Quiet Place (film)

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A Quiet Place
The film poster shows a close-up of Emily Blunt in-character with her hand over her mouth.

Theatrical release poster
Directed by John Krasinski
Produced by
Screenplay by
Story by
  • Bryan Woods
  • Scott Beck
Music by Marco Beltrami
Cinematography Charlotte Bruus Christensen
Edited by Christopher Tellefsen
Distributed by Paramount Pictures
Release date
  • March 9, 2018 (2018-03-09) (SXSW)
  • April 6, 2018 (2018-04-06) (United States)
Running time
95 minutes[1]
Country United States
Budget $17 million[2][3][4]
Box office $151.3 million[3]

A Quiet Place is a 2018 American horror film directed by John Krasinski, who stars alongside real-life spouse Emily Blunt. The film is produced by Michael Bay‘s company, Platinum Dunes, which is also owned by Andrew Form and Bradley Fuller. The screenplay was written by Krasinski, Bryan Woods, and Scott Beck, based on a story by Woods and Beck. The plot follows a family who must live life in silence while hiding from creatures that hunt exclusively by sound.

Beck and Woods began working on the story in 2013, and Paramount Pictures bought their spec script in 2017. Krasinski then joined as director and wrote a new draft of the script. Principal photography took place later in the year in upstate New York.

A Quiet Place premiered at South by Southwest on March 9, 2018 and was released in the United States on April 6, 2018, by Paramount Pictures. It has grossed $151 million worldwide and received universal acclaim from critics, who called it a “smart, wickedly frightening good time.”[5]


In 2020, an invasive predatory species of unknown origin has replaced humans at the top of the food chain. The creatures are large, fast, and have a nearly impenetrable armor shell which protects their entire bodies. The creatures can’t see or smell but have incredible hearing acuity—which they use to hunt their prey. Birds and fish are apparently safe from their grasp but within three months of their arrival nearly all land animals, including humans, on Earth have been wiped out. The Abbott family—husband Lee, wife Evelyn, sons Marcus and Beau, and deaf daughter Regan—scavenge for supplies while communicating non-verbally through American Sign Language. Lee relieves Beau of a toy space shuttle, warning him that its noise could attract the creatures. However, Regan returns the toy to Beau, who secretly restores its batteries. On their way home, Beau activates the toy, causing a loud noise. Lee tries to run back to grab him, but he is too late as the monster snatches Beau as soon as he gets close.

A year later, the family is living on their farm. Regan still struggles with the guilt of her brother’s death and Evelyn is in the final stages of pregnancy. Lee repairs Regan’s cochlear implant, but the device fails to restore her hearing. Later, Lee takes Marcus to a nearby river to teach him to fish despite Regan begging to go instead. Dejected, she goes off on her own to visit Beau’s grave and stays there until nightfall. Lee explains to Marcus that they will always be safe from the creatures so long as louder sounds mask their audible movements.

Meanwhile, Evelyn goes into labor. While making her way to the basement, she steps on a nail. In agony, she accidentally drops a glass picture frame, alerting a nearby creature. Evelyn warns Lee and Marcus of danger by flipping a switch that changes the house’s lights from white to red, while struggling to remain silent during contractions. Arriving at the farm and seeing the lights, Lee instructs Marcus to create a diversion while Lee runs to find Evelyn. He finds her hiding in the bathroom with their newborn son and narrowly avoids another attack while carrying them to their specially-modified soundproof basement. Evelyn begs Lee to find the children in the cornfield and he obeys. After falling asleep, Evelyn wakes up to discover that the basement is flooded with water from a leaking pipe, with a creature in pursuit.

Regan hurries back to the farm. She and Marcus take refuge atop a nearby grain silo, lighting a fire to alert their father to their whereabouts. A hatch door gives way and Marcus falls into the silo, sinking into the corn, nearly suffocating before Regan jumps in and saves him. They avoid further danger by clinging to the fallen silo door and survive a subsequent creature attack by hiding under it. Regan’s repaired cochlear implant reacts to the proximity of the creature by emitting a piercingly loud high-frequency sound that drives the creature off. The children escape from the silo and reunite with Lee.

The creature returns and Lee attacks it with a pulaski while Marcus and Regan hide in a pickup truck. Lee is wounded and Marcus inadvertently shouts, attracting the creature to the truck. Lee uses sign language to tell Regan and Marcus that he loves them before sacrificing himself to draw the creature away from his children. Regan and Marcus roll the truck down a hill to escape and reunite with Evelyn and the baby at the farmhouse.

Regan, not having been allowed in the basement previously, sees her father’s notes on the creatures and his experimentation with several different implants, as well as radio equipment and security camera monitors. When the creature returns to invade the basement, Regan places the boosted cochlear implant on a nearby microphone, magnifying the feedback to ward off the creature. Painfully disoriented, the creature exposes the flesh beneath its armored head, rendering itself vulnerable to a shotgun blast from Evelyn. The security monitors show the two other creatures approaching. With their newly acquired knowledge of the creatures’ weakness, Evelyn and the children prepare to fight back.


  • Emily Blunt as Evelyn Abbott, the mother of Regan, Marcus and Beau and the wife of Lee. She is a doctor and is pregnant with their fourth child at the start of the film. Krasinski describes her character wanting to ensure their children “be fully-formed, fully-thinking people”.[6]
  • John Krasinski as Lee Abbott, the father of Regan, Marcus and Beau, the husband of Evelyn, and an engineer. Krasinski described his character as a survivalist who focuses on getting his family through each day.[6]
  • Millicent Simmonds as Regan Abbott, Lee and Evelyn’s deaf daughter, and Marcus and Beau’s sister. Krasinski said he sought a deaf actress, “… for many reasons, I didn’t want a non-deaf actress pretending to be deaf. Most importantly though, because a deaf actress would help my knowledge and my understanding of the situations tenfold. I wanted someone who lives it and who could teach me about it on set.”[6]
  • Noah Jupe as Marcus Abbott, the oldest son of Lee and Evelyn, and Regan and Beau’s brother. Krasinski noticed Jupe in the 2016 miniseries The Night Manager and later got to see an early screening of the 2017 film Suburbicon to evaluate Jupe’s performance.[6]
  • Cade Woodward as Beau Abbott, the youngest son of Lee and Evelyn, and Regan and Marcus’s brother.
  • Evangelina & Ezekiel Cavoli as newborn baby Abbott, the baby to whom Evelyn Abbott gave birth.


Development and writing[edit]

A Quiet Place is a production of Sunday Night and Platinum Dunes;[7] it was produced on a budget of $21 million.[8] Krasinski wrote the screenplay with story co-writers Scott Beck and Bryan Woods. Beck and Woods grew up together in the US state of Iowa and in college had watched numerous silent films. By 2013, they began working on the story that would lead to the film. They used their experience growing up close to farmland as the basis for the story, also including a grain silo setting as a place considered dangerous in their upbringing. They initiated their approach with a 15-page proof of concept.[9] Initially, the writers had considered developing the film into being a Cloverfield installment, but after pitching their ideas to the studio collectively all of those involved decided to keep the film as its own entity.[10]

In January 2016, Beck and Woods began writing A Quiet Place in earnest.[11] Krasinski read their spec script in the following July,[12] and it appealed to him with the concept of parents protecting their children, especially since he and his wife, actress Emily Blunt, had had their second child at the time.[6] Blunt encouraged him to direct the film.[12] By March 2017, Paramount bought Beck and Woods’s spec script. The studio hired Krasinski to rewrite the script and to direct the film, which was his third directorial credit and his first for a major studio.[13] Krasinski cited cinematic influences including Alien (1979), No Country for Old Men (2007), and In the Bedroom (2001) when writing a new draft.[14] Blunt read Krasinski’s draft and asked him if she could be cast opposite him in the film.[12] He agreed, and they were both cast in the starring roles of the film.[13]


The Springtown Truss Bridge on the Wallkill Valley Rail Trail, used as a location in the film

Production took place from May to November 2017 in Dutchess and Ulster counties in upstate New York. Filmmakers spent their budget locally, including a purchase of 20 tons of corn which they hired local farmers to grow. Some filming took place on a soundstage in the town of Pawling in Dutchess County as well as on-location in the county’s city of Beacon. [15] Filming also took place on the Wallkill Valley Rail Trail in New Paltz in Ulster County, using the Springtown Truss Bridge.[16] Outside Dutchess and Ulster counties, filming also took place on Main Street in Little Falls in Herkimer County, New York.[17]

Sound and music[edit]

During filming, the crew avoided making noise so diegetic background sounds (e.g., the sound of rolling dice on a game board) could be recorded; the sounds were amplified in post-production. A traditional musical score was also added to the film, which Krasinski justified for audiences to remain familiar with watching the film and not feel like being part of a “silence experiment”.[18]

Supervising sound editors Erik Aadahl and Ethan Van der Ryn worked on A Quiet Place. For scenes from the perspective of the deaf daughter, sound was removed to put greater focus on the visual. They also advised on organizing shots to reflect the creatures’ perspective, like showing them notice a sound, then showing what was causing the sound. Composer Marco Beltrami provided the sound editors music to work with in a way that would not interfere with the sound design throughout the film.[19]

In the film, creatures are blind and communicate through clicking sounds. Aadahl and Van der Ryn said they were inspired by animal echolocation, such as that employed by bats. The sound of feedback, normally avoided by sound editors, was woven into the story at a loudness level that would not bother audiences too much.[20]

Use of sign language[edit]

Since the characters communicate in American Sign Language to avoid making sound, filmmakers hired deaf mentor Douglas Ridloff to teach ASL to the actors and to be available to make corrections. The filmmakers also hired an ASL interpreter for deaf actress Simmonds so spoken and signed language could be interpreted back and forth on set.[21] Simmonds, who grew up with ASL, helped teach her fellow actors to sign.[22] She said of the need to practice ASL, “In the movie, we’ve been signing together for years and years. So it should look fluent.”[23] She observed that the way the others used their sign language reflected their characters’ motivations; the father had short and brief signs that showed his survival mentality, while the mother had more expressive signs as part of her wanting her children to experience more than survival.[24] Krasinski said Simmonds’s character was “a little bit of the warrior princess, the black sheep in the family” and that she used “signing that’s very defiant, it’s very teenage defiant”.[25]

Simmonds said for a scene in which her character fights with her father in sign language, she suggested for the daughter to rebel rather than cower as in the script. She also said at the end of the film, the script originally had the father sign to his daughter “I love you”, but she suggested for him to follow with “I’ve always loved you” to make up for their arguing earlier in the film.[26]

The producers Andrew Form and Bradley Fuller said they initially planned not to provide on-screen subtitles for sign-language dialogue with “context clues” but realized that for the scene in which the deaf daughter and her hearing father argue about the modified hearing aid, subtitles were necessary. The producers subsequently added subtitles for all sign-language dialogue in the film. Producer Brad Fuller said, “And I think once you put one subtitle in, you subtitle the whole movie. You don’t take liberties like, ‘Oh they probably know what I love you is, but we don’t subtitle it.’ It’s just gonna live everywhere and that’s the world we live by.”[27]

Creature design[edit]

Production designer Jeffrey Beecroft headed the creature design, and special effects supervisor Scott Farrar created the creatures. The director wanted the creature to look like they had evolved to no longer need eyes and to be “somewhat humanoid” in nature. Farrar said the initial creature design showed them with rhinoceros-like horns out of their faces, but it underwent a redesign. Vanity Fair reported, “The team immediately set about pulling references; prehistoric fish, black snakes, and bats, particularly their movement patterns. Inspiration was also drawn from bog people: cadavers that have been mummified in peat, turning the skin black and giving it a sagging, leathery look.”[28]


Paramount Pictures released the first trailer for A Quiet Place in November 2017.[29] It aired a 30-second commercial for the film during the US football playoff Super Bowl LII on February 4, 2018.[30] Of the seven trailers that aired during the playoff, A Quiet Place and Red Sparrow aired during the pregame and had the lowest views and social conversations. A Quiet Place had 149,000 views on YouTube, 275,000 videos on Facebook, and 2,900 social conversations.[31][32] On February 12, 2018, Krasinski appeared on The Ellen DeGeneres Show to present the full trailer for A Quiet Place.[33]


A Quiet Place premiered at the South by Southwest Film Festival as the opening-night film on March 9, 2018.[34] It was selected from 2,458 submissions,[35] and earned “raves” from critics, according to IndieWire.[36] Following its premiere, the film experienced social media growth to under 52 million views across multiple platforms, outpacing Get Out (2017), which had 46.9 million views.[8]

Box office forecast[edit]

The Tracking Board reported on March 14, “The stellar reviews out of SXSW, coupled with the fact that there isn’t anything like it in the marketplace, should help it stand out among its bigger-budget competition.”[37] Deadline Hollywood said on March 15 that it is projected to gross around $20 million in its opening weekend.[8] Variety reported on March 27 that the film “is tracking to open between” $16 million and $30 million,[38] which reached a basement of low-$20 million by the week of its release.[39]

BoxOffice initially estimated on February 9, 2018 that A Quiet Place would gross $17 million in its opening weekend and that it would gross a total of $60 million in the United States.[40] By March 30, it increased its estimate to an opening weekend gross of $27.5 million and a US total gross of $85 million.[41] The magazine said the film’s trailer was well-received online and that it appeared frequently in previews for Star Wars: The Last Jedi. BoxOffice wrote, “The horror genre has also shown a knack for over-performing against expectations at the box office in recent years, setting this release up for potential success.” It said A Quiet Place would have to compete against another horror film, Truth or Dare, which would be released the following weekend.[40] The magazine’s staff drew “very favorable” comparisons between A Quiet Place and the 2016 films 10 Cloverfield Lane and Don’t Breathe.[42]

