CLOVERFIELD (PG-13) ***
Directed by Matt Reeves. 84 minutes.
Starring Lizzy Caplan, Jessica Lucas, T.J. Miller, Michael
Stahl-David, Mike Vogel and Odette Yustman. Released by
Hipsters and trust fund babies run for their lives in the
long-awaited, much hyped and mostly impressive first-person home video monster
movie from director Matt Reeves and producer JJ Abrams. Not quite the rebirth
of cinema for which movie nerds were waiting nor the catastrophe that said
nerds most recently worried would result after its unleashing on the world, Cloverfield is – not like it hasn’t been
said before but… - horror in the age of You Tube. Part Godzilla, part Blair Witch Project and part The Hills, the film is at its best as
its creature(s) of unknown origin lay waste to
The opening fifteen minutes might be the endurance test for aforementioned movie nerds as the film’s assortment of white, preppy characters blah blah blah and prepare to send off Rob (Michael Stahl David), who is about to leave for a high paying gig in Japan (Japan! Get it?). There’s Jason, Rob’s younger, nondescript brother; Lily; Jason’s boisterous girlfriend; Beth, Rob’s sort of girlfriend/sort of best friend who is better looking than any girl next door I’ve ever seen; Marlena, who’d more likely be caught sitting in the Anthology Film Archives than watching this film; and Hud, the class clown who is asked to record testimonials from the guests at Rob’s going away party. The party goes on. And on. And on.
A rumble is heard. NY1 reports an earthquake in lower
Rob somehow enlists what’s left of his gang – a few are
bumped off early on – to make a pilgrimage to rescue Beth from her posh
apartment, which is 39 floors up in a now tilting building. Of course, being a
movie, the gang agrees to walk through dark subway tunnels and have continued
run-ins with the film’s rampaging monster. A scene on a roof during which Hud
films the monster stomping through
Cloverfield does
what it is supposed to do well. Its characters are stick figures, so what? The
film is intense, expertly paced and, for its not-so-whopping thirty million
dollar budget, pretty impressive in the visual effects department. The film
does a good job of capturing the sense of hysteria and panic during a wide
scale emergency (OK, would Hud really be cracking jokes? Or filming? Who does
he think he is, Francis Ford Coppola on the set of Apocalypse Now, dammit! I’m OK.)