Though Krasinski has strong moments in slapstick-y scenes opposite Clooney, on and off the football field, the film was another one that helped construct Krasinski’s desired, if synonymous film image: an all-American guy, who often played working class folk (even when he was a Hollywood filmmaker in Ry Russo-Young’s indie drama " Nobody Walks," he was a sound designer). Instead of zooms and stolen moments that would catch him as on "The Office," the movie relies on his pantomiming as the straight-man in the scenario, and it holds him back.Īctor and director George Clooney tried his hand at Krasinski’s charisma with “ Leatherheads,” another distinctly old-fashioned comedy, this one set in the 1920s and meant to evoke the films of that era. While the film is no gem, it does feature a full-fledged attempt at using his expressive reactions in a way that doesn’t work. Ken Kwapis, who directed the first few episodes of “The Office” tried to make him relatable as a young fiancee in the slapstick-y “License to Wed,” as paired with an underused Mandy Moore and Robin Williams as a sociopathic priest.
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Krasinski’s success in “The Office” led to leading roles with many directors who tried to make use of his no-word speciality and his expressive, grounded neuroses, albeit without the crutch of looking at the camera. It also led to numerous stolen romantic moments of pining for his love interest Pam ( Jenna Fischer), having to stay silent about his interest in her, but inviting us into his longing. But Krasinski’s work as paper salesman Jim Halpert elaborated beyond the original comic idea of glancing at the camera in pained recognition, and became an essential part of adding to the show's deafening, deadpan awkwardness. The world met Krasinski on “The Office,” as one of many employees at Dunder Mifflin who, when rendered speechless often by Steve Carell’s insensitive, bombastic and in-turn-hilarious boss, shot glances of discomfort at the documentary crew filming them. Years before Krasinski was silently reacting to the supersonic monsters of “A Quiet Place,” there was Michael Scott. It’s the same ideology that once made Ben Affleck a big surprise-take a workman approach to a recognizable subgenres, and let people be surprised when your directorial credit pops up in the credits-but it hasn’t yielded Krasinski resounding success or critical respect like his third film, the very frightening and very good “A Quiet Place.” By no accident, he’s tackled the horror genre by 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.
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Before this past weekend, John Krasinski tried to cement himself as a major director with a very talkative David Foster Wallace adaptation (“Brief Interviews with Hideous Men”) and a Sundance-ready ensemble family dramedy (“ The Hollars”).