REVIEW: 10 Cloverfield Lane

26 03 2016

I scarcely remember anything that happened in 2008’s “Cloverfield,” though I will never forget the nausea-inducing vertigo its constant shaky-cam gave me. I have a vague recollection of seeing the monster at the end (sorry if that spoiled something for anyone) and some kind of government cover-up of the whole thing. In other words, nothing had me clamoring for a sequel or offshoot.

Yet along comes “10 Cloverfield Lane,” directed by Dan Trachtenberg, written (to some extent) by “Whiplash” wunderkind Damien Chazelle and presumptively overseen by producer J.J. Abrams – and all of a sudden, they showed me that I did not know what I wanted. How refreshing to see a brand extension that serves as a brand revitalization. Rather than relying on the formula, mythology or beats of its predecessor, this bold new path in what now is supposedly a franchise delivers exactly what we need by giving us nothing we expected.

Most people remember “Cloverfield” chiefly for its marketing campaign. “10 Cloverfield Lane” arrived like Adele’s “25,” a teaser out of nowhere with the full product dropping shortly after. Ironically, the lead-up hardly presaged the experience. While the anticipation “Cloverfield” ultimately revealed thin substance, the somewhat muted hype machine surrounding “10 Cloverfield Lane” was only scratching the surface of the film’s tremendous impact. Trachtenberg’s film is like a master-class in suspense building, expertly and tautly edited to ratchet up the heat in every scene until it reaches a boiling point. In many ways, it could not be more different from “Cloverfield,” whose verité live video style relied on overwhelming the senses to communicate urgency and danger.

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REVIEW: Short Term 12

14 03 2015

Short Term 12“Look into my eyes so you know what it’s like, to live a life not knowing what a normal life’s like,” raps Keith Stanfield as Marcus in “Short Term 12.”  The musical moment occurs early on in the film, so the mood of momentarily subdued hopelessness is well established.  But his vulnerable profession of pain still feels like it comes out of nowhere, blindsiding us and leaving an aching bruise on our heart.

Writer/director Destin Cretton derived the film from his own experiences working in a home for troubled teens, so the scenes portraying the residents of the short term living facility are the most vividly realized.  They possess a potent, palpable authenticity that is rare to encounter outside of documentary film.  The kids do not come across as characters wandering around inside a story – they feel like people who happened to step in front of the lens.

“Short Term 12” would be a compelling enough film had it just focused on the backstories of the teenagers and what led them to the home, but that does not exactly lend itself handily to the narrative form.  Thus, to tie all the elements together, Cretton introduces Brie Larson as the home’s supervisor, Grace, into the script.

Larson is phenomenal in the role, bringing equal parts heart and grit to the table.  But the problem is, the rest of “Short Term 12” just lies on an entirely different level as her.  Everyone else appears to be inhabiting and living; Larson, unavoidably, always has to act.  They are authentic, while she is honest – two modes that are closely related but not quite synonymous.

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