I hadn’t seen any of the films with Cloverfield in the title, not Cloverfield itself, or 10 Cloverfield Lane, nor the Cloverfield Paradox. I’m not clear if they’re even related to each other. Some sources say yes, but think it might indicate a anthology of unrelated trippy stories, like a movie analog to TV’s Twilight Zone.
So while I cannot confirm or deny if these movies are even in the same universe, I will go on record to say 10 Cloverfield Lane is a very enjoyable film. It’s kind of like one of those “experience” movies, where a first time viewing is the best, because you don’t know what’s going on, or how things will end up.[pullquote]It’s also one of those films you can’t describe without spoiling it, like Cabin in the Woods and Gone Girl and — you know what? Even just saying there’s stuff I can’t say is a spoiler. [/pullquote]_
If you’re spoiler averse, you might want to stop reading now and come back after you see this flick.
Okay, here we go. This psychological suspense thriller could have been penned from Hitchcock himself. It’s a perfect example of a bottle show, taking place almost entirely in a confined room. The claustrophobic tone is enhanced by the camera staying very close to the characters’ faces. There are a few takes where this is very noticeable, like when Michelle and Emmett are sharing their life stories. The camera swaps tight images of their faces without pulling back to show them in the same frame, to enhance the feelings of separation and loneliness.
There’s a lot of close-in, canted angles, interesting framing devices, and many symbolic shots cleverly taking the place of verbal exposition — like Michelle’s nail polish slowly chipping off to show the passage of time, and the recurring image of the Eiffel Tower reminding us of possible dark deeds around the fate of Howard’s daughter. An agitated Michelle in the teaser tells us all the backstory we need about this character, without a word.
There are very few wide shots, and the few we do see just reinforce that the entire movie is filmed in a small bunker. We don’t see any landscape shots until the last act, with a surprise tonal change that manages to genre-shift the entire movie. What began as a tautly compelling suspense mystery suddenly turns into a science-fiction feature. I enjoyed both storylines, but it really was an abrupt mood swing.
One cool bit of attention to detail: Howard was watching Pretty in Pink, and they manage to name drop the movie out loud for our benefit. If you recall, that’s the one were Molly Ringwald wanted to be a clothes designer. Which is what we know Michelle wanted. (Ya think that will become important?)
So, is Howard right, or is he looneytunes? (Answer: both.) What’s with the girl who may be Megan, but is more likely Tiffany? Who wrote HELP on the window and what happened to her? Why does Howard have a barrel full of hydrochloric acid? What were those things doing to the world?
I kind of like that so few elements were resolved: I can use my imagination to fill in the rest of the blanks. I also have to wonder…what would I have done in her situation?
Movie Grade: B+
One cool thing I wanted to add: there’s a scene were Howard tells Michelle “Let’s go — bathroom time!” Wouldn’t that be the best meta cue for a Peetime?
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Co-Creator of RunPee, Chief of Operations, Content Director, and Managing Editor. RunPee Jilly likes galaxy-spanning sci fi, superhero sagas, fantasy films, YA dystopians, action thrillers, chick flicks, and zany comedies, in that order…and possesses an inspiringly small bladder. In fact, that little bladder sparked the creation of RunPee. (Good thing she’s learned to hold it.)