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CLOVERFIELD

Because I was still a little sore from the Yankees / Phillies series, I decided to spend some time this weekend watching movies where New York gets demolished. A bit childish perhaps but still... Of the four I watched, only CLOVERFIELD, the J.J. Abrams-produced, Mark Reeves-directed monsterfest was any good. CLOVERFIELD tells a simple story - giant monsters comes out of the ocean, trashes city, gets carpet-bombed - in a not-so-simple way. Like CANNIBAL HOLOCAUST and, more importantly, THE BLAIR WITCH PROJECT before it, CLOVERFIELD is shot using a single camera, it's operator a participant in the madness of the narrative.

This pseudo-documentary construction has led to as many "boo"s as "yay"s. The most common complaint I have heard lobbed at the film has to do with the fact that someone in the midst of chaos would never keep filming it. Common sense would tell us that the sensible thing to do would be to drop the camera and take off running. Obviously those people complaining about the film's presentation have never logged on to YouTube to watch similar feats of amateur journalism. The natural tendency, it seems, is to capture the moment. How else would you explain so many people filming collapsing buildings, fist fights, shootings, muggings, car chases, alleged monster and UFO sightings, etc, etc, etc? When the terrorist attacks of September 11th occurred, two French filmmakers were in New York filming a documentary about New York firefighters. Their cameras didn't stop rolling when the planes hit the towers, even when they were separated, each one thinking the other was dead or injured.

So I refute this criticism of the film. It also seems like a rather stupid line of attack to take. If no one was filming the plight of our four heros, there would be no movie! Of course, Abrams and Reeves could have filmed the story in the typical manner of shooting movies but then CLOVERFIELD would have simply been a retread of GODZILLA. The use of a first person camera perspective helps CLOVERFIELD stand out from the crowd.

And stand out it does. No matter how loopy or incredulous the film gets, it is still a blast. Though it is hair-pullingly frustrating waiting for the shit to hit the fan, once it does the film barely stops to catch it's breath. Without conventional editing at his disposal, Reeves uses the setting to create tension and suspense. There are several moments here that are genuinely brilliant. The characters unknowingly wandering right into the monster's path only to have to jump for cover a split second later when the military men open fire, a nauseating trek over the rooftop of a partially collapsed building and - in the film's best scene - an attack in a subway tunnel. All of these scenes are terribly exciting and pulled off with great skill.

I'm a man of simple tastes. A movie that tosses around effects like confetti generally doesn't hold my interest. When the computer generated effects draw attention to themselves, I feel like screaming. And when those computer generated effects are poorly done - ie, the eyeball splatter gag in DRAG ME TO HELL - the film definitely suffers because of it. So I was surprised at how much I enjoyed CLOVERFIELD. Not only is the monster computer generated but the vast majority of EVERYTHING in the film is computer generated, wholly or partially, and it's a testament to the skill of the filmmakers that the partial effects - wreckage on the streets, sky lines, etc. - are barely noticeable and the major effects fit seamlessly into the world of the film. I'm rarely convinced by these kinds of tricks but CLOVERFIELD, using it's POV frame as skillful cover, sells it so well that I was immersed in the story at every turn. Kudos to Reeves and crew for that.

I have absolutely nothing bad to say about CLOVERFIELD. In fact, I don't agree with a single complaint leveled at the film since it's release. I think it is a perfect film. I wouldn't say it's one of my favorites or even the best of it's kind but I think, in terms of execution, there are no flaws to be found.

Highly recommended.