Cloverfield

Cloverfield (2008), J.J. Abrams and Matt Reeves' blockbuster NYC monster movie, bears a resemblance to The Blair Witch Project on a few levels. Most obvious is the cinematography. Cloverfield borrows prodigiously from Blair Witch's pioneering first-person handheld digital shaky cam. In fact, when the film was first released, many theaters posted a warning to customers about the possibility of motion sickness. But unlike the nausea-inducing shaking and bouncing of Blair Witch, Cloverfield's camera work manages to be believably amateur without making the audience want to hurl. That subtle yet important distinction immediately marks this film as the product of filmmakers who don't fuck around with the quality of their film.

Also much like Blair Witch, Cloverfield seems to be the type of film that has polarized audiences. Due to its highly secretive teaser trailers and marketing campaign (even the film's actors didn't know much about the movie on a day-to-day basis!), many moviegoers handed over their money at the theaters without knowing a single damn thing about the film. As is the public's wont, many audience members were disappointed for one reason or another, probably because the film was 'not what they expected,' even though any expectations were patently impossible. Such are the vagaries of the business, I suppose. Long story short, people either like this movie or think it's crap. I'll try to tell you why I liked it.

The film follows a group of 20-something New Yorkers at a going-away party for their friend Rob, about to take an executive job in Tokyo. Rob's goof-ball best friend Hud gets stuck with the camera for the night, spending most of the party zoomed in on his crush Marlena's boobs in the guise of soliciting going-away advice for Rob. Around midnight, the party's groove is suddenly rocked by the noise of an explosion. The revelers rush to the building's roof for a better view while whispers and rumblings of 'another terrorist attack' run through the crowd. The filmmakers tactfully and wisely (I think) refrain from any explicit mention of 9/11 or the Twin Towers. Its only purpose would have been for recognition shock value, and I'm glad they didn't cheapen the film that way.

Without giving away too much, suffice it to say that the remainder of the movie is a mad dash around Manhattan as the survivors attempt to reach their friend trapped in her apartment in midtown, all while avoiding the perils of the night: explosions, military blockades, looters, and the mysterious creature that's taken control of the island. The film is practically one long uninterrupted shot, never letting the audience catch their breath, drawing out the suspense and thrills. Above all, the filmmakers create a grand and sustained illusion: an 'amateur' film that nonetheless is incredibly detailed and looks really amazing.

The amount of time, care, and effort that went into set design and cinematography is particularly amazing. With a scale of action as large as Manhattan itself, cutting corners is just not an option. It would have been obvious, and the film would have been laughable and tawdry. Instead, the film and design crews put the time in, getting tons of 2nd unit footage right on the streets of Manhattan, including skylines, buildings, street-level shots, and the Brooklyn Bridge itself. Combining these backgrounds with the principal photography shot in downtown Los Angeles and on the studio backlots, cinematographer Michael Bonvillain teams with the set design and visual effects departments to construct Cloverfield's Manhattan from the ground up. And it looks fantastic, seamlessly blended to be so real that you'd swear they shut down the entire island for one night just to shoot this movie.

In the end, this is a really good film. It does what it was intended to: thrill its audience. What most impressed this reviewer most was the level of detail that went into each shot, so that the finished product wasn't just good or good enough, but damn near the best shot possible. This is serious, hard-working, collaborative filmmaking.

Storyline & plot: 6/10
Cinematography & effects: 10/10
Music & mood: 7/10 (no music, just mood)
Performances: 5/10

The Reverend says: 7/10