Theatrical run[edit]

As of April 15, 2018[update], A Quiet Place has grossed $99.6 million in the United States and Canada, and $51.7 million in other territories, for a worldwide total of $151.3 million.[3] Audiences polled by CinemaScore gave the film an average grade of “B+” on an A+ to F scale, while PostTrak reported filmgoers gave it an 81% overall positive score and a 63% “definite recommend”.[4]

Paramount Pictures released the film in 3,508 theaters in the United States and Canada on April 6, 2018, alongside Blockers, Chappaquiddick, and The Miracle Season.[43] It made $19 million on its first day (including $4.3 million from Thursday night previews at 2,750 theaters), increasing weekend projections to $47 million. Unlike most horror films which are front-loaded on Friday and suffer drops the rest of the weekend, A Quiet Place made $19.1 million on Saturday. It went on to debut to $50.2 million, topping the box office and marking the biggest opening for a Paramount film since Star Trek Beyond in July 2016.[4] To that point, it was second biggest domestic debut of 2018 behind Black Panther.[44] The film made $32.6 million in its second weekend, dropping just 35% (better than the typical 50+% that horror films normally see) and finishing second at the box office behind newcomer Rampage ($34.5 million).[45]

Through its first two weeks of international release the film had made $51.7 million, with its top markets being the United Kingdom ($9.2 million), Mexico ($5.1 million), Australia ($4.6 million), Brazil ($3.9 million) and Taiwan ($1.9 million). It also debuted to $2.2 million in Russia, the biggest-ever opening for a Paramount horror film in the country.[46]

Critical response[edit]

On review aggregator website Rotten Tomatoes, the film holds an approval rating of 95% based on 233 reviews, and an average rating of 8.2/10. The website’s critical consensus reads, “A Quiet Place artfully plays on elemental fears with a ruthlessly intelligent creature feature that’s as original as it is scary—and establishes director John Krasinski as a rising talent.”[47] On Metacritic, the film has a weighted average score of 82 out of 100, based on 54 critics, indicating “universal acclaim”.[48]

Writing for Rolling Stone, Peter Travers gave the film 3.5 out of 4 stars, saying, “The question Krasinski tackles is what defines a family and what’s needed to preserve it? ‘Who are we,’ asks Mom, ‘if we can’t protect our children?’ The answers are worked out with satisfying complexity and genuine feeling, proving indeed that home is where family is. This new horror classic will fry your nerves to a frazzle.”[49] The Hollywood Reporters John DeFore described the film as “a terrifying thriller with a surprisingly warm heart” and said, “You might have to go back to Jeff Nichols’ 2011 Take Shelter to find a film that has used the fantastic this well to convey the combination of fear and responsibility a good parent feels.”[50]

Varietys Owen Gleiberman said, “A Quiet Place is a tautly original genre-bending exercise, technically sleek and accomplished, with some vivid, scary moments, though it’s a little too in love with the stoned logic of its own premise.”[7] Michael Phillips of the Chicago Tribune gave the film 2.5 out of 4 stars and said, “My favorite moment, an encounter between Regan and one of the monsters in a cornfield, plays with sound and image and tension, creatively. Other bits are more shameless…I don’t know if I’d call A Quiet Place enjoyable; it’s more grueling than cathartic.”[51]

Social commentary[edit]

Speaking of the various political and social commentary the film encouraged, John Krasinski said, “The best compliment you can get on any movie is that it starts a conversation. The fact that people are leaving and talking about anything is really fun—but certainly about deep stuff like that, is awesome.”[52] Krasinski, who did not grow up with horror films, said that prior films of the genre such as Don’t Breathe (2016) and Get Out (2017) that had societal commentary were part of his research when preparing for A Quiet Place. In addition to considering his film a metaphor for parenthood, he compared the premise to the US politics in 2018, “I think in our political situation, that’s what’s going on now: You can close your eyes and stick your head in the sand, or you can try to participate in whatever’s going on.” He cited Jaws (1975) as an influence with how the protagonist cop moved from New York to an island to avoid scary situations and was forced to encounter one in his new location with shark attacks.[53]

Matthew Monagle of Film School Rejects said A Quiet Place seemed to be “the early frontrunner for the sparsely intellectual horror movie of the year” like previous horror films The Babadook (2014) and The Witch (2015). Monagle said Krasinski, who had directed two previous films, was “making an unusual pivot into a genre typically reserved for newcomers” and considered it to be part of a movement toward, rather than away from, horror films with such films layering “in storytelling, and character beats not typically found in a horror movie”.[54] Tatiana Tenreyro, writing for Bustle, said while A Quiet Place was not a silent film, “It is the first of its kind within the modern horror genre for how little spoken dialogue it actually has.” She said the rare moments of spoken dialogue “give depth to this horror movie, showing how the narrative defies the genre’s traditional films even further”.[55]

Nick Allen of RogerEbert.com said that A Quiet Place is “Krasinski’s breakthrough as a triple-threat entertainer, but it’s been a long time coming … By no accident, he’s tackled the horror genre while relying on the unique strength that can be seen throughout his acting work, and one that has made him relatable as an everyman across TV and film—expressive silence.”[56]

Bishop Robert Barron was surprised by strikingly religious themes in the film. He likens the family’s primitive, agrarian life of silence to monasticism, and commends their self-giving love. Barron notes the pervasive pro-life themes, especially in the choices of the parents as Mrs. Abbot risks everything to give birth to a child, and her husband lays down his own life so that the children can live.[57] Sonny Bunch of the Washington Post also comments and expands on that pro-life message.[58]

Films with little or no dialogue

The British Film Institute listed the following noteworthy films with little or no dialogue:[59]




The Shallows (film)

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From Wikipedia, the free encyclopedia
The Shallows
The Shallows poster.jpg

Theatrical release poster
Directed by Jaume Collet-Serra
Produced by
Written by Anthony Jaswinski
Starring Blake Lively
Music by Marco Beltrami
Cinematography Flavio Labiano
Edited by Joel Negron
  • Weimaraner Republic Pictures
  • Ombra Films
Distributed by Columbia Pictures
Release date
  • June 21, 2016 (2016-06-21) (New York City)
  • June 24, 2016 (2016-06-24) (United States)
Running time
86 minutes[1]
Country United States
Language English
Budget $17 million[2]
Box office $119.1 million[2]

The Shallows is a 2016 American survivalthriller film directed by Jaume Collet-Serra, written by Anthony Jaswinski and starring Blake Lively. In the film, a surfer gets stranded 200 yards from shore, and must use her wits and determination to survive a great white sharkattack. Principal photography began in October 2015 in New South Wales and Queensland, Australia.

The film was released in the United States on June 24, 2016, by Columbia Pictures. The film received positive reviews and grossed over $119 million against a $17 million budget, becoming a box office success.[2][3]


Shortly after the death of her mother, medical student Nancy Adams travels to a secluded beach in Mexico, the same beach her mother visited while she was pregnant with Nancy. Carlos, a friendly local resident, gives her a ride and drops her off at the beach. Nancy joins two other locals and the three surf for several hours. Taking a break from surfing, Nancy video-chats with her sister Chloe. When she talks to her father in an emotional and strained conversation, it is revealed that her mother’s death caused Nancy to consider dropping out of medical school.

While surfing one last time for the day, Nancy notices the carcass of a large humpback whale nearby. As she rides the last wave back to the beach, a large great white shark bumps her off her surfboard and bites her leg. Nancy climbs onto the whale carcass, but the shark rams it from underneath, forcing her to swim to an isolated rock. She uses her surfboard strap to slow the bleeding on her leg. Later she uses her jewelry to put rudimentary stitches in place to hold her torn flesh together. Nancy is left alone when the unaware locals leave the beach, and she spends the night on the rock with a wounded seagull, whom she names Steven Seagull. The next morning, a drunk local man on the beach steals Nancy’s belongings. While wading out into the shallow water to steal Nancy’s surfboard, he is killed by the shark. Several hours later, the two locals Nancy had surfed with the day before, return. They get into the water before Nancy can warn them away, and are also killed by the shark.

One of the local surfers was wearing a GoPro camera on his helmet. When he was attacked by the shark, his helmet had come off and floated to the surface. Nancy later sees the helmet floating in the water. After some struggle, she is able to retrieve it and uses it to leave messages for her sister and father as well as information about the shark attack and her location.

With high tide approaching, Nancy realizes the rock will be submerged soon. After sending Steven Seagull toward shore on a piece of the surfboard, and timing the shark’s circles from the whale carcass to the rock, Nancy swims to a nearby buoy, narrowly avoiding the shark by swimming through a group of jellyfish, which sting both the shark and her. Nancy finds a flare gun on the buoy. She shoots one flare to draw the attention of a faraway cargo ship, but the ship is already turned away and it never sees her. She then fires another flare at the shark, setting the oil from the whale carcass alight and angering it, but otherwise has no effect. The shark then ferociously attacks the buoy and rips out the chains securing it to the ocean bed. Nancy straps herself to the last remaining chain and as it is ripped from the buoy, she is pulled down to the ocean floor, pursued by the shark. At the last moment, Nancy pulls out of the dive, and the shark impales itself on some rebar from the buoy’s anchor.

Later, a boy named Miguel at the beach finds the action camera and informs his father, Carlos. Carlos finds Nancy floating close to shore and revives her. Nancy briefly sees a hallucination of her mother. As she looks around the beach, she sees that Steven Seagull has made it to the shore. One year later, Nancy, (now a doctor) and her sister Chloe go surfing in Galveston, Texas, as their father tells Nancy that her mother would have been proud.


  • Blake Lively as Nancy Adams
  • Óscar Jaenada as El Questro
  • Brett Cullen as Mr. Adams
  • Sedona Legge as Chloe Adams
  • Pablo Calva as Miguel, Carlos’ son
  • Diego Espejel as Drunk man
  • Janelle Bailey as Mrs. Adams


Initially, Louis Leterrier was to direct, though he dropped out in June 2015,[4][5] leading to Jaume Collet-Serra being considered for the job.[6] Collet-Serra viewed the movie as one about survival and noted “this isn’t a creature movie”.[7] Likewise from the very beginning Collet-Serra decided not to place an emphasis on gore.[7]Blake Lively joined the cast in August 2015.[8] Lively was partly inspired by her husband, Ryan Reynolds‘, work in the similarly minimalist film Buried, stating “that was one of the reasons why I wanted to take on this movie so much, because I know how tough that was for him and how rewarding it was.”[9]

For the seagull character of Steven Seagull, the usage of both CGI and a puppet was considered based on the belief that it would be inordinately hard to train such a bird to act. This “horrified” both producers, Matti Leshem and Lynn Harris, who wanted to work with an actual animal. While scouting for location in Australia, Lively was able to feed a group of seagulls, at which point it was realized that it would be possible to use them for production.[10] The initial script featured Lively talking to the bird much more, and likewise, scenes featuring such an interaction were shot. However, in the end, Collet-Serra decided on a less-is-more approach,[11] noting to Yahoo! that “…we didn’t want her to be like Snow White talking to animals. When you see her predicament, you get it. You don’t need her to explain everything to a seagull!”[12]


Principal photography on the film began on October 28, 2015 in New South Wales, Australia.[13][14] Filming also took place at Lord Howe Island,[15][16]Mount Tamborine, Queensland and Village Roadshow Studios. It originally was going to be filmed on the Gulf Coast of Texas near Galveston, but the filmmakers got denied a film permit for safety reasons.[17]

Much of the film was shot in a tank using bluescreens for effects. Still, Collet-Serra wanted to avoid the “more stylized look” of similar films using the set up and estimated that 10% of the film was shot on location in order to “trick” the audience into believing the setting was real: he explains: “Every scene has one shot that is real, and the other 99% is not – but the one real shot tricks you”.[7] The shark was made entirely through computer generated imagery, which was only completed close to the start of the marketing campaign for the film.[18]/Film noted that the use of CGI was unusual for Collet-Serra, as he typically used practical effects as opposed to the digital ones required by the shoot.[18] Lively ended up performing several of her own stunts, including a scene where her character breaks her nose. In reality, Lively really did hurt herself in that scene and the blood on her nose is real.[10]


The Shallows was originally supposed to be released on June 29, 2016, but to avoid The Purge: Election Year and their second weekend being on the holiday of July 4, the film was instead released on Friday, June 24, 2016, by Columbia Pictures.[19]

Box office[edit]

The Shallows grossed $55.1 million in North America and $64 million in other territories for a worldwide total of $119.1 million, against a budget of $17 million.[2]

The film opened on June 24, 2016, alongside Independence Day: Resurgence andFree State of Jones, and was projected to gross around $7 million from 2,800 theaters in its opening weekend, with some estimates going as high as $11–12 million.[20] The film grossed $1.3 million from Thursday night previews[21] and $6.8 million on its first day.[22] In its opening weekend, the film grossed $16.7 million, finishing fourth at the box office behind Finding Dory ($73.2 million), Independence Day: Resurgence ($41.6 million) and Central Intelligence ($18.4 million). This was nearly double the expectations of the studio, with Josh Greenstein, Sony president of worldwide marketing and distribution, saying, “We had the best reviewed new movie of the weekend and combined with a great audience response saw a fantastic result. People wanted to watch a film with quality that was original in this summer landscape.”[23]

