It doesn’t help that much of the mystery and intrigue that accompanied the concept from the previous “Bird Box” evaporates here. Outside of Sebastián, are any of them religious? Do they blame God for what happened? The film is in such a rush to create a quick binary between Sebastián’s mission and this group of people that it doesn’t bother to get us to care about them. Instead, we’re given their base-level tragedy and not much else. But that sense isn’t deeply felt in any of the characters. Their film says that the trauma wrought by grief might push you to lose your senses, decimate your logic, and maybe even make you go on a religious crusade. The script by the Pastors (with Josh Malerman's novel still an inspiration) skims the surface of grief. Nearly all of them have lost somebody, which makes them vulnerable when the creatures whisper in their ear with the voice of long-gone loved ones. The primary figures among Claire’s companions are Octavia (an underused Diego Calva), a lost German girl looking for her mother, Sofia ( Naila Schuberth), and an elderly couple, Isabel ( Lola Dueñas) and Roberto ( Gonzalo de Castro). She happens to be dressed in the same color scheme as Sandra Bullock in the first film, an all-too-on-the-nose attempt to recreate that magic. Before long, Sebastián discovers another group, this time led by the British-Spaniard Claire ( Georgina Campbell). Like many films, “Bird Box Barcelona” advertises itself as a narrative about grief, covering the subject in the blandest ways. Not only that, he gets a kick out of seeing the celestial orb that seems to float up to the heavens from the people who die. But in the meantime, we figure out the mythology that drives Sebastián: He believes these creatures are seraphs. It takes time before we learn exactly what happened. Seven months ago, Sebastián had a run-in with Barcelona’s version of that clan. Instead, they’ve formed a kind of cult around the creatures. "Bird Box Barcelona" takes inspiration from a tiny nugget from the first movie by Susanne Bier. Some people can look upon the creatures without later turning to self-harm. This version feels like it’s trying to reengineer the prior film’s success without any of the originality. The narrative now asks, “Is Sebastián the shepherd or the wolf?” While co-directors David Pastor and Àlex Pastor are intrigued by injecting religiosity into an apocalyptic narrative, their instincts lack flair or a point. If you’ve seen the first “Bird Box,” you know the deal: There are creatures that seem to live in the air, and when you look at them, they whisper your deepest desires to you so that you might die by suicide. While sleeping in the comforts of a depot, someone hijacks the bus they’re slumbering in, exposing everyone to the open. The group takes him in and mends his wounds.
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