Hmm, how to approach a film like 10 Cloverfield Lane? Appearing out of the blue in January with little fanfare and with very few details being presented since – bar a Super Bowl trailer and the regular collection of TV spots and preview clips – the film is shrouded in secrecy, and its small cast and small-name crew reluctant to reveal anything about it, the most people know about the film is the relation to the original Cloverfield - barely any. The film was initially a basic first feature for viral video creator Dan Trachtenberg (his 2011 short based on the Portal game series amounted huge online buzz and praise), but upon getting a hand on the material was boosted to a franchise-expanding instalment by Bad Robot; complete with producer credit for J.J. Abrams. But with barely any relation to the original and with its minimal star power not amounting to big box office receivings in the past, can this distant relative work as either a suitable member of the Cloverfield brand or its own creation?
After breaking up with her fiancée, Michelle (Mary Elizabeth Winstead) intends on leaving her old life behind and starting afresh elsewhere. However, whilst driving through Louisiana, she gets hit by another driver, and wakes up with her injured leg handcuffed to a railing in a dark dingy room. After a botched attempt of escape, she's finally granted information about what happened and where she is – in a bunker deep underground and safe from an apparent attack; rescued from potential death by her captor Howard (John Goodman). Of course, Michelle is hesitant to believe Howard's tale, and judging from his behaviour it's clear to see that he isn't all that trustworthy. But with Howard certain of his theory, and a fellow survivor (Emmett, played by John Gallagher, Jr.) stating that he witnessed the attack with his own eyes and forced his way in, Michelle must decide whether to believe what she hears or to try and escape...
What we have here is essentially the first act of Room, what with Winstead and Gallagher representing the Brie Larson and Jacob Tremblay roles, expanded on to make up the majority of the film, and as such it is executed well. It leaves you guessing throughout the film, albeit in a fashion which some may find repetitive, and viewers who don't tend to cope with slow-burning film will likely be bored easily by certain periods of the film (numerous people during my screening appeared to be more interested in their phone than the story at hand). But with the whole thing coming across as a very atmospheric and psychological affair, it does allow for every moment to be approached with caution, with an inevitable sequence of course being a strong highlight. However, the film does begin to stumble at its final moments, where the best way to describe it – without delving into spoiler territory – is as being Damon Lindelof-esque. But every moment beforehand has the inner workings of a strong feature, with particular moments easily shown to be part of Damien Chazelle's input (thanks to strong parallels to his Oscar-winning feature Whiplash).
As part of this minimalistic creation, you have only three main actors, with at least one more sprinkled here and there (namely a voice cameo from Bradley Cooper) for the sake of mystery. At the centre of it all is Winstead's Michelle, and she certainly has a Brie Larson-like approach to the material at hand. As the audience's eyes to the scenario, she shows off her great and often underrated skills as an actress to deliver a superb performance worthy of plenty of acclaim, and her character is one you root for. However, she is overshadowed by just how great John Goodman is as Howard; his unnerving acting proves his power over his roles, and despite his usually lovable and cuddly appearance makes for one disturbing character to start with. Of course, over time you do begin to sympathise with him, but that makes his earlier actions even more disturbing. Meanwhile, third wheel Gallagher is very likeable and incredibly good in his role as Emmett, but it does become predictable as to what he's going to do as the film progresses.
As far as newbie directors go, there's none greater it seems than Dan Trachtenberg. He makes the small environment big and small when necessary, and save for a few moments near the end where the camera takes a turn for Hunger Games level of shaky-cam does resolve to some very great shots. Add some perfectly edited sequences and an overly tense score from Bear McCreary, and you have a film that at least manages to represent the intended feel of the film in the technical and visual departments. Even bursts of CGI moments look good; especially when considering the miniscule $15m budget.
10 Cloverfield Lane may have little to do with its 2008 namesake, but it's a feature that remains as strong a mystery as it intends to be. With praise of course having to go to the numerous screenwriters and the one-two punch of Mary Elizabeth Winstead and John Goodman - an actor who's performance here has brought about a call for a Best Actor award of some sort – it's a film that needs to be experienced to be believed, but perhaps requires leaving before you properly discover what's happening on the surface. 8/10.
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