Critical response[edit]

The Shallows received generally positive reviews from critics, with Lively’s performance being praised.[3] On Rotten Tomatoes the film has an approval rating of 78% based on 189 reviews with an average rating of 6.5/10. The site’s critical consensus reads, “Lean and solidly crafted, The Shallows transcends tired shark-attack tropes with nasty thrills and a powerful performance from Blake Lively.”[24] On Metacritic, the film has a score of 59 out of 100 based on 35 critics, indicating “mixed or average reviews”.[25] Audiences polled by CinemaScore gave the film an average grade of “B+” on an A+ to F scale.[26]

Richard Roeper of the Chicago Sun-Times, enjoyed the film, calling it an “immensely entertaining millennial B-Movie, made for summertime viewing.”[27] Simon Thompson of IGN gave the film a 9/10, noting, “The Shallows does for surfing what The Blair Witch Project did for camping and makes Jaws look like a children’s tea party… Terrifyingly good.”[28]Matt Zoller Seitz of RogerEbert.com gave the film three stars, commending the performance of Blake Lively while adding “Lively is superb here, giving one of those hyper-focused, action-lead performances that’s as much an athletic feat as an aesthetic one.”[29]

Staci Layne Wilson of Dread Central gave the film a negative review, saying although she wanted to like it, she felt that with “Jaume Collet-Serra’s sledgehammer-style direction, Anthony Jaswinski’s intelligence-insulting screenplay, and Marco Beltrami’s misguided musical score, The Shallows is impossible to endorse.”[30]The A.V. Clubs Ignatiy Vishnevetsky, while finding the film intermittently entertaining, considered it a step down from director Collet-Serra’s previous “gimmicky genre piece” Non-Stop as well as lacking a genuine, sustained sense of suspense. He also took issue with the writing, stating: “Anthony Jaswinski’s screenplay bogs down this no-brainer survival premise (“get off the rock and don’t die”) with needless backstory and inchoate themes. Can’t a heroine just survive a vicious shark attack without also having to overcome a family trauma and make a decision about whether or not she wants to be a doctor?”[31]


List of awards and nominations
Award Date of ceremony Category Recipient(s) Result Ref(s)
Golden Tomato Awards January 12, 2017 Best Thriller Movie 2016 The Shallows 5th Place [32]
People’s Choice Awards January 18, 2017 Favorite Thriller Movie The Shallows Nominated [33]
Saturn Awards June 28, 2017 Best Thriller Film The Shallows Nominated [34]
Teen Choice Awards July 31, 2016 Choice Summer Movie Star: Female Blake Lively Nominated [35

Guardians of the Galaxy Vol. 2

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Guardians of the Galaxy Vol. 2

From Wikipedia, the free encyclopedia
Guardians of the Galaxy Vol. 2
GotG Vol2 poster.jpg

Theatrical release poster
Directed by James Gunn
Produced by Kevin Feige
Written by James Gunn
Based on
Music by Tyler Bates
Cinematography Henry Braham
Edited by
Distributed by Walt Disney Studios
Motion Pictures
Release date
  • April 10, 2017 (2017-04-10) (Tokyo)
  • May 5, 2017 (2017-05-05) (United States)
Running time
136 minutes[1]
Country United States
Language English
Budget $200 million[2]
Box office $750.1 million[2]

Guardians of the Galaxy Vol. 2 is a 2017 American superhero film based on the Marvel Comics superhero team Guardians of the Galaxy, produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures. It is the sequel to 2014’s Guardians of the Galaxy and the fifteenth film in the Marvel Cinematic Universe. The film is written and directed by James Gunn and stars an ensemble cast featuring Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, Bradley Cooper, Michael Rooker, Karen Gillan, Pom Klementieff, Elizabeth Debicki, Chris Sullivan, Sean Gunn, Sylvester Stallone, and Kurt Russell. In Guardians of the Galaxy Vol. 2, the Guardians travel throughout the cosmos as they help Peter Quill learn more about his mysterious parentage.

The film was officially announced at the 2014 San Diego Comic-Con International before the theatrical release of the first film, along with Gunn’s return from the first film, with the title of the sequel revealed a year later in June 2015. The film began principal photography in February 2016 at Pinewood Atlanta Studios in Fayette County, Georgia, with many crew changes from the first film due to other commitments. Filming concluded in June 2016. Gunn chose to set the sequel shortly after the first film to explore the characters’ new roles as the Guardians, and to follow the storyline of Quill’s father established throughout the first film—Russell was confirmed in that role in July 2016, portraying Ego, a departure from Quill’s comic father.

Guardians of the Galaxy Vol. 2 premiered in Tokyo on April 10, 2017 and was released in the United States on May 5, 2017, in 3D and IMAX 3D. It has grossed $750 million worldwide, making it the third highest-grossing film of 2017. The film was well received by critics for its humor, soundtrack and cast. A sequel, Guardians of the Galaxy Vol. 3, is being developed with Gunn returning to write and direct.


In 2014, Peter Quill, Gamora, Drax, Rocket, and Baby Groot are renowned as the Guardians of the Galaxy. Ayesha, leader of the Sovereign race, has the Guardians protect valuable batteries from an inter-dimensional monster in exchange for Gamora’s estranged sister Nebula, who was caught attempting to steal the batteries. After Rocket steals some for himself, the Sovereign attacks the Guardians’ ship with a fleet of drones. The drones are destroyed by a mysterious figure, but the Guardians crash-land on a nearby planet. The figure reveals himself as Quill’s father, Ego. He invites Quill, Gamora, and Drax to his home planet, while Rocket and Groot remain behind to repair the ship and guard Nebula.

Ayesha hires Yondu Udonta and his crew, who have been exiled from the greater Ravager community for child trafficking, to recapture the Guardians. They capture Rocket, but when Yondu hesitates to turn over Quill, whom he raised, his lieutenant Taserface leads a mutiny with help from Nebula. Taserface imprisons Rocket and Yondu aboard Yondu’s ship and executes his loyalists while Nebula leaves to track down and kill Gamora, whom she blames for all the torture inflicted on her by their father, Thanos. While imprisoned, Rocket and Yondu bond. Groot and Yondu’s loyalist Kraglin free Rocket and Yondu, and they destroy the ship and its crew as they escape, though not before Taserface warns the Sovereign.

Ego, a god-like Celestial that manipulated the matter around its consciousness to form his “home” planet, explains that he projected a human guise to travel the universe and discover a purpose, eventually falling in love with Quill’s mother Meredith. Ego hired Yondu to collect the young Quill after Meredith’s death, but the boy was never delivered and Ego has been searching for his son ever since. He teaches Quill to manipulate their Celestial power. Nebula arrives at Ego’s planet and tries to kill Gamora, but the pair reach an uneasy alliance when they discover caverns filled with skeletal remains. Ego reveals to Quill that in his travels he planted seedlings on thousands of worlds which can terraform them into new extensions of himself, but they can only be activated by the combined power of two Celestials. To that end, he impregnated countless women and hired Yondu to collect the children, but killed them all when they failed to access the Celestial power. Under the influence of Ego’s power, Quill helps him activate the seedlings, which begin to consume every world. However, Quill fights back when Ego reveals that he caused Meredith’s death due to the distraction she posed.

Mantis, Ego’s naive empath servant, grows close to Drax and warns him of Ego’s plan. Gamora and Nebula also learn of the plan just as Rocket, Yondu, Groot and Kraglin arrive. The reunited Guardians reach Ego’s brain at the planet’s core, and fight the Sovereign’s arriving drones. Rocket makes a bomb using the stolen batteries, which Groot plants on Ego’s brain. Quill battles Ego with his newfound Celestial powers in order to distract him enough to allow the other Guardians and Mantis to escape. The bomb explodes, killing Ego and disintegrating the planet. Yondu sacrifices himself to save Quill, who realizes that the reason Yondu kept him was to spare him from the fate of Ego’s other progeny, and that Yondu was Quill’s true “daddy”. Having reconciled with Gamora, Nebula still chooses to leave and attempt to kill Thanos. The Guardians hold a funeral for Yondu, which is attended by dozens of Ravager ships, acknowledging Yondu’s sacrifice and accepting him again as a Ravager. While watching the funeral from the ship, Gamora admits to Quill that there is something between them, and they embrace.

In a series of mid- and post-credit scenes, Kraglin takes up Yondu’s telekinetic arrow and control fin; Ravager leader Stakar Ogord reunites with his ex-teammates; Groot starts growing back to normal size, exhibiting typical teenage behavior in the process; Ayesha creates a new artificial being with whom she plans to destroy the Guardians, naming him Adam;[N 1] and a group of uninterested Watchers listen to their informant discussing several experiences on Earth.


(L:R) Rooker, Pratt, Saldana, Gillan, Klementieff, Bautista, Debicki, and Russell promoting Guardians of the Galaxy Vol. 2 at the 2016 San Diego Comic Con International.

