 Tagline: Monsters come in many forms Waking up from a car accident, a young woman finds herself in the basement of a man who says he's saved her life from a chemical attack that has left the outside uninhabitable. Storyline: Soon after leaving her fiancé Michelle is involved in a car accident. She awakens to find herself sharing an underground bunker with Howard and Emmett. Has she been saved from an apocalyptical event as Howard & Emmett tell her or are there other motives for her being held against her will? Reviewer's Note: Reviewed by Martin Liebman, June 16, 2016 Director Dan Trachtenberg makes his feature film debut with 10 Cloverfield Lane, a neat, tidy, enthralling, and very well made Thriller that's a tangential entry into the Cloverfield franchise, if one can label it a "franchise" at, now, two films strong. Don't let the word "Cloverfield" crete any expectations, though, at least not very straightforward, sequel-centric expectations for "more of the same." Suffice it to say, 10 Cloverfield Lane is a radically different experience from its predecessor -- narratively and stylistically to be sure but also structurally and thematically, too -- though how, why, or even really if it fits into the universe introduced in the first film won't be spoiled here. That said, the movie does stand strong on its own merits, away from the shaky cam footage and noise of the original monster movie. It's instead a more confined and intimate character film, one that asks a lot of good questions, answers some of them in due time, and yields an altogether captivating movie watching experience, structured in three very basic and identifiable acts that tell a complete story of confusion and revelation, leading to an ending that isn't necessarily hard to see coming but that does contextually redefine everything leading up to it. Michelle (Mary Elizabeth Winstead) hurriedly leaves her life behind, escaping her boyfriend and hoping to get away from the struggles of life. Unfortunately, she's run off the road at night, seemingly in the middle of nowhere, and awakens in a strange place: a spartan cinder block and concrete room. An IV is attached to her arm, a blood stain soaks her pillow, a few wounds have been tended, and she's shackled to the wall. She manages to reach her phone but it cannot pick up a signal. She's greeted by her captor, a man named Howard (John Goodman), who claims he's saved her life. With time, her restraints are removed, she's given crutches to aid her mobility, and she's given a tour of the place he calls home: a well-stocked underground survival shelter. He believes there's a crisis on the surface that's rendered the atmosphere deadly to anything that breathes the air. Details are sketchy: it could be Russians, it could be Martians. Either way, they're safe inside, so long as neither Michelle nor Howard's other guest, Emmett (John Gallagher Jr.), do anything stupid that could contaminate the shelter with whatever it is that's apparently killing off life outside, including Howard's neighbor and livestock. As time passes, Michelle begins to doubt Howard's story, both his personal tale and his story of what's happening outside. But is the possibility of exposure and death worth escape, and will she find a fate worse that crude survival and an increasingly unstable host should she venture outside? 10 Cloverfield Lane jumps quickly out of the gate with no wasted motion, time, or detail. Character establishment is rapid and just enough to get Michelle on the move and to her final destination. The movie's opening act is high energy and frantic that captures human interest, a narrow focus on the world of "disaster prepping," and a broader focus on the fears of modern society. The film offers an interesting take on catastrophe, sealing off three characters from a world that was, or maybe still is, an always-on, up-to-the-second, easily informed society. All of that is taken away within the bunker's walls, and all that's left is the word of a man who seems to live for the opportunity to survive, to prove his time and effort worthwhile, who thrives on the satisfaction of being right. In 10 Cloverfield Lane, Trachtenberg, Producer J.J. Abrams, and the writing team have created a modern and modified version of Plato's Allegory of the Cave. Here, the person chained to the wall -- literally chained, at first -- enters with a lifetime's worth of knowledge of what's outside and a body, mind, and soul shaped by a lifetime of experience in the real world. Now, suddenly, Michelle's world view is only what Howard allows her to see and the picture he paints of the world as it is, supposedly, now, rather than how it was. She cannot verify. All she can do is use her knowledge and instincts, and work to build a larger narrative than that which Howard shares with her, using her own mental resources and experiences as a guide. It's a fascinating draw that's well played and executed before the reveal which, it would seem, has only two logical outcomes: Howard is right, or Howard is a liar. Either way, Michelle's in trouble. The movie works very well on a technical level, too. For the vast majority, it's a single-location film -- the bunker -- with a few cutaway scenes to other, smaller areas within, various