Different might the defining feature of Pixar animation studio, or at least the image they’d like to portray. As ubiquitous as the 3D style they pioneered has become, Pixar was really the trailblazer. Self described weirdos have long been attracted to the studio for the opportunity to tell idiosyncratic stories most other places wouldn’t touch. While other places were pumping out formulaic princess musicals, Pixar was making kids and adults alike cry over the friendship of two hunks of plastic and the exploits of a flea circus. Even as the Pixar tearjerker turned into its own template and subpar sequels rolled out, that reputation for being different persisted.

Let’s get one thing out of the way first; I love movie-musicals. No matter how many times I see it, I will never fail to present the widest, dumbest grin when Don and Cosmo perform ‘Moses Supposes’ in Singin in the Rain. Movies have a way of making everything feel bigger and movie-musicals take that concept to the next level. A well executed dance number can be a truly magical experience on screen. Given my love of the genre, In the Heights should have been right up my alley.

That iconic final shot of 2018’s A Quiet Place left little ambiguity about what the future held for the Abbott family. As she cocked back the shotgun that had finally bested one of the mysterious sound hunting beasts, Evelyn (Emily Blunt) clearly signaled that better days are ahead. Finishing with such a clear, definitive scene made the almost immediate announcement of A Quiet Place: Part II feel unwarranted. The sequel could have been just another studio cash grab, but it turns out returning director John Krasinski had more in mind.