Film Illiterate, wherein the proprietor records movies seen, and sporadic progress through assorted lists of the "best". Originally started after regretfully renting something forgettable for the third time. I've forgotten what, but never again! A tedious endeavour since 2005. Hello. 🙂
Most monster movies are divided into roughly two parts: exciting action, as our heroes run around, desperately trying to either escape or defeat the beast(s); and explanation, where it's made painfully clear that the giant lemur is the result of nuclear proliferation, high-fructose corn syrup or another of man's sins. It can only be vanquished by the unconditional love of an innocent child.
Cloverfield dispenses with the second part entirely. There's no resolution, no meaning; it's just a hollow shell made of pure, visceral experience. Much of the criticism directed towards the film has focused on the appropriately-named queasy-cam, held in the story by Hud (T.J. Miller), who is filming a home movie when the monster attacks. Motion sickness aside, it's extremely effective. It feels real; it feels like you're really there.
Hud is at the going-away party for his best friend Rob (Michael Stahl-David), with others including Rob's brother Jason (Mike Vogel) and Jason's girlfriend Lily (Jessica Lucas). When the city is attacked, Rob insists on heading uptown, towards his trapped girlfriend Beth (Odette Yustman) -- and the creature.
Those American critics not taking the film to task for its cinematography have attacked it for appropriating the imagery of September 11, from the minor (smoke clouds) to the egregious (a twin-towered apartment block, one side toppling in towards the other). I'm inclined to be more forgiving: other than the most blatant allusions, Cloverfield seems more interested in the imagery of Godzilla, War of the Worlds and all the rest. If the panicking crowds beset by unimaginable horror are so redolent of the real thing as to cause offence, so much more to the filmmakers' credit.
Unambitious, and imperfect even within those modest bounds, but outstanding for what it is.