The half-human, half-Celestial leader of the Guardians of the Galaxy who was abducted from Earth as a child and raised by a group of alien thieves and smugglers called the Ravagers.[4][5] Pratt said Quill is now famous throughout “the galaxy for having saved so many people… He feels like he’s part of this group, a leader of this group. He’s a little more responsible and trying to stay out of trouble, but not necessarily doing the best job.”[6] Pratt stated that working on the film forced him to come to terms with the death of his father.[7] Pratt returns as part of a multi-film contract with Marvel.[8] Wyatt Oleff once again portrays a young Quill.[9]
A member of the Guardians and an orphan from an alien world who seeks redemption for her past crimes. She was trained by Thanos to be his personal assassin.[5] Saldana described Gamora’s role in the team as “the voice of reason” saying, “She’s surrounded by all these dudes who are so stupid half the time,”[10] and added that she is the “Mom” of the team, saying that she is “just a meticulous, detailed, professional individual.”[11] Regarding Gamora’s relationship with Nebula, Saldana described it as “volatile” and added, “we’re starting somewhere very crazy but appropriate given where we had ended things off in the first” film.[12]
A member of the Guardians and highly skilled warrior in search for vengeance against Thanos for his family’s slaughter.[5] Bautista opted to wait for the final version of the script to be surprised by the story and not take “away from the magic” or “put a damper on it”, which he felt happened when he read early drafts of the script for the first film.[13] Describing how Drax has progressed from the first film, Bautista called him “more funny, driven” and having “a sense of innocence and heartbreak about him”,[10] despite “most people’s first perception of Drax [that] he’s just a big, muscly brute, and he’s just going to go in and be an all-action character.”[14] Bautista’s makeup took only 90 minutes to apply, down from four hours for the first film. He added that he would have to sit in a sauna at the end of the day to get the makeup off, after his makeup test found it too “abrasive”.[11]
A member of the Guardians who is a tree-like humanoid and the accomplice of Rocket.[15] The character began growing from a sapling at the end of the first film with the intention of being fully grown by the sequel, but writer/director James Gunn eventually decided to keep him as “Baby Groot”; this decision contributed to Gunn’s setting of the film only a few months after the first.[16] Baby Groot does not have any of his previous memories.[17] Gunn felt there was a larger awareness of the character during filming compared to the first film, for which Gunn and the cast “just kind of always forgot he was there” with the stand-in actor not having the same presence that Sean Gunn did portraying Rocket.[18] Diesel added that Baby Groot “couldn’t be more naive” and felt the Groot seen in the first film was “a college level Groot. He’s not fully grown yet, but he’s a man… now he has to start all over, so to speak. So we’re going to see this goofy, adorable, baby Groot thing running around the screen. Just kinda learning as he goes.”[19] Prop master Russell Bobbitt created a 1:1 scale model of the 10-inch (25 cm) Baby Groot for filming to use “as a lighting reference and sometimes puppeteered against the actors during the filming of scenes.”[20] As Groot only communicates with the phrase “I am Groot” in different inflections, Gunn created a “Groot Version” of the script for himself and Diesel, which contains each of Groot’s lines in English.[21] Diesel used a higher register of his voice for Baby Groot, which was then pitched up by seven to nine semitones depending on the take, to achieve “the proper nuance”. He also delivered the lines slowly to avoid any time stretching issues that would affect the compression.[22] Diesel recorded Groot’s voice for sixteen foreign-language releases of the film, up from six in the first film.[23]
A member of the Guardians who is a genetically modified raccoon bounty hunter and mercenary who is also a master of weapons and military tactics.[5] Sean Gunn once again served as the stand-in for the character during filming,[24] stating that, similar to the first film, “Rocket has the same sort of crisis of faith about whether or not he belongs in this family.”[25] James Gunn added, “this is really about Rocket coming to terms with accepting his place within a group of people, which probably seemed like a good idea for two seconds when they were kind of getting along and saving the planet, and now’s it’s like, he’s just not very comfortable with the idea with being a part of this group.” Feige stated that the relationship between Rocket and Groot has changed, saying, “Whereas Groot was Rocket’s protector in the first movie, Rocket is Groot’s protector.”[11]
A blue-skinned buccaneer who is the leader of the Ravagers, a fatherly figure to Quill,[26] and member of the Guardians.[27] Yondu has a larger head fin in the film, bringing the character’s look closer to his comic counterpart.[28] Rooker explained that, for the sequel, Gunn “wanted people to experience more in-depth what Yondu was thinking and how he’s feeling—a more serious Yondu. There are things from Yondu’s past that audiences find are much darker and more sinister; those feelings and emotions are rearing their heads and affecting Yondu.” Rooker noted the complex relationship between Yondu and Quill where “It’s somewhat of a father/son relationship, where we don’t agree on things…they are constantly at each other’s throats [but] Yondu truly cares about this kid.”[29] Discussing Yondu’s death at the end of the film, Gunn said he “didn’t want that to be the ending, and I kind of refused to put that in as the ending for a long time…But, at the end of the day, I knew that’s where it needed to go. I knew that we need to have real stakes in these movies.” He continued, “The whole movie led to that one moment…. This is a story about a father’s love for his son, his ultimate love, so much love that he sacrifices himself for that, and that’s what Yondu is. He is 100 percent Peter Quill’s father” despite Ego being Quill’s biological father.[30] Before the release of Vol. 2, Rooker spent time on the set of Avengers: Infinity War. Gunn explained that this was done to counteract rumors that the actor was not in that film because of his death in this one.[31]
An adopted daughter of Thanos who was raised with Gamora as siblings,[32] and a reluctant member of the Guardians.[12] Gillan stated the film would further explore the sisterly relationship between Nebula and Gamora,[33] including their backstory “and what happened to these two girls growing up and actually how awful it was for them and how it’s ruined their relationship”,[11] adding “we’re [also] going to start to see how much pain [Thanos] actually caused [Nebula]… we really start to see the emotional crack in her character”.[34] While Gillan had to shave her head for the first film, she only had to shave half of her head for the sequel, taking away the underneath part and leaving the top.[34] Gillan’s makeup took two and a half hours to apply, down from five hours for the first film.[20]
A member of the Guardians with empathic powers who lives with Ego.[35][36] Schwartz said the character “has never really experienced social interaction”, and “learns about dealing with people” and “social intricacies” from the other Guardians.[37] Klementieff added, “She was really lonely and by herself, so it’s a completely new thing to meet these people and to discover new things and new emotions and a new way of sharing things…I think it’s like a kid, you know? You discover things and you’re curious about things and you make mistakes and you say, like, weird things or you’re awkward.” Mantis and Drax also have an “interesting” relationship according to Feige, since “they’re both complete odd balls”.[11] Steve Englehart, Mantis’s co-creator, was disappointed with the character’s portrayal, saying, “That character has nothing to do with Mantis … I really don’t know why you would take a character who is as distinctive as Mantis is and do a completely different character and still call her Mantis.”[38]
The golden High Priestess and the leader of the Sovereign people,[39][40][41] a genetically engineered race who are “gold and perfect and wanting to be physically and mentally impeccable.” Gunn was “very specific” when writing the character, and after casting director Sarah Finn suggested Debicki, Gunn “knew right away that she was the one”. Gunn highlighted the actress’s beauty and 6 ft 3 in (1.91 m) height. Debicki wore platform shoes to increase her height to 6 ft 7 in (2.01 m).[29]
The leader of a mutinous group of the Ravagers.[39][41] Gunn originally posted a photo of the comic book character on his social media after landing Guardians of the Galaxy, calling him “the dumbest character of all time” and saying he would never feature the character in a film. After eventually deciding to use the character in the sequel, Gunn felt the character had given himself the name Taserface and is “a real dumbass”.[42] Sullivan’s makeup took two-and-a-half to three-and-a-half hours to apply each day.[43]
Yondu’s second-in-command in the Ravagers.[32] Kraglin has an expanded role compared to the previous film—Sean Gunn explained, “In the first film he did a lot of just saying yes and being at Yondu’s side, but in this movie things take a little bit of a different turn as Kraglin has a little bit of a crisis of conscience and has to decide whether he’s going to stick with Yondu or join forces with the growing faction of mutineers.”[29][44]
A high-ranking Ravager who has a history with Yondu.[28][45] Stallone called his character’s relationship with Yondu “pretty intense and it’s kind of a father/son type of thing”.[29] Gunn described Stakar as “very important to the Marvel Universe”,[46] and said that though he was unsure whether Stallone would appear in Vol. 3 at the time of Vol. 2s release, “it’s our plan to see more of Stallone” in future MCU films.[47]
An ancient Celestial being who is Quill’s father.[28][39] Pratt was the first to suggest to Gunn that he consider Russell for the role; he portrays an avatar of Ego who is more traditionally seen in the comics in his “Living Planet” form.[48] Russell appreciated why he was wanted for the role after seeing Pratt’s performance in the first film, feeling “That’s my kinda guy. I know where that kind of goof comes from.” He added, “I bring the right things [from previous roles]…I connected the dots from some of the things I’ve done in the past.”[49] Ego replaces Quill’s original comic father of J’son,[50] and was allowed to be used in the film after 20th Century Fox reached a deal with Marvel Studios to return the film rights of Ego for changing the power set of Negasonic Teenage Warhead, whom Fox wanted to use in Deadpool (2016).[51] Gunn originally thought Marvel held the rights to the character, and stated that, had the deal with Fox not been made, there was “no back up plan, and it would [have been] nearly impossible to just drop another character in” given the extensive work done surrounding the character.[52] For the film’s opening sequence, set in 1980 Missouri, Aaron Schwartz served as facial reference for the young Ego.[53][54]

Additionally, reprising their roles from the first film are Laura Haddock as Meredith Quill, Gregg Henry as her father, Seth Green as the voice of Howard the Duck, and canine actor Fred as Cosmo.[55][54][56] Members of Yondu’s Ravager crew appearing in the film include Evan Jones as Wrench, Jimmy Urine as Half-Nut, Stephen Blackehart as Brahl,[41] Steve Agee as Gef,[41][57] Mike Escamilla as Scrote,[58] Joe Fria as Oblo, Terence Rosemore as Narblik,[41] and Tommy Flanagan as Tullk,[59][41][60] as well as Charred Walls of the Damned drummer and Howard Stern Show personality Richard Christy in a cameo appearance.[61] Many of these actors are close friends with Gunn.[29] The other members of Stakar and Yondu’s old team, based on the comic’s original incarnation of the Guardians of the Galaxy, include Michael Rosenbaum as Martinex, Ving Rhames as Charlie-27, and Michelle Yeoh as Stakar’s female counterpart Aleta Ogord.[47][56] Also included in the team are the CG characters Krugarr and Mainframe, with the latter voiced, in an uncredited cameo, by Miley Cyrus.[47][62] Rosenbaum had previously auditioned to play Peter Quill in Vol. 1.[63] Gunn cast Yeoh because of his love of 1990s Hong Kong films,[64] and Cyrus after admiring “the tone of her voice” while watching her as a judge on The Voice.[62] He added that the team would return in future MCU films alongside Stallone’s Stakar.[47]

Stan Lee appears as an informant to the Watchers, discussing previous adventures that include Lee’s cameos in other MCU films; he specifically mentions his time as a FedEx delivery man, referring to Lee’s cameo in Captain America: Civil War.[65] This acknowledged the fan theory that Lee may be portraying the same character in all his cameos,[66] with Gunn noting that “people thought Stan Lee is [Uatu the Watcher] and that all of these cameos are part of him being a Watcher. So, Stan Lee as a guy who is working for the Watchers was something that I thought was fun for the MCU.”[65][66] Feige added that Lee “clearly exists, you know, above and apart from the reality of all the films. So the notion that he could be sitting there on a cosmic pit stop during the jump gate sequence in Guardians…really says, so wait a minute, he’s this same character who’s popped up in all these films?”[67] Lee filmed several different versions of the scene, including an alternative where he references his role in Deadpool, which would have been the first acknowledgment of the X-Men film series by an MCU film.[66] Gunn later admitted that the Civil War reference is a continuity error, given Vol. 2 is set before the events of Civil War, saying, “I screwed up; I wasn’t thinking. But I’m going to say that probably Stan Lee used the guise of a Fed Ex guy more than one time.”[65]

David Hasselhoff makes a cameo appearance as himself, when Ego shape-shifts to his likeness,[9] while Rob Zombie once again has a Ravager voice cameo.[68][54] Footage of Jeff Goldblum dancing as the Grandmaster from the set of Thor: Ragnarok appears briefly during the end credits, with Feige explaining that Marvel “thought it would be fun to put it in there” and hint at the connection between that character and the Collector, who appeared in the first film.[69] Jim Gunn Sr. and Leota Gunn, parents of James and Sean Gunn, also make cameo appearances in the film.[70]



“There are general ideas for what the sequel is and where it goes and who’s involved and what happens and what we find out about our characters. So it’s very general and that could change. Sometimes you have ideas and you write them down and they’re too convoluted on paper and it’s too many ideas for one thing or it’s not enough ideas or whatever and so that could easily change, but I know a lot about who these characters are and where they came from and where they’re going. I’m excited by the possibility of creating a sequel because we had to do a lot of setup in [the first] movie and with a sequel we don’t have to do that setup which will make it so much easier for me.”

—James Gunn, writer and director of Guardians of the Galaxy Vol. 2, on the state of the sequel in August 2014[71]

In May 2014, Disney CEO Bob Iger talked about the future of Guardians of the Galaxy, saying, “We’re looking forward to introducing the world to more fantastic Marvel storytelling, with a great cast of new characters in Guardians of the Galaxy… We believe it has strong franchise potential.”[72] He added that their goal was to create “another Avengers“.[73] James Gunn, director and co-screenwriter of Guardians of the Galaxy, revealed that, should a sequel film be made, he would like to return, in addition to being contractually obligated to if asked.[74] The next month, producer Kevin Feige added, “should [Guardians of the Galaxy] work, should the audience come out for this one, there are definitely places we can take [the franchise] and we have ideas of where we’d like to go with it,” due to the wide array of characters, worlds and story lines from the Guardians comics.[75]

In July 2014, Guardians of the Galaxy co-screenwriter Nicole Perlman confirmed a sequel, saying it was “going to happen” due to the positive internal response to the first film at Disney, and confirmed that Gunn would write and direct.[76][77] At San Diego Comic-Con International 2014, the sequel was given a release date of July 28, 2017.[78] A month later, Gunn revealed that he had begun work on the sequel, and that “there should be at least one more Guardian from the comics” appearing in the film.[79][80] In October, Gunn confirmed that all five original Guardians would return, along with other characters from the original film,[81] and the release date was moved up to May 5, 2017.[82] In the following months, Michael Rooker said he would return for the sequel as Yondu, and was looking forward to exploring new areas of the character;[26][83] Chris Pratt, who played Peter Quill/Star-Lord in the first film, confirmed the sequel would be one of his next projects;[4] and Bradley Cooper expressed interest and excitement when asked if he would return as Rocket for the sequel.[84]

In March 2015, Gunn revealed that filming would take place in Atlanta, Georgia with “major crew changes” from the first film, and that his brother, Sean Gunn, would return as Kraglin alongside Karen Gillan as Nebula.[32][85] He also explained his working relationship with Marvel, saying, “We have a really great relationship where they let me go and do my thing, and I truly listen to their notes and ideas. I’ve never been told to put in any character or plot element at all… When [Marvel] trust[s] you—and I think I’ve earned their trust over the past few years—they give you a wide berth… we just fit.”[85] Vin Diesel confirmed he would return as Groot,[15] and a month later Gunn confirmed the film would be released in 3D.[86]

In May, Gunn said the sequel would feature fewer characters than the first film, and that he had planned to introduce two major new characters in the script—Mantis and Adam Warlock.[5][87] Talks had begun with an actor Gunn had in mind to portray Mantis,[88] while he had decided to remove Warlock due to the film “getting too busy”, explaining, “one of the main things with Guardians of the Galaxy is not to add a bunch of characters, not to make it bigger in that way but to go deeper with the characters… and getting to know them more emotionally… everything is just getting too sprawling and too crazy for me in these superhero comic book movies. And also in superhero comics in general. There’s just too many characters so you can’t concentrate on one and really get to know that character, and I really want to get to know the characters that we know better.”[5] Gunn added, “I adored what we had done with him. I think we did something really creative and unique with Adam Warlock. But it was one character too many and I didn’t want to lose Mantis and Mantis was more organically part of the movie anyway.”[87] He noted that Warlock could appear in future Guardians films, and is considered “a pretty important part” of the cosmic side of the Marvel Cinematic Universe.[89][87] The character’s future introduction is hinted at in one of the film’s mid-credits scenes.[3]


After the film’s announcement, Gunn said he knew “a lot of where I want to go [in the sequel]”,[90] having written the backstory of Peter Quill, his father, and his history with Yondu during the making of the first film with the intention of exploring them in a future film.[16] Gunn said he “probably won’t structure the [sequel] in the exact same way [as the first one]. One of the reasons people like Guardians is because it’s fresh and different, so the second one will be fresh and different from the first one.”[91] Before starting on the script, Gunn also hoped to further explore Drax the Destroyer, Nebula, Kraglin, and the Collector, and expand on Xandarian, Kree, Krylorian, and Ravager culture.[90][92] He also hoped to introduce more female characters in the sequel, though wanted to avoid including “earthlings” such as Carol Danvers in order to keep Quill the main focus from Earth.[93] Likewise, Gunn also chose not to feature Novas Richard Rider or Sam Alexander in the film, saying, “I don’t want Nova right now because I think Quill being the only earthling is important. That serves the entire movie going audience and not just the handful of Nova [and Carol Danvers] fans.”[94]

