Solving jigsaw puzzles begin by picking a piece out of a scattered mess. Each individual piece is conformed to a different shape, each edge retrofitted for another. Making sense of the mind-bender lies both in the making and unmaking of it. Such is the case of Dan Trachtenberg’s feature film debut, 10 Cloverfield Lane, which unboxes itself with uneven pieces, and eventually builds itself as a welcome companion to its sci-fi sibling, 2008’s Cloverfield.
As puzzles go, this film is a work-in-progress: the task of the audience to examine what is there (and not there) is superimposed on the progression of the film. It only advances once the viewer perceives what has been exposed to them. Through Trachtenberg’s direction, interest has already been invested early on, while the film is still shrouded in mystery. The shroud is this: Michelle (Mary Elizabeth Winstead) is rendered unconscious from a car accident. She then wakes up in a room, leg in shackles, and an NSS drip running through her veins. Enter her rescuer and captor, Howard (John Goodman), who explains that Michelle has been rescued, and is inside his underground bunker together with another stranger named Emmett (John Gallagher Jr.). This bunker, as Howard points out, has been built as a retreat from the earth on the surface, which has already been rendered uninhabitable by some catastrophic event. It only takes a few flights of ideas from Howard until Michelle realizes that something is off. What transpires after is an internal tug-of-war for Michelle, as truths are as distorted as the lies inside an underground bunker designed to survive doomsday.
10 Cloverfield Lane is at the forefront silly. The situations upon which its lead female character finds herself in just to make the story work are simply preposterous, almost in a B-movie kind of way. Yet this kind of silly is exercised with such verve and sense of fun, it simply makes up for everything. The tense atmosphere it builds throughout the movie is exceptional – primarily driven by John Goodman’s character, Howard. Goodman paints an interesting depth to an otherwise thin character on paper, layering it with such a nuanced awareness and control that his character’s backstory is the primary key to make the rest of the running time of this movie interesting. And Goodman succeeds. We cling to his every word, his every action, and even laugh at some. The film never forgets to address its silliness through humor, as if in self-deprecation, which works tremendously as a peppered complement to its main course of nerve-wracking moments.
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The minor quibble of this film surfaces at the end, quite literally. Once the audience has pieced together everything, the film adds something for good measure to establish its context in relation to its companion, Cloverfield. What happens in its final act is more of a nod to science-fiction films, indulging itself further to an established silliness. It may seem unnecessary, and maybe it is. Yet the fun goes with it. For what it is worth, Winstead’s character has already undergone so much at this point, it is hard to stifle a giggle. And that is part of the intended entertainment. The entertainment in this film also (fortunately) means no shaky camera work, as in its older sibling.
10 Cloverfield Lane is a play of misfit pieces. On the one hand, it is tense and nerve-wracking; the high-strung exposition of its mystery allows no dull moment. On the other, it is also campy and does not forget to have fun. It excels both as a psychological thriller and as a film of the genre. As such, it so ends with still a few more questions left unanswered. A fun puzzle to assemble, 10 Cloverfield Lane is indeed more than the sum of its parts – one can make sense of (and marvel at) the bigger picture, despite a few jigsaw pieces missing.
https://www.youtube.com/watch?v=yQy-ANhnUpE
