By now, we all know from the viral marketing and probably word of mouth that this is a major release, a conception in a new mould by JJ Abrams, creator of TV series Lost. The success of the latter has fuelled this attempt on the big screen, and the style transference is evident in Cloverfield even if the material is a change in direction.
Abrams is a master of blending techniques, styles and material to empower his creations and this one is no different, Whilst it is true that there is a low budget āindieā feel to the film, it is coupled with the big picture dynamics of the likes of Godzilla, and the blending of these two is masterfully achieved. The approach is low key to start with, and not a little annoying, mainly because had I been a partygoer, that camera might have ended up rammed into Hudās rear cavity. The atmosphere however is set by the opening scenes, the bash is slowly building and we get to meet the guests and see the fallout in a key relationship, but the mood is destroyed when an explosion rents the night apart and causes a flurry of questions amidst rising anxiety. What follows is the real āmeat on the boneā, we now have our protagonists and the āunknownā, cue rooftop scenes of fireballs and chaos, then street level bedlam as crowds of people in full on terror mode hoof it away from a cloud of growing dust and the assumed horror within. Clever use of the camera angles (though extreme over use of the wobble and lurch) project the audience into the thick of the action. Critically, the next scene is never telegraphed, making for a roller coaster ride of uncertainty and nerviness as the next set piece cranks up. This is reminiscent of Alien, the viewer is amidst the action as a participant therefore, knowing only what they know and that serves to heighten the senses. The film now twists and turns through a number of scenes below and above ground, with the monsters only briefly sighted at any time, and the pace of action unrelenting as it hurls along to the climax.
The exploration of the characters is superficial, a direct contrast to the detail of the action and screenplay, and is the weakest part of the film in my view. The mocking Marlena is fleshed out a little more, and indeed accounts for most of the humour in the form of one-liners in the film, but overall they are throwaway parts, none of them leaves a lasting impression. The director pulls us towards the characters by his portraying the heroic efforts of those able or willing to try and save others - a human trait no less - but it is a tad stretched to imagine some of the heroics from Rob when he and Beth are not drawn as being ācloseā. Furthermore, we never find out the motivation of the monster, what the hell does it want, is it just pissed because it did not get an invite to the party, or was it tossed from an intergalactic cruiser because it has a dose of monster crabs? Small beer perhaps, but the film concentrates on the impact, the spectacle and the violence above all else, food for the āinstant gratificationā generation maybe? If you are looking for a sub-plot beneath the āin your faceā action, you will be disappointed, but then again you are watching a creature feature!
Whilst there is nothing new in the monster movie as a genre, it has been injected with a fresh approach, and given a new direction as it explores the human side of the equation when faced with an adversary they have no hope of escaping. Here the monster is the fulcrum but the experience of the group is the essence, and it delivers in spades at that level. One interesting aspect is the casting and use of relative unknowns for all parts, a very astute choice because it adds to the overall sense that the participants are just ordinary folk. I loved the audience engagement and the sensation that you were involved in the feverish headlong experience; for me it could only be bettered in some sort of 3D immersion. On a personal level, I did have a sense of unease whilst watching the movie, not due to the material, but because I have seen this played out in real life during 9/11, and that some audience manipulation was taking place based on a platform of claustrophobic dread. Not a criticism in any way, rather a clever use of setting and timing to invoke terror above and beyond that which might have existed otherwise.
8/10, there is no hiding from the tension in this edge of seat experience, but there is nothing below the surface or under the skin of the characters. A wild ride, but perhaps one that will not appeal to the purists, or those that cannot stomach the reality TV ācamā approach. If there is to be a sequel, then a little more character outline and motive would be nice, but ensure it does not hamper the excitement and pace of the original, and for godās sake get a cam with a partial steady function built in, and mark the first person that says āOh my Godā for the next kill. FYI, there is a message in that last line after the credits, but it needs playing backwards to decipherā¦ā¦..Google is your friend!