By Megan Hess
It would not be an exaggeration to say that without Cloverfield (Reeves, 2008), J.J. Abrams would never have Star Wars: The Force Awakens (Abrams, 2015) on his resume. Before Cloverfield, Abrams had a successful TV career (he’s most known for helping to create and write the show Lost) but, once he produced Cloverfield, people began to respect him as a filmmaker.
With 10 Cloverfield Lane (Trachtenberg, 2016), Abrams returns, in a way, to the film that made him famous. Despite its name, 10 Cloverfield Lane does not share many characteristics with the original – partly because it was initially an original script that got co-opted under the Cloverfield name. Whiplash (Chazelle, 2014) wunderkind Damien Chazelle rewrote much of Josh Campbell and Matthew Stuecken’s work and 10 Cloverfield Lane is the better for it. Chazelle first won over the crowds at Sundance with Whiplash, which won three out of its five Oscar nominations; his most recent project, La La Land (Chazelle, 2016) has not come out in theaters yet, but is already the subject of much talk in the film community, and could lead to a first Best Actress nomination for Emma Stone, its leading lady.
Unfortunately for Chazelle, I do not think that 10 Cloverfield Lane will be up for any Academy Awards this year. However, this does not mean that 10 Cloverfield Lane is an unsatisfactory part of Damien Chazelle’s filmography. (In fact, this is good; it means that people who might not choose to watch his more indie efforts can be exposed to Chazelle’s talent). It stands apart from other recent releases in its genre, not only because of the quality of Chazelle’s writing, but because of the strong performances from its cast.
With 10 Cloverfield Lane (Trachtenberg, 2016), Abrams returns, in a way, to the film that made him famous. Despite its name, 10 Cloverfield Lane does not share many characteristics with the original – partly because it was initially an original script that got co-opted under the Cloverfield name. Whiplash (Chazelle, 2014) wunderkind Damien Chazelle rewrote much of Josh Campbell and Matthew Stuecken’s work and 10 Cloverfield Lane is the better for it. Chazelle first won over the crowds at Sundance with Whiplash, which won three out of its five Oscar nominations; his most recent project, La La Land (Chazelle, 2016) has not come out in theaters yet, but is already the subject of much talk in the film community, and could lead to a first Best Actress nomination for Emma Stone, its leading lady.
Unfortunately for Chazelle, I do not think that 10 Cloverfield Lane will be up for any Academy Awards this year. However, this does not mean that 10 Cloverfield Lane is an unsatisfactory part of Damien Chazelle’s filmography. (In fact, this is good; it means that people who might not choose to watch his more indie efforts can be exposed to Chazelle’s talent). It stands apart from other recent releases in its genre, not only because of the quality of Chazelle’s writing, but because of the strong performances from its cast.
Emmett (John Gallagher Jr., far left) and Michelle (Mary Elizabeth Winstead, center) watch as Howard (John Goodman, right) makes an important decision (10 Cloverfield Lane, Trachtenberg, 2016)
10 Cloverfield Lane only has three major characters: Michelle (Mary Elizabeth Winstead, playing a soul sister to her Scott Pilgrim vs. the World (Wright, 2010) character Ramona Flowers), Howard (John Goodman, making it impossible to ever watch Monsters Inc. (Docter, Unkrich, & Silverman, 2001) the same way again), and Emmett (John Gallagher, Jr., in a role oddly similar to his Short Term 12 (Crettin, 2013) character, Mason) The plot is equally sparse (at least at first) - Michelle gets into a car wreck and finds herself chained to a water pipe in an underground bunker, kept by a man who insists that the three people living there are all that’s left of the world above. The film’s minimalism is part of its appeal; it allows both the production team and the audience members to dive deep into the characters and keeps the mystery at the forefront. 10 Cloverfield Lane utilizes a slow buildup to an extremely emotional, memorable climax, using unanswered questions and unverified suspicions to scare the audience instead of jump scares. It does have some genuinely frightening moments (including a Breaking Bad-esque killing which is both one of the best and worst parts of the film), but, unlike other horror-suspense films, does not go overkill with them…at least, until the end.
While you do not have to have watched the original Cloverfield to see 10 Cloverfield Lane, it does help the ending make more sense. I predicted what was coming, but I still found it jarring and overly long. It feels like they should have picked a project with those elements already incorporated into it, instead of forcing them so it can fit the Cloverfield label. Other than the ending, however, 10 Cloverfield Lane is highly enjoyable. I would recommend it to anyone looking for a well-written, well-acted blend of psychological and physical horror\suspense.
While you do not have to have watched the original Cloverfield to see 10 Cloverfield Lane, it does help the ending make more sense. I predicted what was coming, but I still found it jarring and overly long. It feels like they should have picked a project with those elements already incorporated into it, instead of forcing them so it can fit the Cloverfield label. Other than the ending, however, 10 Cloverfield Lane is highly enjoyable. I would recommend it to anyone looking for a well-written, well-acted blend of psychological and physical horror\suspense.
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