10 Cloverfield Lane - Review

In 2008, a little film called Cloverfield hit cinemas. The defining fact about this production was that, up to two months prior, hardly anyone not involved in the production knew of its existence. A surprise trailer went viral two months before the film was released, and the Internet was set alight with theories about what the film may be about (stoked by the production company, who created a page for a company somehow involved in the film’s events). Come the film’s release, the reaction was decidedly mixed. Some audience members loved the experience which the film offered, whilst some were put off by the use of the now-popular ‘shaky-cam’ technique. Personally, I loved the film and still do to this day. I find it to be an utterly gripping, frightening, propulsive and brutal monster film. So, when a similar trick was pulled with that film’s ‘blood relative’ 10 Cloverfield Lane, as the trailer was released two months prior to the opening date of the film and caught everyone by surprise, I was thoroughly excited. And now I can talk about it (whilst taking care to avoid spoilers, of course)…

Michelle (Mary Elizabeth Winstead) wakes up in an underground bunker after being involved in a serious car crash. The man who built the bunker, Howard (John Goodman) eventually reveals himself and tells Michelle why she is there; there has been an attack on the surface, and if they hope to survive, they must remain sealed in the bunker until they are certain it’s safe to emerge. With fellow survivor Emmett (John J. Gallagher), they must try to survive together. But is everything as it seems?

The first thing to say about 10 Cloverfield Lane is that anyone hoping for a direct sequel to Cloverfield should really temper their expectations. This is very unlike the 2008 film, so if you expect something similar, you may be disappointed. However, if you go in expecting a taut paranoid thriller, you may come away as satisfied as I was. 10 Cloverfield Lane is an expert study in claustrophobic tension before revealing its cards in a climax which may prove divisive, but which I thoroughly got behind.

It’s important to note that this is the first feature-film credit for Dan Trachtenberg, seeing as it might prove difficult to guess given his apparent ease and craftsmanship. It’s always difficult to make an isolated space interesting over an extended period of time, but Trachtenberg and cinematographer Jeff Cutter brilliantly shoot this film so that we not only experience the claustrophobia of the environment, but so that every character creates a real presence within that environment. The use of close-ups and wide shots to focus on both the individual characters and their thoughts and how they in turn are affecting the entire group are a critical ingredient in making the edginess all the more palpable. And when the space is meant to feel tight for the character, the audience isn’t spared; when a character is crawling through piping, you can almost feel the cramped space as if you were right there with them. Trachtenberg really has a great career waiting behind the camera, if this is anything to go by.

The cast here may be limited, but that allows for more focused drama and more opportunities for the three main actors to shine. Mary Elizabeth Winstead makes for a compelling heroine, as Michelle struggles with her inability to face tough situations (highlighted in a beautifully crafted conversation between her and Emmett) but showing the slowly building strength within her as she comes more to grips with what is really happening. This is a smart, likeable and relatable heroine, and Winstead goes a long way towards selling the journey which the character goes through. As Emmett, John J. Gallagher is effortlessly appealing; much like Michelle, Emmett is a character with regrets in his life, and Gallagher gives the character an undercurrent of sadness whilst doing a terrific job in emphasising Emmett’s determination to keep the tense atmosphere within the bunker even a bit lighter. However, it’s John Goodman who threatens to steal the show. Howard is morally edgy as soon as he walks on screen, and Goodman does a spectacular job walking the tightrope of emotions which would lead an audience member to be uncertain of his motives. In one moment, he can appear tender and vulnerable, and in the other he can be a flood of menacing aggression. It takes an actor of real talent to capture that uncertainty and keep it going for the majority of the running-time, but Goodman is one such actor and Howard is an intriguing character in that you’re highly uncertain where he stands. All three actors are tremendous and ceaselessly compelling in their scenes together, which is a mix of their skills and the excellent screenplay by Josh Campbell, Matthew Stuecken and Damian Chazelle.

The technical credits of the film are nothing to be scoffed at. Composer Bear McCreary (who is on a real roll with TV credits including The Walking Dead, Marvel’s Agents of S.H.I.E.L.D, Outlander and Black Sails) provides an eerily chilling musical accompaniment which expertly plays on the feeling of dread and uncertainty oozing through every frame. The sound editing and mixing also adds to the film’s intensity, with every small sound suggesting potential danger and every large sound (particularly the rumblings for above) seeming like an ominous hint of a great threat lurking outside the sanctuary. The editing keeps the film moving at an impressive pace, offering clarity for each character and allowing the atmosphere to develop without either rushing or dragging.

For best enjoyment of 10 Cloverfield Lane, I’d recommend watching the film with as little prior knowledge as possible. The film has some genuinely effective shocks up its sleeve, which are best experienced first whilst watching the film. But, whilst the shocks are important to the film’s success, I would also recommend seeing the film based on the sheer strength of the film-making elsewhere. The cast and crew fire on nearly all cyclinders here, and whilst the third act is likely to divide audiences, you have to be thankful for a film which not only shows so much skill in its construction, but which gives you something for hearty discussion. When both high quality and high potential for debate are combined, you know you have something intriguing on your hands.

Final Verdict

Whilst different to Cloverfield, 10 Cloverfield Lane is still a claustrophobically compelling thriller which is likely to offer audiences plenty to discuss. The main trio of actors are all superb, the direction is remarkably assured for a first-time feature film, the script is excellent and the technical credits are all impressively strong. The third act may prove divisive for some, but for this reviewer, 10 Cloverfield Lane offers unerringly tense and accomplished entertainment which proves immensely successful in almost every area.

Final Rating: 4.5 out of 5