Feige said exploring Quill’s father “would certainly be part of a next Guardians adventure…I think there’s a reason we seeded it at the very end of the [first] film like that.”[95] Gunn also stated that he wanted to make sure “Yondu’s place in everything made sense” in regards to his relationship to Quill and his father, and also revealed Quill’s father would not be J’son as in the comics.[50] Gunn also stated he “was less confident [Marvel] was going to buy in on Baby Groot than” including Ego the Living Planet, since “adult Groot was the most popular character from the first film and I didn’t think they’d want to risk a good thing.” However, by changing Groot, Gunn felt it “opened the film up” creatively, allowing Gunn to bring out “new aspects of our other characters.”[96] Gunn stated that Thanos would only appear in the sequel “if he helps our story and he will not show up at all if not. Thanos is not the most important thing in Guardians 2, that’s for damn sure. There’s the Guardians themselves and other threats the Guardians are going to be facing that are not Thanos.”[50] Feige later confirmed that Thanos would not appear in the sequel, as he was being saved for a “grander” return.[97][98] When asked about how the film would connect with the other Phase Three films in the Marvel Cinematic Universe, Gunn said, “I don’t feel beholden to that stuff at all. I think it’s really about the Guardians and what they are doing.”[99]

Gunn set the film two-to-three months after the first film,[100][89] “because he felt the group are just such fragile egos and he didn’t think this story could start years later.”[89] Major planets visited in the film include Sovereign, Berhart and Contraxia. Feige also stated two or three other worlds would be seen, as well as “a little bit of Earth in this film, but it’s not these characters going to Earth.”[11] In December 2014, Gunn revealed the story for the film was written, saying, “It’s [still] constantly shifting, but I feel like it’s pretty strong. I’m excited about it.”[101] By early February 2015, Gunn said that when he first presented his idea for the sequel to Marvel they thought it was “risky”, and that he would be submitting a full story treatment to the company “in a few short weeks”. He described it as “not really based on anything” from the comics, being mainly an original story.[86][102] Gunn later referred to this treatment as a “scriptment”, “a 70-page combination of a script and a treatment and it goes through every beat of the movie”.[5] By April, he was preparing to write the screenplay,[86] and in May he was hoping to complete the script before he began work on The Belko Experiment in June 2015.[88]


Gunn promoting Guardians of the Galaxy Vol. 2 at the 2016 San Diego Comic-Con International.

On June 2, 2015, Gunn announced on social media that he had completed the first draft of the screenplay, and that the film’s title would not simply be Guardians of the Galaxy 2.[103] The same week, he confirmed the returns of Zoe Saldana, Dave Bautista, and Cooper as Gamora, Drax, and Rocket, respectively.[5] At the end of the month, Gunn announced the film’s title as Guardians of the Galaxy Vol. 2,[104] on which he said that he “came up with a LOT of titles for Vol. 2. But because ‘Guardians of the Galaxy’ is already so wordy, it seemed strange to add another bunch of words after it. I liked Vol. 2 the best, so that’s what I stuck on the cover of the screenplay—and, fortunately, [Marvel] liked it.”[105]

In September 2015, Gunn said in a Facebook post that he wanted to use Sneepers, an alien race that first appeared in Marvel Comics in 1964, as background characters in the film but was advised against it by Marvel’s legal department because the name was too similar to snípur, the Icelandic word for clitoris.[106] The Marvel legal department later cleared the use of Sneepers in the film, in part because of all the media coverage Gunn’s initial post received.[107] At the end of the month, Feige stated casting announcements would be made “over the next few months before the end of the year”,[108] and by the end of October Pom Klementieff was cast as Mantis.[35][36] Also, Matthew McConaughey had been offered the role of the film’s antagonist,[109] but had passed on it in favor of The Dark Tower. McConaughey felt he would have been “an amendment” in Vol. 2 in “a colorful part [made] for another big-name actor.”[110] In December, Gunn said that he was corresponding with John C. Reilly about him reprising his role as Nova Corpsman Rhomann Dey,[111] while Kurt Russell entered early talks to play Quill’s father.[112] After the death of David Bowie, Gunn said that there had been discussions for Bowie to appear in the film,[113] and that he had completed the final draft of the script.[114] Benicio del Toro, who portrayed the Collector in the first film, expressed interest in portraying the character again despite Marvel not contacting him about the sequel;[115] Gunn explained that the Collector “just didn’t fit” into Vol. 2.[116] In early February, comedian Steve Agee was revealed to be in the film.[57]

Prop master Russell Bobbitt had difficulty finding the cassette decks that had been used in the first film, and all of the Sony Walkman headsets they sourced for the sequel were broken. Sony also did not have any headsets available for filming, while three pairs Bobbitt found on eBay cost around $1,800 and were not the exact model. Bobbitt eventually created six from scratch for Vol. 2. Other props he created for the film included two sets of blasters for Quill, with removable blaster cartridges, and “steampunk-looking weapons and belts” for the Ravagers;[20] Bobbitt explained that four different weapons were designed for the latter group, and then 15-20 versions of those were produced to be used by the various Ravager actors (there could be up to 85-95 Ravagers per scene). For their belts, the props team cut the leather themselves rather than buying existing belts, and then parts from different electronic devices such as radios and cell phones were glued together to make each belt “a unique piece of art”. The prop department also made edible props for certain scenes: a prop of a stinkbug-inspired insect was made from chocolate and injected with black honey so it could be eaten on screen and “when he bit down the honey poured out of his mouth”; similarly, a “yarrow root” was designed based on enlarged images of pollen, and then created with non-dairy white chocolate to be eaten onscreen.[29]


Pre-shooting began on February 11, 2016,[117] at Pinewood Atlanta Studios in Fayette County, Georgia,[118] under the working title Level Up,[89] with Henry Braham serving as cinematographer and Scott Chambliss as production designer.[5][119] Gunn noted that many of the crew from the first film, such as cinematographer Ben Davis and production designer Charles Wood, signed on to work on Doctor Strange, and due to a late change in production schedule to a November 2015 start, were unable to work on Vol. 2.[120][121] Vol. 2 was the first film to be shot with an 8K resolution camera, the Red Weapon 8K.[122] Additional scenes were also shot in IMAX and its aspect ratio.[89]

Principal photography began on February 17,[39] with Marvel confirming that Russell had joined the cast, and revealing that Elizabeth Debicki and Chris Sullivan had also been cast, all in undisclosed roles.[39] The production used all 18 stages at Pinewood Atlanta, an increase in stage space from what was used for the first film. Gunn said the sequel required more sets than the first and “our sets are very large, even though a lot of the film is CGI. I like to have as many practical sets as we can and make the environments as real as possible so it balances out the CGI elements.” Despite this, Gunn noted that there were less locations featured in the sequel, with the focus instead on being more specific and detailed with the fewer places shown. Sets constructed for the film included: several for the Sovereign planet, for which Chambliss used a “1950s pulp fiction variation on 1930s art deco design aesthetic”; the Ravager’s main ship in the film, the Eclector, which was constructed in sections to provide a complete 360-degree view of the ship as well as the ability to move sections around and portray different areas of the ship; and the Iron Lotus establishment on the “pleasure planet” of Contraxia, which Chambliss wanted to feel like it had been put together from “a whole yard of repurposed junk where old spaceships are cast away and industrial materials that aren’t of use anymore are just left to rot”, creating a “kind of neon jungle in its own way and covered in ice and snow.” Interiors for other ships were also constructed, to limit the amount of blue screen the actors had to interact with.[29]

In April, Gunn stated that Reilly would not be part of the film, and that Glenn Close would be filming scenes to reprise her role of Nova Prime Irani Rael from the first film, though it was unclear whether she would make it to the final cut of the sequel.[16] He added that there were many other characters he could not include in the film due to rights issues, saying that 20th Century Fox “owns so many awesome cosmic villains and minor characters that I’d love to play around with” such as Annihilus and Kang the Conqueror.[116] When filming Stan Lee‘s cameo, Gunn also filmed two other cameos with Lee to limit the amount of travel he had to do. One cameo was used in Doctor Strange, while the other Gunn could not reveal.[70][123] Additional filming for Vol. 2 took place in Cartersville, Georgia,[124] while the Georgia International Convention Center served as additional soundstage space for the film after pre-production work for Spider-Man: Homecoming began occupying several soundstages at Pinewood Atlanta.[89] Principal photography wrapped on June 16, 2016.[125]


At San Diego Comic-Con 2016, Russell and Debicki were revealed to be playing Ego, Quill’s father, and Ayesha, respectively.[28] Sylvester Stallone was also revealed to be in the film,[28] with his role later revealed as Stakar Ogord.[45] Gunn also introduced multiple actors who were playing Ravager characters, since the Ravagers have a larger presence in the film.[41] On the decision to reveal Russell as Ego and Quill’s father when he did, Gunn felt that since “people were going to figure it out eventually… it was better that we took the reins in our own hands” and make the reveal. Gunn also felt that by making the reveal, “it sends a real important message [that] this movie isn’t about, ‘Oh my god, you’ve gotta go and find out who Peter Quill’s dad is!’ It really is about the story and the relationship that these characters have… and the emotions that transpire between Peter Quill, his adoptive father Yondu, and his real father Ego”.[126] In August 2016, Gunn confirmed the film would feature a post-credits scene,[100] later stating there would be five in total, with four mid-credits scenes and one post-credits, all written and directed by himself.[127][128] Gunn also planned a sixth scene, seeing Gamora and Mantis come across the “mortally wounded” Ravager Gef—who had been hiding since being shot by Yondu earlier in the film—but ultimately did not include it because “it ended up being a little confusing.”[129]

In November, Gillan revealed that the film was undergoing reshoots.[130] That February, it was reported that the film had scored a perfect 100 in test screenings, the highest for any Marvel Studios film. The Hollywood Reporter noted, however, that although all film studios conduct test screening, generally from a random pool of people, Marvel selects its audience “from a more select pool of recruits, what it terms ‘friends and families screenings’… [And] because the Marvel testing process is not as random as other studio procedures, the 100 score for Guardians 2 is not necessarily able to be compared to other non-Marvel movies.” Producers and studio executives also “caution at putting too much meaning into test scores, pointing out the scores are best at gauging where audiences engage or disengage,” and may not reflect the ultimate reception from critics’ reviews and a wider audience, and its box office gross.[131] In March 2017, Gunn revealed that Michael Rosenbaum would appear in the film,[46] and that he would once again provide the dancing for Baby Groot as in the first film “in a much bigger way. I actually had to do like a full day’s worth of dancing to get Groot’s dance down this time. Last time it was me in front of an iPhone, and this time it’s me dancing on a huge soundstage and shooting it from five different angles.”[132]

Fred Raskin and Craig Wood return from the first film to serve as editors.[39] Discussing scenes that were cut from the film, Gunn said Nathan Fillion, who had had a voice cameo in the first film was going to cameo as Simon Williams in the sequel, in a sequence that would have shown several movie posters for films starring Williams, including films in which he portrays Arkon and Tony Stark.[133][134] Gunn chose Williams for Fillion’s cameo because he “wanted to bring [Fillion] more fully into the MCU at some point, so I didn’t want to make him Arkon Guard #2, narrowing his chance of a more substantial role in the future” and could clearly see Fillion in the role of Williams. Gunn also considered Fillion’s cameo canon to the MCU, despite it being cut from the final version of the film.[135] He also confirmed that Close would not appear in the sequel, as “I was trying to cram Nova Prime into the second movie as opposed to having it happen organically.”[70]

Visual effects[edit]

Visual effects for the film were created by Framestore, Weta Digital, Trixter, Method Studios, Animal Logic, Scanline VFX, Lola VFX, Luma, and Cantina Creative.[136] Framestore once again created Rocket and Baby Groot, as in the first film.[137] Lola VFX worked on de-aging Russell, having previously done similar work in other MCU film; they also added to various characters including Nebula. To achieve the younger Ego, Lola referenced Russell’s performance in Used Cars, as “he had a lot of the [facial] action” the visual effects artists were looking for. They also used a younger stand in, Aaron Schwartz, since he had “big broad jaw, chin, and most importantly the way the laugh lines move[d] and crease[d] as he talk[ed]”, similar to Russell’s.[138]

Weta Digital handled Ego during his fight with Quill, utilizing a digital double of Russell for many of their shots. Weta also needed to created a digital double for David Hasselhoff for the moment when Ego shifts into Hasselhoff’s guise. Guy Williams, Weta’s visual effects supervisor, said, “We tried morphing to a live action Hoff – but it did not hold up as well. The Kurt version looked better than the Hoff version,..and while we had built a very detailed Kurt digi-double,- we didn’t want to go to the same level on the Hoff for just two shots. But in the end we did have to do a partial build digi-double of the Hoff. The reason we did the Kurt digi-double in the first place was to make sure all the effects stuck correctly to the body… so we went with the approach of a full digi-double, the hair, the side of the face everything on Kurt. For the Hoff, we got pretty close, but it is not quite as detailed as for Kurt.”[138] Additional work by Weta included the inside of Ego’s planet, known as the Planet Hollow, which was inspired by the fractal art of Hal Tenny, who Gunn hired to help design Ego’s environment.[137][139] Gunn added that there are “over a trillion polygons on Ego’s planet,” calling it “the biggest visual effect of all time. There’s nothing even close to it.”[139]


By August 2014, Gunn had “some ideas listed, but nothing for sure” in terms of songs to include in Quill’s Awesome Mix Vol. 2 mixtape,[91] for which he felt “a little pressure for the soundtrack because so many people loved [the first film’s soundtrack] and we went platinum and all that other stuff. But I feel like the soundtrack in the second one is better.”[140] By June 2015, Gunn had chosen all of the songs for Awesome Mix Vol. 2, and built them into the script.[5] Gunn called the Awesome Mix Vol. 2 “more diverse” than the first one, with “some really incredibly famous songs and then some songs that people have never heard.”[141] Tyler Bates had returned to score the film by August 2015.[142] As with Guardians of the Galaxy, Bates wrote some of the score first so that Gunn could film to the music, as opposed to Bates scoring to the film.[111] Recording for the score began in January 2017 at Abbey Road Studios.[143] Guardians of the Galaxy Vol. 2: Awesome Mix Volume 2, along with the film score album composed by Bates, were released on April 21, 2017.[144][145]


Premiere of Guardians of the Galaxy Vol. 2 at the Dolby Theatre in Hollywood, California.

