10 Cloverfield lane is fun, but not in the same league as Cloverfield

You've probably heard that the new film 10 Cloverfield Lane began as a related thriller called La Bodega (or Valencia). And then the producer JJ Abrams decided to change its name 10 Cloverfield lane, and is a "movie Sister" from his 2008 hit bed. This was probably a mistake, because it emphasizes that this new movie, while entertaining, just not in the same league as Cloverfield.

I'll try to avoid spoilers in this brief comment, because the surprises in 10 Cloverfield Lane are a big part of how film works. But I will assume that you agree with me talking about things already revealed in this trailer:

As follows tow, Mary Elizabeth Winstead plays Michelle, a woman who has been in a car accident. She wakes up in a mysterious basement fear, the captive of a rare guy named Howard (John Goodman) who claims that there has been an apocalypse of some sort and "everybody out here is dead." It's kind of a prepper end of the world who believe that the end really has come, and is now trapped there with him, besides other, Emmett (John Gallagher, Jr.). But Howard is a crackpot of fear, and it is clear that he is not telling the whole truth.

It is clear while watching Cloverfield Lane 10, which is not yet really connected to Cloverfield, beyond their titles. They not even are really the same genre: Cloverfield is a wild and bumpy ride, where a giant monster attacking half an hour and the characters are running through a city under attack, and 10 Cloverfield Lane, is a slow process, paranoid "trapped in one bunker "hold.

The great pleasure of seeing 10 Cloverfield Lane comes mainly to see the masterful performance of rare John Goodman, as an obsession for control of child who may or may not have been right to prepare for an apocalypse. Goodman usual affability is almost completely subsumed within a set of nervous gestures, and manages to keep you completely spellbound by his mercurial behavior-without having to overdo it. The "redneck" aspects of his character sometimes feel a little wide, but Howard gets Goodman seems like someone you could actually meet.

And the heart of the film is the interaction between Howard and Michelle, you have to find out if you are telling the truth, but also stay safe. Michelle has more character arc pulp output in the film-at first, we are told that always escapes whenever there are problems, then it is trapped with someone whose first impulse is always to hide. Addressing this situation she changes, and got to see what happens. Winstead does a decent job of showing the evolution of Michelle, and she more than holds its own against Goodman.

That said, 10 Cloverfield Lane is a much more conventional film Cloverfield was. When Cloverfield was released in January 2008, he had not seen anything like it. We had not had a lot of movies about giant monsters attacking cities, period, in the decade since Roland Emmerich tried to reinvent Godzilla. And Cloverfield approach 's in the genre of "movie monster" was full of new tricks, both stylistically and in terms of actual narrative.

On the contrary, I feel like I've seen a lot of movies like 10 Cloverfield lane if only in recent years. The facility, with three people trapped in a small enclosed with the mysterious stuff going on space is a basic element of psychological thrillers claustrophobic, especially low-budget or independent productions. (Only in the last half year, there have been 400 days and Air, from the top of the head.) When it comes to the "tense psychological drama in a box" subgenre, also 10 Cloverfield Lane, is mostly content to obey the usual conventions.

That said, there are some fresh / shocking surprises in 10 Cloverfield lane, especially in the last half hour. And this is an elegant example of the thriller claustrophobic genre, in fact, strange mysteries, score brass Bear McCreary and tight, inner creepily address Dan Trachtenberg all reminds me a bit more famous TV Abrams , in a good way. 10 several times while watching Cloverfield lane, I kept thinking, "this could easily be an episode of Lost."

So I think it was a mistake rebranding, a related thriller as it is in some way connected to Cloverfield. And it's hard not to see this as a manifestation of the great weakness of Abrams as creator: Love of sleight of hand and manipulation of public expectations. The title of this film is a ruse, a bad direction, so that prepares you to be surprised when you actually get something that is not even remotely in the same field of clover like that other movie. Sometimes when Abrams plays with the expectations of an audience, it produces unexpected pleasures, but in this case, I feel like backfired, at least for me. I kept hoping things that this film did not comply.

And you know, not everything has to be a franchise. Sometimes a movie can be an independent, and their own thing, that's fine. It makes me sad that the only way they could make people come to see this new film is the brand with the name of a previous stroke.

That's part of why I tell you guys this: I think you'll enjoy Cloverfield lane 10 more if you think about it, instead, as a brand new thriller called Valencia.

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