10 Cloverfield Lane (2016) review

22. 10 Cloverfield Lane (2016)

Directed by: Dan Trachtenberg

Produced by: J.J. Abrams, Lindsey Weber

Screenplay by: Josh Campbell, Matt Stuecken, Damien Chazelle

Starring: Mary Elizabeth Winstead, John Goodman, John Gallagher Jr.

I think “Cloverfield” was a movie favored by the circumstance of having the right idea at the right time: clever marketing, found footage, giant monster attacks New York City, people try to survive. I’m not a huge fan of it, but I appreciate the impact it had in getting viewers excited about seeing Kaijū films on the big screen. The movie I’m reviewing today is an interesting case where you don’t even realize it’s a sequel until the last few minutes; in fact, it was produced under the fake title “Valencia” to keep details secret, even from the cast. In a way, this makes sense considering it does everything the first film doesn’t; it’s a traditional cinematic narrative, mostly set in one location, and there aren’t many special effects, relying more on suspense and tension. But in my opinion, it’s all for the better; thanks to outstanding performances, smart dialogue, and a chilling off-beat mood, “10 Cloverfield Lane” is one of the better thrillers of the last decade.

It opens with a woman named Michelle (Mary Elizabeth Winstead) driving away after a fight with her boyfriend; but her car is struck on the road, knocking her unconscious. When she wakes up, she’s injured and chained to the wall of a concrete room; there she meets Howard (John Goodman), a survivalist who explains that she’s in his underground bunker. He claims there’s been an attack, either foreign or extraterrestrial, and the air outside is no longer safe, so everyone outside is likely dead. Despite obvious skepticism, Michelle gradually settles in, forming a sort-of family dynamic with Howard and the younger Emmett (John Gallagher Jr.), who helped him build the bunker. But despite opening up about losing his daughter Megan, Howard displays mysterious and even hostile behavior, causing Michelle to consider if it would be safer in the secure bunker or outside in an unknown world.

I consider Mary Elizabeth Winstead one of the most underrated actors of her generation; any performance she gives is full of fiery conviction, and her Michelle is very determined and resourceful. Any time she’s in a room, she’s scanning her surroundings, looking for answers, figuring out how to work with people; but beyond that, her arc of personal courage is identifiable, as her struggle has been her tendency to favor survival over helping those in need out of fear. But just as compelling is John Goodman as Howard, really showing off his versatility with how unnerving he is. The whole movie, you never really know what he’s all about; is he just strange or a lunatic, lonely or sinister, detached or disturbed? He doesn’t treat Michelle or Emmett like fellow survivors, but like rebellious children he has to set strict ground rules for, and the relationship only gets more dysfunctional and creepy as time passes, with Howard feeling entitled to them doing things his way. I don’t have as much to say about John Gallagher Jr. as Emmett; he has easy chemistry with both Winstead and Goodman, and helps keep the tone from becoming too dour.

So even though most of the action is confined to this bunker and technically not much happens aside from talking and planning, the dialogue and pacing really keep the energy strong; the characters eat, play games, listen to music, watch movies—by the way, if anyone is interested in seeing “Cannibal Airlines,” it’s sadly a fake, just a prop VHS cover—and develops a slow burn towards the real conflict. It brings to mind what you’d actually do in a crisis like this, whether or not you’re going through it with a paranoid ex-Navy conspiracy theorist. Thankfully, the movie doesn’t give the game away too early; just enough time is spent establishing a mystery of if the outside world really has been lost, or if Howard’s just crazy. It’s smart work by first-time feature director Dan Trachtenberg, who recently came out with “Prey,” by many accounts the best “Predator” film since the original.

If I had any real complaints, I would say that the climax doesn’t deliver as well as it should; the acting and visuals are still solid, but I would’ve liked a little more emphasis on character connection and less time spent on the outside battle, which has too much shaky-cam and goes on too long. But with that said, the final image it leaves on is a powerful one; it’s kind of like the “The Terminator” with danger on the horizon, and it really works as far as completing Michelle’s character growth. When this movie came out, a lot of people seemed put off by the ending, and I don’t think they entirely understood what the story was about; it’s not just about survival, but what’s gained from it. What kind of person are you now, and what do you do with your next choice? So with its themes of claustrophobia, abuse and bravery, “10 Cloverfield Lane” is a stirring, taut, intelligent ride that stands head and shoulders above its predecessor.

My rating: 9/10