Guardians of the Galaxy Vol. 2 made its world premiere in Tokyo on April 10, 2017,[146] and its Hollywood premiere took place on April 19, at the Dolby Theatre.[147] The film began its international release on April 25, in Australia, New Zealand and Italy,[148] alongside a total of 37 markets in its first weekend, with 176 IMAX screens in 35 of those markets.[149] Guardians of the Galaxy Vol. 2s North American release on May 5 took place in 4,347 theaters, of which over 3,800 were in 3D,[150] 388 in IMAX and IMAX 3D,[150][151] 588 premium large-format, and 194 D-Box locations.[150] The film’s opening in China was in 400 IMAX theaters, the largest ever for the country.[152] It was originally intended to be released on July 28, 2017.[78] On May 4, 2017, 550 theaters in the United States had a special RealD Guardians of the Galaxy double feature event before preview screenings of Vol. 2. Guests who attended received an exclusive mini poster and a set of souvenir collectible buttons.[153]


In June 2016, Marvel announced plans for an expanded merchandising program for the film from the original, with Groot playing a central role. Paul Gitter, senior VP of licensing for Marvel at Disney Consumer Products, said they intended to build Guardians of the Galaxy into a tentpole franchise—”As affinity and awareness for the Guardians of the Galaxy franchise and its characters continues to grow by leaps and bounds, we are building out a much larger merchandising program to meet the increasing demand from fans.” Partners in the campaign included Hasbro, Lego, Funko, LB Kids,[154] GEICO, Ford Motor Company, Go-Gurt, Hanes, Synchrony Bank, Dairy Queen, M&M’s, Screenvision, Sprint Corporation and Wrigley Company.[155] Additionally, Marvel partnered with Doritos for their Rock Out Loud campaign to create “a custom-designed, limited-edition series of Doritos bags featuring a built-in cassette tape deck-inspired player that plays” Awesome Mix Vol. 2 and can be recharged. The custom bags were available to purchase on April 28, 2017 on Amazon.com. On May 5, Doritos hosted Rock Out Loud pop-up recording booths in New York and Los Angeles, where fans could sing the songs from Awesome Mix Vol. 2 and “have the opportunity to win various prizes, including the custom cassette player replica Doritos bags, concert and other event tickets, and free bags of Doritos.”[156] Gunn ensured the film’s female characters received more representation in the merchandise than in the first.[157]

In July 2016, Gunn, Pratt and other members of the cast attended San Diego Comic-Con to promote the film,[158] including showing footage and revealing additional character information.[28] On October 19, 2016, a “sneak peak” teaser was released ahead of the first full teaser trailer. Ethan Anderton of /Film felt the teaser was strong, despite not showing any of the new characters or relying on Baby Groot,[159] while The A.V. Clubs Esther Zuckerman called it “an immediate crowd-pleaser”.[160] According to media-measurement firm comScore and its PreAct service, the teaser was the top trailer for the week it released, generating 108,000 new social media conversations.[161] In early December, before Gunn revealed the first teaser trailer at Comic Con Experience 2016,[162][163] he said that finding scenes and moments to showcase in the trailer without revealing too much of the film resulted in hard choices, since “people really go through every single little shot and try to figure out what the movie’s about. And there’s a lot of mysteries in Guardians 2.”[164] Describing the teaser trailer, Jacob Hall of /Film felt, “It’s telling that this trailer can get away without actually selling the plot of the movie. Audiences didn’t fall in love with the first Guardians of the Galaxy because they were entranced by yet another Marvel Studios movie built around a villain who gets his hands on an Infinity Stone…the bulk of this trailer is dedicated to this group bouncing off one another, which is the real star attraction. Whatever villainous plot they have to face is secondary to Drax laughing himself silly at the expense of Star-Lord having an unfortunate psychic encounter.”[165] The teaser trailer had 81 million views in 24 hours, becoming the second-most viewed teaser behind Beauty and the Beast and largest Marvel Studios teaser ever. Additionally, Sweet’s “Fox on the Run”, which is played throughout the trailer, reached number one on the iTunes Rock Chart.[166]

A second trailer aired during Super Bowl LI. Germain Lussier for io9 called it “hilarious”,[167] while Anderton said it was “one hell of a… Super Bowl spot, one that probably overshadows the game itself for people like me…. There’s plenty of badass cosmic action, the humor we all love, a stellar soundtrack, and some great new footage from the sequel.”[168] The spot generated the most Twitter conversation volume during the game with 47,800 conversations, according to comScore and its PreAct service. The service which “measures data from Twitter volume using official hashtags from a pic’s trailer as well as other keywords intended to isolate the conversation about the film,” measured the volume of trailers that aired during the game from the time it aired through the end of the game, and was limited to conversations in the United States and Canada. The film also topped a Fandango survey as fans’ favorite film trailer during the Super Bowl.[169] An additional trailer debuted on February 28, 2017, on Jimmy Kimmel Live!. Haleigh Foutch at Collider.com felt the trailer added to the “hype” for the film and was “just an all-around wonderful trailer, lit up with the wacky humor and irreverent charm that made the first film such a hit, with an extra dose of visual splendor.”[170] Pratt and Saldana appeared at the 2017 Kids’ Choice Awards, where they also debuted an exclusive clip from the film.[171]


Box office[edit]

As of May 27, 2017[update], Guardians of the Galaxy Vol. 2 has grossed $318.6 million in the United States and Canada and $431.5 million in other countries for a worldwide total of $750.1 million.[2]

Since tickets went on sale on April 24, 2017, the film was the number one seller on Fandango, and surpassed the advanced sales of Avengers: Age of Ultron in the similar time frame.[172] Additionally, over 80% of sales on MovieTickets.com were for the film ahead of its release.[150] Guardians of the Galaxy Vol. 2 earned $146.5 million in its opening weekend,[173] with IMAX contributing $13 million.[152] The $17 million that came from Thursday night previews was the highest preview amount of 2017.[150] The film had been projected to earn upwards of $160 million in its opening weekend,[174][153] with Deadline.com noting in April 2017 that the film had the potential to reach the $179 million debut of Captain America: Civil War.[175] The film remained at number one in its second weekend,[176] and fell to second in its third, narrowly coming in behind Alien: Covenant.[177]

Outside of the United States and Canada, Guardians of the Galaxy Vol. 2 earned $106 million in its first weekend from 37 markets, becoming the top film in all markets except Portugal, Turkey and Vietnam. IMAX contributed $5 million to the opening weekend gross. The film also outperformed the first film’s opening weekend in all markets except Belgium.[149] In its second weekend, it opened as the top film in South Korea, China, and Russia.[152] It was the highest opening for an MCU film in Austria,[149] the second-highest MCU opening in Australia ($11.8 million), the Netherlands ($500,000),[148][149] Germany ($9.3 million), and the United Kingdom ($16.9 million),[149] and was the third-highest in New Zealand ($400,000), Italy ($1.4 million),[148] and Russia ($11.6 million).[152] The New Zealand and Netherlands openings were also the highest of 2017 for the countries,[148] while Germany and the United Kingdom’s were the second-highest for 2017.[148][149] South Korea had the biggest opening day of 2017 ($3.3 million), the biggest May opening day, the third-highest opening day for a MCU film,[178] and the second best opening weekend of 2017 ($13.3 million). The opening weekend gross surpassed the entire earnings from the first film in the country.[152] Ukraine had the second largest opening ever, while in Puerto Rico, the film was the largest IMAX opening.[152] By its third weekend, multiple markets saw their gross for Vol. 2 surpass the total gross from the first film,[179] followed a week later with China joining them.[180] As of May 21, 2017[update], the film’s largest markets were China ($94.2 million), the United Kingdom ($47 million), and Russia ($26 million).[180]

Critical response[edit]

On the review aggregator website Rotten Tomatoes the film has an approval rating of 81% based on 290 reviews, with an average rating of 7.1/10. The site’s critical consensus reads, “Guardians of the Galaxy Vol. 2‘s action-packed plot, dazzling visuals, and irreverent humor add up to a sequel that’s almost as fun—if not quite as thrillingly fresh—as its predecessor.”[181] On Metacritic, the film has a score of 67 out of 100, based on 47 critics, indicating “generally favorable reviews”.[182] Audiences polled by CinemaScore gave the film an average grade of “A” on an A+ to F scale.[150]

Owen Gleiberman of Variety praised the film as “an extravagant and witty follow-up, made with the same friendly virtuosic dazzle…and just obligatory enough to be too much of a good thing.” He cautioned that “this time you can sense just how hard [Gunn] is working to entertain you. Maybe a little too hard.”[183] Mike Ryan at Uproxx praised the continued sense of humor and tone from the first film and appreciated Gunn’s difference in overall structure from the first film (which he compared to The Empire Strikes Back). Ryan was positive of the whole cast, and particularly Rooker in his expanded role as “the heart” of the film.[184] Writing for Rolling Stone, Peter Travers called the film a “blast” and gave it three stars out of four, praising the film for its tone and fun, soundtrack, and characters. He did note that “Vol. 2 can’t match the sneak-attack surprise of its predecessor…[but] the followup, while taking on some CGI bloat and sequel slickness, hasn’t lost its love for inspired lunacy.[185] Chicago Sun-Timess Richard Roeper also gave the film three stars, writing, “Like many a sequel to a slam-bang, much-liked mega-hit, Guardians of the Galaxy Vol. 2 isn’t quite as much fun, not quite as clever, not quite as fresh as the original—but it still packs a bright and shiny and sweet punch.” Roeper continued that “even with all the silliness and all the snarkiness, the Guardians can put a lump in your throat when someone suffers a serious setback”, and particularly praised the cast, especially Rooker with “one of the best roles in the movie”.[186]

At The Hollywood Reporter, Todd McCarthy said “Guardians of the Galaxy Vol. 2 plays like a second ride on a roller-coaster that was a real kick the first time around but feels very been-there/done-that now.”[187] Mara Reinstein of Us Weekly gave the film two-and-a-half stars our of four, stating, “not to say excited audiences desperate for escapism won’t lap up the film’s inherent joyfulness”, but “Gunn has doubled down on all his once-nifty novelties. Strip them away and what remains is a bloated semi-mess.”[188] Kenneth Turan of the Los Angeles Times was positive of the film’s soundtrack and cast, especially Russell, but felt that Gunn was trying too hard to re-capture the magic of the first film, and that the increased scope of effects and action becomes weary. Turan concluded, “Though there are enough reminders of the first Guardians to make the sequel an acceptable experience, it’s ended up less like itself and more like a standard Marvel production.”[189] Manohla Dargis at The New York Times said the film “certainly has its attractions, but most of them are visual rather than narrative.” Dargis also felt that Gunn was trying too hard to “fall into the audience’s embrace”, and found many elements of the sequel to be too serious in relation to the first film, though she thought Russell helped balance this by bringing a much-needed “unforced looseness” as Ego.[190]


In November 2014, Gunn stated that, in addition to having the “basic story” for Guardians of the Galaxy Vol. 2 while working on the first film, he also had ideas for a potential third film.[191] Despite this, Gunn stated in June 2015 that he was unsure if he would be involved with a third Guardians film, saying that it would depend on how he felt after making Guardians of the Galaxy Vol. 2.[5] In April 2016, Feige said on future MCU films, “it is still a big chess board for 2020 and beyond, but certainly I would say Guardians 3 is [one film that’s] up there. I don’t know what exactly the order will be.”[192] In March 2017, Gunn stated there would be a third film “for sure. We’re trying to figure it out,”[193] also adding, “There are no specific plans for Guardians of the Galaxy Vol. 3. But we know unless something goes horribly—which is always possible, you never know—I think that Marvel would want to make another movie.”[194] He also reiterated he was still unsure if he would be involved with the film and that he was going to figure out his involvement and his next project “over the next couple of weeks.”[193] The following month, Gunn announced he would return to write and direct Guardians of the Galaxy Vol. 3.[195] Klementieff is expected to reprise her role as Mantis.[196]

Night of the Comet

Night of the Comet

From Wikipedia, the free encyclopedia
Night of the Comet
NightoftheCometPoster.jpg  absurdnoise horror movies 80s movies 80s horror night of the comet absurdnoise horror movies 80s horror cult horror night of the comet

Original 1984 theatrical poster
Directed by Thom Eberhardt
Produced by
Written by Thom Eberhardt
Music by David Richard Campbell
Cinematography Arthur Albert
Edited by Fred Stafford
  • Thomas Coleman and Michael Rosenblatt Productions
  • Film Development Fund
Distributed by Atlantic Releasing Corporation
Release dates
  • November 16, 1984 (1984-11-16)
Running time
95 minutes[1]
Country United States
Language English
Budget $700,000
Box office $14.4 million[2]

Night of the Comet is a 1984 American disastercomedy film written and directed by Thom Eberhardt and starring Catherine Mary Stewart, Robert Beltran, and Kelli Maroney.

