2016.59: 10 Cloverfield Lane (Amazon VOD)
10 Cloverfield Lane is a very effective thriller, with a taut script and an excellent cast. As its title suggests, it is loosely connected to the original monster movie Cloverfield (just how loosely I won’t go into). Thankfully however this film drops the found-footage stuff and is a wholly more traditional film, and much the better for it.
It also boasts an absolutely wonderful score by Bear McCreary. There is a lot of the feeling of The Twilight Zone watching this film, and much of it stems from McCreary’s Herrmann-esque, evocative score. It immediately places us into a particular sense of mood and place, of a 1950s, 1960s tonal quality, quite non-contemporary. It’s so refreshing to watch a modern film that isn’t saddled with a Hans Zimmer-like score, and it is interesting that this is from McCreary, one of the most exciting talents in television scoring over the past ten years (Battlestar Galactica, Da Vinci’s Demons, The Walking Dead, Outlander etc.).
So anyway, this review is old-hat for many since it’s months since the films theatrical release, so I guess spoilers are ok. Michelle (Mary Elizabeth Winstead) is literally driving away from some unspecified relationship woes when she is run of the road in an accident. She awakens in a strange, spartan room – an IV attached to her arm and a brace on her knee that is, alarmingly, chained to the wall. She’s greeted by her captor, a man named Howard (John Goodman), who claims he’s saved her life. He tells her there has been an apocalyptic event, and that he has brought her to his survival bunker. Immediately there is something ‘off’ about Howard. He describes the event on the surface as an attack; maybe by the Russians, but casually also suggesting it was maybe by the Martians. At any rate, the surface has been rendered uninhabitable, and Howard, MIchelle and his other guest, Emmett (John Gallagher) have no choice but to wait it out – maybe a year or two.
As time passes, Michelle begins to doubt Howard’s version of events, but various things seem to corroborate it- Emmett himself witnessed the beginning of the attack and fought for entry to the shelter, and when Michelle gets a glimpse of the outside world she sees a bloodied, poisoned woman desperately trying to gain entrance herself. Howard is evidently unhinged and his story is crazy, but this is afterall a Cloverfield movie- should Michelle really risk everything to get outside and what will she find if she gets out there?
Winstead is terrific in this. She really deserves better and more substantial roles in future genre films- she’s vulnerable but strong too, with a great physicality to her role that really brings to mind Weaver’s Ripley in Alien. Winstead is that good (but then again, I also thought she was the best thing in that The Thing prequel some years back). Goodman is naturally as dependable as ever, and it’s nice to see some of that old disarming charm of his (remember Always?) with the hints of deranged darkness he brings to his role here.
By the time the film ends and (most) of its secrets revealed in a final twenty-minute flourish, I was left with a desire to see more of these Cloverfield films. They could become a great little franchise of Twilight Zone-like stories. That does however come with one caveat- yet again we see here a JJ Abrams project that really harkens back to older originals than really doing something new and unique. He did it with Super 8, Star Trek, The Force Awakens and here The Twilight Zone- he seems adept at reinventing or reinterpreting old material or classic pieces of mainstream culture for new audiences (the Herrmann-like score by McCreary is surely no accident here, and the claustrophobic setting of the shelter has all the hallmarks of The Twilights Zone‘s adept use of working within its limited television budgets) but where is the really new stuff? Is there really nothing new under the Bad Robot sun?