#IN THE DEEP MOVIE SPOILER ENDING KATE DIES MOVIE#
The suspense waiting for that click of the switch is delicious, the payoff a moment of primal movie terror. (If you're prone to motion sickness, incidentally, pop a Dramamine the handheld visuals make the "Bourne" films look like Steadicam work by comparison.)Įventually, some of our fine young mannequins decide to head back uptown to rescue the stranded Beth, which leads to what's easily the film's best and creepiest sequence: a long journey through dark subway tunnels that ends when someone tells Hud to turn on the camera's night-vision. Given any self-respecting monster's attraction to architectural landmarks, this is probably a mistake. The party takes to the roof for a look, then to the streets, then heads for the hills, which in New York means the Brooklyn Bridge. These opening scenes play like a "Gossip Girl" episode without the deep philosophical subtext, but soon enough things start going boom downtown. Hud's been handed the job of videotaping the farewell testimonials, and we keep catching glimpses of earlier footage he's accidentally taping over, of Rob and Beth's blissful day in Coney Island a month earlier. The first 20 minutes of "Cloverfield" take place at Rob's going-away party in an Upper West Side apartment, with some hugger-mugger about his aborted romance with a college friend named Beth (Odette Yustman). Still, casting a familiar face would wreck the movie's this-is-really-happening conceit - it's the gimmick that's the star, and the monster - and the actors' anonymity works for the film. I kept waiting for Scooby-Doo to turn up. They're young, good-looking, generically hip, and played by unknowns who share those qualities. Hud's fleeing for his life with his friends: brothers Rob (Michael Stahl-David) and Jason (Mike Vogel), Jason's girlfriend Lily (Jessica Lucas), and a sardonic friend of Lily's named Marlena (Lizzy Caplan). At first, it's just glimpsed far down the urban canyons, tossing buildings asunder and using the Statue of Liberty's head as a bowling ball. Like any proper peep show, the filmmakers (the real filmmakers, I mean) keep us from getting a good look at it, or its little friends, until near the end. We aren't told where the Giant Thing came from or why it's so mad. It's the first cellphone-ready action flick.
Miller), the film records scenes from a seven-hour attack on Manhattan by a Giant Thing. The math is preposterously easy, actually: "Cloverfield" equals "Godzilla" divided by "The Blair Witch Project." (And if you want to know nothing more before buying a ticket, stop reading right now.) Told solely from the point of view of one digital video camera wielded by one young guy named Hud (T.J. You get scared, you go home, you laugh it off. It's also to New York City and the American psyche what "Godzilla" was to Tokyo: a cinematic fantasy response to unimaginable events. It's a short, efficient, terrifying monster movie, no more and no less.
After months of cryptic trailers and postmodern stealth hype, "Cloverfield" turns out to be almost comforting in its simplicity.
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