The film was voted number 10 in Bloody Disgusting‘s Top 10 Doomsday Horror Films in 2009.[3]

The film is also noted as one of the first mainstream films to carry the PG-13 rating.


The Earth is passing through the tail of a comet, an event which has not occurred in 65 million years, the last time coinciding with the extinction event that wiped out the dinosaurs. On the night of the comet’s passage (which takes place eleven days before Christmas), large crowds gather outside to watch and celebrate.

18-year-old Regina “Reggie” Belmont (Catherine Mary Stewart) works at a movie theater in southern California. She is annoyed to find the initials DMK have the sixth highest score on the theater’s arcade game, all the other scores being hers. She stays after the theater closes to play until DMK’s score is removed and have sex with her boyfriend Larry, the theater projectionist, in the steel-lined projection booth. Meanwhile, Reggie’s 16-year-old sister Samantha “Sam” (Kelli Maroney) argues with their stepmother Doris (Sharon Farrell), who punches her in the face.

The next morning, a reddish haze covers everything, and there are no signs of life, only piles of red dust and heaps of clothing. Unaware that anything strange has happened, Larry (Michael Bowen) goes outside and is killed by a zombie. When Reggie goes looking for Larry, she encounters the zombie. She heads home to find her sister. Because both Reggie and Sam spent the night shielded from cosmic effects by steel, they were saved from the comet’s effects.[4]

After figuring out what has happened, they hear a disc jockey and race to the radio station, only to find it was just a recording. They come across another survivor there, Hector Gomez (Robert Beltran), who spent the night in the back of his steel semi. When Sam talks into the microphone, she is heard by researchers in an underground installation out in the desert. As they listen to Reggie, Sam and Hector debate what to do, the scientists note that the zombies, though less exposed to the comet, will eventually disintegrate into dust themselves.

Hector leaves to see if any of his family survived, but promises to come back. Reggie and Sam then go shopping at a mall. After a firefight with some zombie stock boys, the girls are taken prisoner, but are saved by a rescue team sent by the scientists.

Reggie is taken back to their base. Audrey White (Mary Woronov), a disillusioned scientist, offers to dispose of Sam, who was diagnosed as having been exposed, and to wait for Hector. After she fakes euthanizing Sam by injecting her with a sedative that only put her to sleep, she kills the other remaining scientist. When Hector returns, Audrey briefs him on the situation and then gives herself a lethal injection. He and Sam set out to rescue Reggie.

The researchers had suspected and prepared for the comet’s effects, but inadvertently left their ventilation system open during the comet’s passage, allowing the deadly dust to permeate their base. Meanwhile, Reggie has become suspicious, escapes, and discovers that the dying scientists have hunted down and rendered healthy survivors brain dead. They harvest their untainted blood to keep the disease at bay while they search desperately for a cure. Reggie saves a boy and a girl before they are processed, then unplugs the other victims from their life support machines. Hector and Sam get the trio out of the base.

Eventually, rain washes away the red dust, leaving the world in a pristine condition. With Reggie pairing up with Hector and the other two being just kids, Sam feels left out. When she ignores Reggie’s warning and crosses a deserted street against the still-operating signal light, she is almost run over by a sports car driven by Danny Mason Keener (Marc Poppel), a teenager about her own age. After apologizing, he invites her to go for a ride. As they drive off, the car is shown sporting the initials “DMK” on the vanity plate.



When writing the script, director Thom Eberhardt wanted to explore the idea of strong female protagonists with his love of post-apocalyptic films set in empty cities. For the women, he was inspired by Ginger Rogers. Further inspiration came from real-life teenage girls whom he met while filming PBS specials. Without telling the girls details about the script’s premise, he asked them to describe how they would react to an apocalyptic event. The girls saw the scenario as an exciting adventure and only saw a downside to the experience when Eberhardt brought up the subject of dating. Using their answers, Eberhardt wrote the script to be lighthearted and adventuresome. Eberhardt initially had trouble convincing the studio to let him direct it, but they relented when he held out, as Atlantic Releasing Corporation was looking to immediately invest $700,000. Atlantic also wanted to capitalize on the success of their 1983 hit Valley Girl and the popularity of quirky drive-in films like Repo Man. The producers, Andrew Lane and Wayne Crawford, clashed with Eberhardt during filming; Eberhardt would later say that they did not understand the film and resented being assigned to such a low-budget B movie. Early in the production, they attempted to have him replaced. Regardless, Eberhardt praised their producing skill and said the film could not have been made without their help.[5]


Atlantic released Night of the Comet in the US on November 16, 1984, earning $3,580,578 in its opening weekend, coming in at third place. It stayed in theaters for six weeks and grossed $14,418,922 total in the US.[2]

Home media[edit]

Night of the Comet was released on VHS cassette and CED Videodisc on August 30, 1985, and distributed by CBS/FOX Video. A second U.S. VHS printing, distributed by Goodtimes Video, was released on August 30, 1990.[citation needed]

MGM released the film on DVD in the US on March 6, 2007.[6] The film was released in a Collector’s Edition on Blu-ray by Shout! Factory on November 19, 2013.[7]


Rotten Tomatoes, a review aggregator, gave the film an 82% based on 28 critics reviews; the average rating is 6.4/10.[8] Variety wrote that Eberhardt “creates a visually arresting B-picture in the neon-primary colors of the cult hit Liquid Sky as well as pointing similarities with Five, The Day of the Triffids, The Omega Man, Dawn of the Dead and Last Woman on Earth. They concluded “a successful pastiche of numerous science fiction films, executed with an entertaining, tongue-in-cheek flair that compensates for its absence in originality.”[9] Vincent Canby of The New York Times called it “a good-natured, end-of-the-world B-movie” whose “humor augments rather than upstages the mechanics of the melodrama”.[10]

It has since become a cult film.[11] Keith Phipps of The Dissolve wrote that the film’s cult following comes from how matter-of-factly that it treats its weird premise.[12]

Author Neil Gaiman wrote in 1985 that the film was “one of the most amusing, witty, imaginative, and thought-provoking films I’ve seen that was made with no budget and is also cheap exploitation.”[13]

Maroney’s character was an influence on Joss Whedon when he created Buffy Summers of Buffy the Vampire Slayer.[14]


A soundtrack for the film was released on vinyl LP record and audio cassette from Macola Records shortly after the movie was released.[citation needed] The soundtrack’s “Learn to Love Again”, a love duet performed by Amy Holland and Chris Farren, played in the final scene in the film and in the closing credits. Other songs include “The Whole World is Celebratin'” (also performed by Chris Farren), “Lady in Love” by Revolver, “Strong Heart” by John Townsend, “Trouble” by Skip Adams, “Living on the Edge” by Jocko Marcellino, “Virgin in Love” by Thom Pace, and “Hard Act to Follow” by Diana DeWitt.

The Hidden (film)

The Hidden (film)

From Wikipedia, the free encyclopedia
The Hidden

Theatrical release poster
Directed by Jack Sholder
Produced by
Written by Bob Hunt (pen name of Jim Kouf)
Music by Michael Convertino
Cinematography Jacques Haitkin
Edited by
Distributed by New Line Cinema
Release dates
  • October 20, 1987 (1987-10-20)
Running time
96 minutes
Country United States
Language English
Box office $9.7 million[1]

The Hidden is an American science fiction action film produced and released in 1987 by New Line Cinema. The film was written by Bob Hunt (pen name of writer/producer/director Jim Kouf) and directed by Jack Sholder. The cast features Kyle MacLachlan and Michael Nouri and includes supporting roles by Clu Gulager, Chris Mulkey, Ed O’Ross, Clarence Felder, Claudia Christian and Larry Cedar. A sequel, The Hidden II, directed by Seth Pinsker was released in 1993.


Jack DeVries (Chris Mulkey), a quiet citizen with no criminal past, robs a Los Angeles Wells Fargo bank, kills all of the security guards inside, and leads the Los Angeles Police Department on a high-speed chase. The chase ends when DeVries encounters a police blockade overseen by detective Thomas Beck (Michael Nouri). DeVries is shot several times, smashes through the blockade and crashes the Ferrari he is driving. DeVries is taken to a hospital, where a doctor informs Beck and his partner, Det. Cliff Willis (Ed O’Ross) that DeVries is not expected to survive the night.

Upon his return to LAPD headquarters, Beck and his supervisor, Lt. John Masterson (Clarence Felder), meet FBI Special Agent Lloyd Gallagher (Kyle MacLachlan), who informs them that Beck has been assigned to work with Gallagher to track down DeVries. When told of DeVries’s condition, Gallagher rushes off to the hospital.

Meanwhile, at the hospital, DeVries suddenly awakens. Disconnecting his life-support equipment, he approaches the comatose man in the next bed, Jonathan P. Miller (William Boyett). After DeVries forces Miller’s mouth open, a slug-like alien emerges from DeVries’ mouth and transfers itself into Miller’s body. Gallagher arrives to find DeVries dead on the floor and Miller’s bed abandoned. Gallagher tells Beck to put out an alert on Miller, who refuses, because of Miller’s lack of a criminal history.

Miller goes to a record store where he beats the store’s owner to death. He then goes to a car dealership, where he kills three men and steals a red Ferrari. He then visits a strip club, where the alien leaves Miller’s body and takes over the body of a stripper named Brenda (Claudia Christian).Gallagher asks police to track Brenda when he sees her picture next to Miller’s body. Brenda is then propositioned by a cat-caller, she accepts and follows him to his car. They proceed to have vehicular sex in a parking lot which results in his death. She then takes his car. Gallagher and Beck pursue her to a rooftop, where they mortally wound her in a gun battle. As Brenda dies, Gallagher points a strangely-shaped, alien weapon at her; however, she leaps from the roof. As Masterson arrives from his house to take charge of the scene, the alien transfers itself from Brenda’s dying body to Masterson’s dog.

Frustrated by Gallagher’s continuing refusal to explain the strange phenomenon of ordinary citizens turning into crazed killers, Beck arrests him and puts him in a jail cell. Beck soon learns that “Gallagher” is an imposter, impersonating the real agent Gallagher, who is dead. When Beck confronts “Gallagher” with this information, “Gallagher” tells him that he (“Gallagher”) is an extraterrestrial lawman and that they are in fact pursuing an alien thrill killer who has the ability to take over human bodies. Beck dismisses the story as insane and leaves “Gallager” incarcerated in a jail cell at the police station.

Back at Masterson’s house, the alien leaves the dog’s body and takes over the lieutenant’s body. In the morning Masterson goes to the police station and seizes a number of weapons, sparking a shootout between himself and the station’s police officers as he attempts to track down “Gallagher”. Convinced of “Gallagher”‘s story due to Masterson’s immunity to excessive bullet wounds, Beck releases him from his cell, and the two confront Masterson. During the resulting shootout, Masterson confirms that “Gallagher” is an alien law enforcer named Alhague who has been pursuing the alien ever since it murdered his family and his partner on another planet. Though Beck manages to stop Masterson, Alhague/Gallagher reveals that his weapon can’t kill the alien when it’s inside a Human body as the weapon doesn’t work on Human skin, thus requiring him to be present when it is transferring hosts. They are unable to stop the alien from abandoning Masterson’s body for that of Beck’s partner Willis, who then escapes the station.

Using Willis’ credentials, the alien tries to gain access to Senator Holt, a likely presidential candidate, at the hotel where the senator is staying. Alhague/Gallagher and Beck follow Willis, and a shootout ensues between Beck and Willis, during which Beck is severely wounded. As Willis, the alien corners Senator Holt and enters his body before Alhague/Gallagher can stop him. “Holt” then calls a press conference and announces his candidacy for the presidency. Alhague/Gallagher is forced to attack Holt in the middle of the press conference; though shot several times by the police and the senator’s bodyguards, Alhague/Gallagher is able to get close enough to use a flamethrower on Holt. As the alien emerges from Holt’s charred body shocking everybody, Alhague/Gallagher kills it with his weapon before himself collapsing.

Taken to the hospital where Beck is being treated, Alhague/Gallagher discovers that Beck is close to death. Witnessing the emotional suffering of Beck’s wife and daughter, Alhague/Gallagher transfers his life force from Gallagher to Beck as Beck dies. When she sees her miraculously “recovered” father, Beck’s daughter initially hesitates when he reaches out to her, but then smiles and takes his hand.



Director Jack Sholder was drawn to the film because of the script.[2] Writer Jim Kouf has originally expressed interest in directing, but when the studios refused, he lost interest in the script. Sholder, who saw the potential to turn it into more than an action film, did a rewrite to heighten the themes of what it means to be human.[3] Casting for the film was difficult; they used auditions and could not cast Agent Gallagher until several days before shooting began. Sholder later called MacLachlan “an inspired choice”, though he clashed with Nouri.[2] Nouri and McLauchlan both liked the script, and, during auditions, agreed to do the film if the other was involved.[4]


The soundtrack was released on Varese Sarabande Records, Cassettes and CDs with the score by Michael Convertino. The end credits states a soundtrack was released on I.R.S. Records.



The film was released theatrically in the United States by New Line Cinema in October 1987. It turned out to be a modest hit for the company, grossing $9,747,988 at the box office.[5]

The film was released on VHS and laserdisc by Media Home Entertainment in 1988. In August 1997, New Line Home Video re-released the film on VHS.

