VHS Tapes, the Juke Box, and Other Tales from the Bunker: A review of 10 Cloverfield Lane

                Dan Trachtenberg’s impressively strong directorial debut “10 Cloverfield Lane” is a genre bending, gripping, psychological thriller.  Dan Trachtenberg has done what few directors have done. He has achieved both critical and box office success with his feature film debut.

                Dan Trachtenberg is not yet a household name but he is no stranger to fans of science fiction. He first rose to prominence with the short film “Portal: No Escape” based on the popular video game.

                Similar to Amblin Entertainment and Steven Spielberg in the 1980’s Bad Robot has used the name of the production company’s owner to market the film. Despite “10 Cloverfield Lane” being heavily marketed as producer J.J. Abrams’ film due to his name recognition this is one hundred percent a Dan Trachtenberg film. Due to commitments associated with directing “Star Wars: The Force Awakens” Mr. Abrams was largely unavailable during production and postproduction on “10 Cloverfield Lane”.

                The comparisons to Amblin Entertainment don’t stop with the marketing campaign. Trachtenberg is a self described Amblin kid citing the early Spielberg classics like “Jaws”, Close Encounters of the Third Kind”, and “Poltergeist” as some of his favorite and most influential movies. You can certainly see those influences in “10 Cloverfield Lane”.

                Like the shark in “Jaws” the threat of monsters attacking and the implication of their existence as opposed to seeing them are used to ratchet up the tension and help propel the plot. Trachtenberg uses strong interpersonal relationships to tell his narrative instead of stunts or effects.

               

          “10 Cloverfield Lane”is not a direct sequel to “Cloverfield” making its viewing not in any way necessary before seeing “10 Cloverfield Lane”. However fans of “Cloverfield” need not fret because they will leave the cinema satisfied too. In an interview with The Verge promoting “10 Cloverfield Lane” Mr. Trachtenberg said, “It’s a spiritual sequel to “Cloverfield”.”

                In the theatrical tradition of a chamber play the majority of “10 Cloverfield Lane” takes place in an underground bunker. Once inside the bunker the audience is immersed in a taught thriller. The practical sets and art design add to the atmosphere and texture of the world created in “10 Cloverfield Lane”.

                 The subterranean bunker exists eerily outside of time. The sets are dressed with details that create a nebulous time that is somewhere between lava lamps and VHS tapes. Despite the detailed and expert art-design the sets still look organic and lived in.

                The bunker is populated by Michelle played by Mary Elizabeth Winstead, Howard played by John Goodman, and Emmett played by John Gallagher Jr. The small cast and claustrophobic location allow for the tension and drama to build like a Hitchcock thriller. Is the danger from the threat of monsters outside the bunker or the all too human monsters within the bunker? Just like a Hitchcock thriller “10 Cloverfield Lane” keeps the audience guessing if its paranoia is warranted or not.

                John Goodman’s chilling portrayal of Howard and his characters dynamic with Michelle create a relationship that is frighteningly like an abusive parent child relationship. Howard thinks he is being loving and protective but his love is frightening and his protection could be lethal. In his performance there is no trace of the loveable Dan Conner. The role he made famous on the hit TV show “Roseanne”.

                                Mary Elizabeth Winstead does a lot of heavy lifting in this film. The role of Michelle requires her to play a myriad of different emotions not to mention she also appears in every scene.  

                “10 Cloverfield Lane” has a creative narrative structure. The narrative ellipse that takes place between Michelle’s car accident in the beginning of the film and her waking up in the bunker allows for the audience to discover things as Michelle does. Due to this narrative device when she is wrong or deceived so is the audience.  

                 “10 Cloverfield Lane” isn’t your typical Hollywood blockbuster. It is a film that is judicious in its use of CGI to great effect. Instead of relying on large elaborate stunts and CGI Dan Trachtenberg expertly uses art design and stellar acting to convey his story. Don’t let the threat of Cloverfield monsters attacking keep you trapped inside your bunker, go see “10 Cloverfield Lane”!

               

Is The Birth of a Nation a Sundance Darling or Wide Release Flop?

                 

                The Birth of a Nations is a period biopic. It is the story of Nat Turner but like most historical melodramas the filmmakers were liberal in their use of artistic license with the narrative. This is not a failure of the film but rather the filmmaker’s choice to value theme and allegory over historical accuracy.

                Nat Turner is an outlier. He is a slave in the antebellum south that can not only read but is allowed to preach. As Nat Turner sees how his preaching helps his people stay enslaved he begins a path that will conclude in leading a slave rebellion.

                In his directorial debut Nate Parker is impressive. The film has already won the Audience Award and Grand Jury Prize in the U.S. Dramatic Competition at the Sundance Film Festival.  This led to The Birth of a Nation being purchased by Fox Searchlight for $17.5 million dollars, a Sundance Film Festival record.

                Nate Parker pulls a Woody Allen and writes, directs, and stars in The Birth of a Nation. If the title sounds familiar don’t confuse this The Birth of a Nation with D.W. Griffith’s historic but highly racist silent film. The title is no accident Nate Parker and the film’s producers purposely reappropriated the title.

                Period films are notoriously expensive. Nate Parker makes use of every bit of his relatively modest $10 million dollar budget. The battle scenes in the final third of the film are well done but one is tantalized by the notion of Nate Parker helming a historical epic with the level of budget a major Hollywood studio could provide.

                The Birth of a Nation is a complete film. It uses all aspects of the medium of motion pictures to convey a story.  

                Expert craftsmanship is on display in The Birth of a Nation. The practical sets, exterior locations, and art design are more impressive and convincing then films utilizing tens of millions of dollars in CGI.  The makeup and lighting departments do an excellent job of making the skin of the slaveholders and those participating in the slave trade pasty and unflattering helping to reflect their cruel and vile nature. 

                Too infrequently the camera itself is not used as a storytelling device in contemporary mainstream American cinema. The Birth of a Nation is not one these films. When Nat’s belief structure begins to be shaken the camera work reflects this.

                Symbolism and allegory are present throughout the film. At one point Nat is literally laid upon a wooden cross and collapses only to later rise up in defiance of his wounds and what the human body seemingly should be able to tolerate.

                The film’s melodrama is used to build archetypes as opposed to furthering plot or story like a soap opera. This Nat Turner is deemed special since birth and with his specialized knowledge he leads his people. These are key aspects of the hero’s journey. The Nat Turner story told in The Birth of a Nation is a mixture of mythology and folklore rather than a rigid historical retelling.

                It is impossible to watch The Birth of a Nation without taking into context that diversity both in front of and behind the camera continues to be an issue in American cinema. Time will tell if Nate Parker will be regarded as an important director but his directorial debut is an important film. Don’t wait for it on cable or Blu-ray The Birth of a Nation deserves to be screened theatrically as the filmmakers intended.