Much-anticipated sequel to John Krasinski’s horror masterpiece has a gripping, downright mesmerizing opening sequence that imprints itself inside your memory permanently — unfortunately the rest of the film ultimately fails to maintain that same kind of energy and urgency, settling into a plodding plot progression that definitely has its fair share of moments — and don’t get me wrong, I had a great time watching it — but the final feeling was that of disappointment.  Maybe that has a lot to do with expectations.  There is an inevitable letdown to be had if one doesn’t manage to match that first film with at least an equal footing.  Much like The Matrix, attempting a sequel to such an exceptional stand-alone film really required much more creative and distinct storytelling in order to pull it off.  
         All of that being said, the film is visually awesome and is very well-edited (by Michael P. Shawver — with an impressive career including Fruitvale Station, Creed, and Black Panther).  Veteran Jess Gonchor provided the production design, and you know your film’s gonna have a cool look with a filmography like his (Capote, No Country for Old Men, Burn After Reading, A Serious Man, Moneyball, Inside Llewyn Davis, Foxcatcher, Live By Night, The Ballad of Buster Scruggs — he also did the art direction for Identity and The Last Samurai).  
         I think Krasinski should spend some time with this film and learn from it — he’s got a great future ahead of him, but it felt rushed, and with a more focused, compelling storyline, this really could’ve been something.  As it is, it’s still a fun experience, but one with not as much replay value as its predecessor.  
        That opening sequence though.  They should create a new Oscar category for Best Set Piece.