Cloverfield Movie Review

Everyone wants to reinvent the horror movie a la “The Blair Witch Project” or reinvent the monster movie a la “Godzilla” or “Alien”; well, producer J.J. Abrams (“Lost”) wanted to do both. And if you’re anything like me, you’re wondering if “Cloverfield” is worth the six months of hype that posters and trailers featuring a decapitated Statue of Liberty have bought it. Directed by Matt Reeves (“The Pallbearer” and Abrams’ “Felicity”) and written by Drew Goddard (“Buffy the Vampire Slayer” and Abrams’ “Alias”), I went in with low expectations, since Abrams has a reputation for ruining his own perfectly good concepts (as many “Alias” and “Lost” fans know all too well), but I’m happy to say that Abrams doesn’t seem to have the same problem with his concept for movies (which might comfort “Star Trek” fans to hear since we’re all nervous that he’s helming the next one, but it probably won’t). Despite some typical shortcomings, “Cloverfield” succeeds at being a monster-driven “Blair Witch” on a blockbuster budget.

“Cloverfield” is the story of a tape. In the beginning, there are the government labels, in and of themselves a telltale clue as to what happens, and the recording of a young couple Rob (Michael Stahl-David) and Beth (Odette Yustman) who aren’t really a couple but friends who are dancing around their attraction to one another. Not digging it? Too bad, because that not only drives the whole plot of these obviously suicidal survivors, but it comprises the first 20 minutes of the movie, along with footage of a farewell party for Rob since he’s leaving for Japan (another Godzilla nod) where the recording of the events starts by taping over the not-couple’s rendezvous. The party is spent with Rob pining for Beth and arguing with Beth and talking about Beth. Don’t worry; once the action gets going, lovesick Rob is only going to drag all his friends through midtown Manhattan braving death and disaster to reach beautiful young Beth, and if you long to see more footage of the couple from their day together going to Coney Island, never fear, because it will crop up every 20 minutes in about 15 seconds worth of random recording stops. But the video isn’t all bad; it gives us some character background, though I know I didn’t care, and it is clever as a storytelling device, and in the end, the final cut to Coney Island turns out to be extremely well done. But once the first third of the movie finally passes and the entire building shakes just when I thought I couldn’t take it anymore, wrenching the characters from drowning in the angsty melodrama, the audience is immediately rescued and now is where the film really begins.

Before they know what’s going on, Rob, his insensitive brother Jason (Mike Vogel), Jason’s uptight girlfriend Lily (Jessica Lucas), and their best bud cameraman Hud (T.J. Miller) along with his crush Marlena (Lizzy Caplan) hit the streets and run for their lives. Clever and imitation amateur camerawork provides only brief glimpses of the monster from different perspectives and in different pieces – a leg here, a tail there, a foot crushing a tank, and then the obligatory full shots of the monster from many angles to finally satisfy moviegoers who are getting dizzy trying to follow the frame and get a good look at the creature. Without spoiling it, there are many movies in recent memory as well as within the last two decades that it’s obvious were inspiration and fodder for dreaming up this completely freaky and seemingly otherworldly giant beast. Its appearance is terrifying and plenty of visceral scares come with it. Even as the camera bounces everywhere at once (make a note to bring aspirin with you to surpress the massive headache you’ll have from trying to follow all the intense action), the sudden nightmare that unfolds fast and frenzied keeps you on the edge of your seat.

Of course, like “Blair Witch” (but even more so here), Reeves and Abrams took amateur video too far, trying so hard to make the filming hardcore and raw that it’s overdone – even amateur battlefield footage has been shot steadier than this. And now that we’ve come to talk of battlefronts, the movie is plainly made to conjure connotations of 9/11. The New York urban battlezone eerily recalls the chaos of that day from the first building that collapses in a plume of dust that covers several city blocks to the deserted city blocks in major areas of destruction throughout the ravaged cityscape. The monster, as seen through the lens of the camera the entire time, strikes fear into the viewer every time with a few surprises along the way, and for all the disadvantage that comes with the shaky camerawork, this is where it pays off, as it really does bring the viewer deep into the experience without losing them in any type of soundtrack or movie tricks to shatter the illusion that you’re right there with them in the midst of this insane and horrific situation.

“Cloverfield” surprised me for two reasons; first, the monster had Godzilla-style but was not a Godzilla ripoff (and rumors fearing inevitable disappointment speculating it to be a giant slug were thankfully greatly exaggerated), and second, it felt big and real and frightening with some misplaced humor but not so much that it’s annoyingly campy a la the 1998 “Godzilla” remake. Then again, there would be no movie if the camera wasn’t made of space age titanium, as it would have to be to survive all the beatings it takes, so this film isn’t without its elements that require serious suspension of disbelief (besides the whole monster thing). And the end is predictable (as the very beginning gives it away). But “Cloverfield” leaves you with chills traveling up your spine and the tension holds on to you after you leave the theater. I’ll tell you one thing; leaving the screening in Manhattan, I was jumpy at the sound of garbage trucks and sirens with imagery and noises from the film still stuck in my head.

If you can be patient enough with the story “Cloverfield” wants to tell about a guy and a girl trying to come together in an absurd crisis scenario, then you’ll be very happy with the movie once it shifts from standing still to flying around in high gear. Many who feared disappointment will love the thrills “Cloverfield” manages to wring even at its most outlandish stunts and manipulative plays. It’s just fun, just the right amount of different, and it brings the creepy in spades – one great example of all three is what they do with a standard scary deserted subway tunnel scene. Is it worth the hype? Maybe, maybe not. Is it really good though? Hell yeah.