shafts and what not. There's the spartan "holding cell," for lack of a better term, a hallway lined with shelves full of foodstuffs and, probably, a few other odds and ends, and the more comfortable living space with dining area and kitchenette where the majority of the movie takes place. The film really nails it. Even as survival bunkers, and preparedness in general, have become more mainstream, these shelters aren't exactly the kinds of places most people ever see. Still, there's a believable air to the place, a combination of utility and comfort that, given Howard's apparent lifelong, or thereabouts, obsession with survival, is fully believable as a structure and a living area alike. Trachtenberg directs smoothly and succinctly, working well within the relatively tight confines and capturing the juxtaposing essences of pure survival, uncertainty, and the human interactions that are a result. Storytelling is smooth and precise, and never does the movie play like a director experiencing growing pains. Performances are strong, too. Mary Elizabeth Winstead is excellent as the evolving protagonist of the story while John Goodman hits a home run as Howard. He plays Howard as a man certain of himself, proud of his foresight and accomplishments, but mysterious nonetheless, and strangely vulnerable, too, even through the confidence of his planning and ability, the way he deals with the crisis, both exposes and keeps secret details of his life, and handles the ebbs and flows of survival with his guests. His Howard is a man on a mission, and Goodman's ability to remain grounded in his knowledge and instincts, unwaveringly believe in what he's doing, and coping, sometimes harshly, with the evolving understanding and growing unease of his guests -- particularly Michelle -- is the movie's greatest asset. 10 Cloverfield Lane is a fantastic motion picture, a core human interest story of survival and the unknown, of mysterious intentions and circumstances. Every area of the movie excels, whether considering writing, direction, production design, or performances. There are some surprises and a few turns that aren't hard to see coming, but the net value of the movie is very high, blending physiological chills with hypothetical survival scenarios and more broadly entertaining moviemaking. The cast is great, with Goodman leading the charge in one of the best works of his storied career. Paramount's Blu-ray release of 10 Cloverfield Lane offers solid video, reference Atmos audio, and a very nice complimentary selection of bonus materials, including an A-grade commentary track. Very highly recommended. Trivia:
[CSW] -3.8- This is one of the most sophisticatedly written, powerfully acted, & genuinely creepy films of the last decade that by credits roll, indeed begs the question...which monster is the most terrifying? Howard (John Goodman) offers the performance of his career, who can be both eerily endearing & downright deranged flawlessly within seconds of each other. Michelle (Mary Elizabeth Winstead ) is equally remarkable as the involuntary heroine who demonstrates an authentic blend of bravery, resourcefulness, & abject fear. The appropriately small cast is rounded out by Emmett (John Gallagher Jr.), who provides a discomforting levity to such a bizarrely claustrophobic & unsettling situation. In an age of blockbuster messes, this is what all silver screen offerings should aspire to be; amazing effects that don't oversell themselves & a brilliant script that achieves several rarities. First; creating actual, unpredictable suspense with twists & turns that, when they impact, do so, like a freight truck with its brake line cut. Second; utter audience engagement & investment into characters whose unknown fates remain intact until the precise moment they are effortlessly and perfectly executed. Finally; it delivers deeply disturbing inferences that are far more horrifying than what is actually visually revealed; an extremely impressive feat in this CGI-laden dumbed down era of assembly line cinema. In a world of social media diarrhea, Abrams has become a master of covert movie tactics and this latest endeavor is a prime example of his effectiveness. In addition to all the successes listed, he completes his achievement by leaving open two definitive possibilities. That this event occurs simultaneously with this first film without becoming either a prequel or sequel as he originally touted many moons ago. And, leaving ambiguous room for another installment, which like this, can take this blossoming franchise in any direction JJ's miraculously creative heart desires. Given time to think about it and even knowing all the twists and turns, I still may be forced to add this title to my collection, it is just that good. [V4.0-A5.0] MPEG-4 AVC - D-Box motion codes were available at the time of this rental although they are available now. [Show Spoiler] Cast Notes: John Goodman (Howard), Mary Elizabeth Winstead (Michelle), John Gallagher Jr. (Emmett), Douglas M. Griffin (Driver), Suzanne Cryer (Woman), Bradley Cooper (Ben [voice]), Sumalee Montano (Voice on Radio [voice]), Frank Mottek (Radio Broadcaster [voice]). IMDb Rating (10/10/12): 7.3/10 from 176,920 users
 | ||||||||||||||||||||||||||||||||||||||||||||||||