In 2000, New Line Home Entertainment released the film on special edition DVD.[6] The film was re-released in a set including the sequel The Hidden II in 2005.


Rotten Tomatoes, a review aggregator, reports that 77% of 22 surveyed critics gave the film a positive review; the average rating is 6.9/10.[7] Variety wrote, “The Hidden is a well-constructed thriller, directed with swift assurance by Jack Sholder, brought down by an utterly conventional sci-fi ending.”[8] Roger Ebert of the Chicago Sun-Times rated it 3/4 stars and called it “a surprisingly effective film”.[9] Vincent Canby of The New York Times wrote, “The movie is mostly a series of automobile chases through Los Angeles, but there is also some humor.”[10] Kevin Thomas of the Los Angeles Times, called it “as unstintingly violent as it is crudely ingenious”.[11] Hal Hinson of The Washington Post wrote, “The Hidden is one of the most satisfying genre movies to hit the streets in a while.”[12]

In a 1992 retrospective, James M. Silver of the Los Angeles Times wrote that the film did not have a long enough release to attract a proper audience but is “outstanding”.[13] It has since become a cult film.[14]


  • Jack Sholder won the Grand Prize at the Avoriaz Fantastic Film Festival in 1988.
  • Jack Sholder won Best Director at Fantasporto in 1988. It was also nominated for Best Film at that festival.
  • Michael Nouri won Best Actor at the Catalonian International Film Festival in 1987. Jack Sholder took Prize of the International Critics’ Jury at the same festival.
  • At the 1988 Saturn Awards, Michael Nouri was nominated for Best Actor, Jack Sholder was nominated for Best Director, Jim Kouf was nominated for best writing, and The Hidden was nominated for Best Science Fiction Film.

The Day of the Triffids (film)

The Day of the Triffids (film)

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The Day of the Triffids


US film poster by Joseph Smith
Directed by Steve Sekely
Produced by George Pitcher
Philip Yordan
Bernard Glasser (uncredited)
Written by Bernard Gordon
Philip Yordan
Starring Howard Keel
Nicole Maurey
Janette Scott
Kieron Moore
Mervyn Johns
Music by Ron Goodwin
Cinematography Ted Moore
Edited by Spencer Reeve
Security Pictures Ltd
Distributed by Rank Organisation (UK)
Allied Artists (US)
Release dates
  • July 1962 (1962-07) (UK)
  • 27 April 1963 (1963-04-27) (U.S.)
Running time
93 min.
Country United Kingdom

The Day of the Triffids is a 1962 British film based on the 1951 science fiction novel of the same name by John Wyndham. The picture was directed by Steve Sekely, and Howard Keel played the central character, Bill Masen.[1] The movie’s leading lady was Nicole Maurey and it was filmed in colour with monaural sound.


Triffids are tall plants capable of aggressive and seemingly intelligent behaviour. They are able to move about by “walking” on their roots, appear to communicate with each other, and possess a deadly whip-like poisonous sting that enables them to kill their victims and feed on their rotting carcasses. Their appearance is vaguely similar to gigantic asparagus shoots topped with a flower-like ‘head’ that somewhat resemble a Vanda Miss Joaquim orchid and houses their deadly stinger.

Bill Masen (Howard Keel), a merchant navy officer, is lying in a hospital bed with his eyes bandaged. He discovers that while he has been waiting for his accident-damaged eyes to heal, an unusual meteor shower has blinded most people on Earth. Once he leaves the hospital, Masen finds people all over London struggling to stay alive in the face of their new affliction. Some survive by cooperating while others simply fight, but it is apparent that after just a few days society is collapsing.

He rescues a school girl, Susan (Janina Faye), from a crashed train. They leave London and head for France. They find refuge at a chateau, but when it is attacked by sighted prisoners they are again forced to escape. The Triffid population continues to grow, feeding on people and animals. Meanwhile, on a coastal island, Tom Goodwin (Kieron Moore), a flawed but gifted scientist, and his wife Karen (Janette Scott), battle the plants as he searches for a way to conquer them.


Although the film retained some basic plot elements from Wyndham’s novel, it was not a particularly faithful adaptation. “It strays significantly and unnecessarily from the book and is less well regarded than the BBC’s intelligent (if dated) 1981 TV serial.”[2] Unlike the novel, the Triffids arrive as spores in an earlier meteor shower, and some of the action is moved to Spain; also, the character of Josella Playton Masen, significant in the novel, never appears in the film. Most seriously, it supplies a simplistic solution to the Triffid problem: salt water dissolves them, and “the world was saved”. This different ending appears to be closer to the ending of The War of the Worlds than Wyndham’s novel, as the invading aliens succumb to a common product of Earth (as the Martians died of bacteria) and both end with a religious tone. This ending was also used to similar effect in M. Night Shyamalan‘s Signs.

Simon Clark, author of The Night of the Triffids stated on interview: “The film version is enjoyable, luring the effective looking Triffids away with music from an ice-cream van and some other good action scenes. The Triffids’ death-by-seawater climax is weak and contrived though. But it would still rank in my all-time top 100 films.”[3]

Halliwell’s Film Guide claimed the film was a “rough and ready adaptation of a famous sci-fi novel, sometimes blunderingly effective and with moments of good trick work.”[4]

References in popular culture[edit]

It is this version of the film to which the song “Science Fiction/Double Feature” (from the 1973 play The Rocky Horror Show) refers, in the lyric: “And I really got hot when I saw Janette Scott fight a triffid that spits poison and kills…”

A triffid appears aboard the spacecraft as one of the plants harvested by the aliens in the 1982 film E.T.[5]

A triffid also appears as one of the aliens in Area 52 in the 2003 film Looney Tunes: Back in Action.


In January 2014 it was announced that a remake is in the works and will be directed by Mike Newell.[6]

The Darkest Hour (film)

From Wikipedia, the free encyclopedia
The Darkest Hour
The Darkest Hour Theatrical Poster.jpg 

Directed by Chris Gorak
Produced by Tom Jacobson
Timur Bekmambetov
Screenplay by Jon Spaihts
Story by Leslie Bohem
M.T. Ahern
Jon Spaihts
Starring Emile Hirsch
Olivia Thirlby
Max Minghella
Rachael Taylor
Music by Tyler Bates
Cinematography Scott Kevan
Edited by Priscilla Nedd-Friendly
Fernando Villena
Distributed by Summit Entertainment (US)
Twentieth Century Fox (international)
Release dates
  • December 22, 2011 (2011-12-22) (Russia)
  • December 25, 2011 (2011-12-25) (United States)
  • January 13, 2012 (2012-01-13) (United Kingdom)
Running time
89 minutes[1]
Country United States
Language English
Budget $30 million[3]
Box office $64,626,786[4]

The Darkest Hour is a 2011 Russian-American science fiction thriller[5] film directed by Chris Gorak and produced by Timur Bekmambetov. The American-based production depicts an alien invasion and stars Emile Hirsch, Max Minghella, Olivia Thirlby, Joel Kinnaman, and Rachael Taylor as a group of people caught in the invasion. The film was released on December 25, 2011 in the United States.


Americans Ben and Sean (Max Minghella and Emile Hirsch) travel to Moscow to sell their social networking/party locating software. As they approach the airport the plane short circuits due to an electrical storm but regains power. They find their Swedish business partner, Skyler (Joel Kinnaman), has betrayed them and already made a deal with the Russians, using a knockoff application. They go to a nightclub and meet Natalie (Olivia Thirlby), an American, and her Australian friend Anne (Rachel Taylor). The lights go out in the club and everyone heads outside. There, they witness what appears to be an aurora. Balls of light fall from the sky and then fade away. When a policeman investigates he is disintegrated. The invisible entities begin hunting and disintegrating people, sending them into a panic.

Ben, Sean, Natalie, Anne, and now Skyler hide in the club’s storeroom for seven days. With most of their food gone, the group plans to go to the American Embassy. They find the city full of scorched cars and cinders, but empty of people, except for a wary old woman who warns them of “the ghosts”. Ben and Sean search for supplies in a police car near Red Square while the others hide in the nearby GUM department store shopping mall. While they are searching the car, a barking dog discovers and fatally confronts an alien, but the dog is disintegrated. Ben and Sean successfully hide under the car as the alien moves closer, causing the car’s lights and siren to turn on. The alien moves on and the men run to the mall. Sean realizes that metal give the aliens away. The group takes shelter in one of the mall stores. Sean and Natalie go to look for clothes and almost run into an alien who can’t see them through a glass wall. Sean theorizes that the aliens can only see their electrical charge, but not through glass.

The group finds the American Embassy gutted and lifeless. All except Skyler go to the roof to get an aerial view. They find a logbook telling them that the invasion is worldwide. They also find a radio broadcasting a message in Russian. They hear gunfire. Ben and Sean go to help Skylar, but he is killed. When the others go outside they see a light in a nearby apartment tower and go to investigate, bringing the radio they found. They find a young woman named Vika and a man named Sergei, an electrical engineer. Sergei has made his apartment into a giant Faraday cage that hides everyone from the aliens. He has also developed a microwave gun that weakens an alien’s force field, so that it can actually be seen and killed. Vika and Sergei translate the message, which says that a nuclear submarine K-152 Nerpa is waiting in the Moscow River to take survivors to safety.

As Sergei shows the men the microwave device, Vika, Natalie, and Anne go to other apartments to gather supplies for the submarine journey. An alien senses them outside the Faraday cage and gives chase; Anne hesitates following Vika and goes another way, causing Natalie to follow her back inside. When they get to the apartment, Natalie is unable to close the door and the alien gets inside. Sergei shoots the alien with his gun and finds that it is only stunned. The alien disintegrates Sergei while the others get out by the fire escape. Anne hesitates again and is disintegrated while trying to escape. Natalie sets the apartment on fire as they climb down and meet up with Vika.

They meet up with a Russian police team with improvised armor led by Boris who manage to wound an alien with conventional weapons. Sean collects a piece of the alien’s body. The small police band were also able to build another Faraday cage at the local library. Boris and his men eventually agree to help the remaining four to get to the submarine. The policemen believe that the aliens are strip mining for conductive metals since giant light columns can be seen drilling all over Moscow.

As they move through the subway, an alien discovers them and they escape on the tracks. Vika hides behind a pillar, unable to join the others without being seen. Ben helps her climb down to the tracks, but gets disintegrated.

The survivors make it to a powerless patrol boat on the river and drift downstream to the waiting submarine. The boat nears the submarine but runs aground. As they attempt to push free, a new light beam destroys a large apartment building right next to the river, causing the boat to capsize. Sean and the policemen swims towards the submarine but upon reaching it discover Natalie is missing. They see a flare fired from Natalie’s flare gun in a railway and bus yard near the river. Sean is determined to get her, possibly missing his chance to escape. The policemen agree to help him rescue her. The Russian submarine crew, after expressing doubt about the rescue, assist by building another microwave gun with stronger batteries.

After the team manages to destroy an alien, Sean finds Natalie on a bus while the policemen and Vika destroy three more aliens using the microwave guns and water. As Sean is about to get off the bus with Natalie, an alien climbs on board, locks the door, and sends the bus speeding around the bus yard. It grabs onto Natalie’s leg, but Sean blasts the alien’s shield with the microwave gun. He then discovers the alien’s weakness when he throws a piece of the wounded alien he had collected earlier, and it destroys the unshielded alien. The two stop the bus and narrowly avoid a collision.

After returning to the submarine, the police team decides to stay and fight for the city, and Boris tells them that now the war has begun. Sean, Natalie, and Vika plan to spread what they learned about the aliens – the microwave guns and their vulnerability to pieces of other dead aliens – to the rest of the world. Sean and Natalie nearly share a kiss on the submarine. They soon learn that survivors in Paris managed to destroy an alien mining tower, and the film ends on a hopeful note.



The Darkest Hour was directed by Chris Gorak and produced by Timur Bekmambetov. While most films about alien invasions are centered in the United States or have an international scale, Bekmambetov’s involvement ensured the premise to be an alien invasion from Russia’s perspective.[6]

With a production budget of US$30 million,[7] filming with 3D cameras began in Moscow on July 18, 2010. Production used resources from the Russian-based company Bazelevs, owned by Bekmambetov.

Filming was temporarily suspended three weeks later due to the 2010 Russian wildfires affecting the city and its vicinity with their smog. By September 2010, filming had resumed. In April 2011 the release date was changed to December 25 due to filming conflicts in Russia.[8]


The Darkest Hour was released on December 25, 2011 in the US in 2D, 3D and RealD 3D. The DVD release date was April 10, 2012 by Summit Entertainment. It was released January 13 in the UK with the DVD release on May 21.


The Darkest Hour was not screened for critics, and received mostly negative reviews. Rotten Tomatoes gives a score of 12% based on reviews from 57 critics.[9]

The film was criticized for having a “flatlining screenplay and the absence of even a single compelling character”[10] as well as for being “a depressing failure of imagination”.[11]

Budd Wilkins writing for Slant Magazine called it “a dimwitted 3D sci-fi travesty” and complained, “Indifferently structured, Jon Spaihts’s lame-brained script knows no narrative contrivance it doesn’t love and, what’s worse, blows its expositional load in the first 10 minutes, bringing together a quintet of cardboard cutout leads.”[12]

At the box office the film was a moderate success, making just over twice its budget.