Ever Since Norman Bates’ family issues were worked out onscreen in Psycho back in the 1960s the humble motel room has become a staple of the horror/thriller genre. The notion of being stranded in the middle of nowhere and having to stay in a strange and lets face it, usually rather grotty room surrounded by strangers is a familiar one and it’s a formula that Vacancy takes full advantage of.
Kate Beckinsale and Luke Wilson play a bickering couple whose relationship has fallen apart since the death of their son. Driving home one night their car breaks down, forcing them to stay in aforementioned creepy hotel. The film then quickly ticks off the appropriate genre boxes of dodgy gas station attendant, creepy receptionist guy and unsettling room which makes you feel that the couple would be better suited sleeping in their car. Or in the middle of the forest surrounded by poisonous snakes for that matter.
Still making the best of a bad situation they decide to see the night out, through this we find out more about the couples past which is quite effectively done, both actors play it well and Wilson in particularly impresses, managing to shake most of his typical comedy stylings for the role. Things turn bad though when they, for no particular reason, decide to check out the rooms supply of video tapes, all of which show couple being tortured and killed in the very room they are watching the videos from.
From the here the tensions ranks up the film enters its most effective section. There are some genuinely tense and scary moments as the room comes under attack and they have to find ways of escaping. However it soon becomes apparent that the filmmakers’ bag of tricks is quickly exhumed, simple nagging logic questions start to raise in the mind, and the believability slips. Unfortunately this is a state that continues to the end as the situation gets more fantastical, the lynchpin moment when you sense it all fall apart comes about an hour in where, separated and alone Kate Beckinsale’s character decided to lie down and have a nap in the ventilation duct while her husband is missing and there are people out to kill her. Seriously.
It’s a shame though that what could have been a taught little thriller so frequently gives in to these dramatic devices that pull you out of the moment, and with underdeveloped bad guys with no clear motivation it is merely the attachment to the main couple that pulls you through. Still even this is not enough to save the film at the end of the day, and whilst is not a terrible film by any means, it is one that fails to live up to its effective, if derivative, opening half hour.
A mish mash of horror cliché’s that never quite gel, the tension filled opening impresses but even with the short runtime this feels stretched out beyond credibility leaving it a bit of a mess. A shame.
From the online buzz alone Cloverfield has found itself one of the most talked about movies of the year, that it is a relatively high budget monster movie being released in January makes it fairly unique from the off. Masquerading as found footage from a real; life event the film takes place solely from the point of view of a video camera, placed smack bang in the middle of an epic disaster movie, through much the of films uninterrupted takes and continued filming we follow a rag tag bunch of New Yorkers as the city comes under attack from an unknown creature, then as they venture back into the city to rescue one of their friends who lies trapped. It’s a simple premise and yet the way in which Cloverfield is presented and crafted makes it unique, the natural result of societies obsession with reality TV the film managed to perfectly capture the atmosphere of terror and confusion, all the while delivering big screen spectacle and characters you actually care about.
The opening sections of the film are cleverly constructed, we follow the camera around a party for Rob (Michael Stahl-David), who is about to leave for a new job in Japan. Whilst at the party the camera is shifted to his best friend Hud (a sly nod to the Heads Up Display found in most computer game first person screens). Hud becomes the narrator and the audiences eyes and ears for the remainder of the film, so it’s a relief to find that he is a good host, funny, sarcastic and loyal and perfectly suited to the job of cameraman. Within the party setting we get a good build up of the characters in the film and their relationships, it is a perfectly crafted section that manages to be realistic and believable and also very engaging, so much so that you get caught up in the drama, the nature of the film becomes forgotten, so that when the proverbial starts to hit the fan, it is all the more jarring and unnatural. Of course once things go wrong they just don’t stop, from the moment an explosion is seen in the downtown area to the end the film rarely lets up, creating one great set piece after another, keeping it all feeling fresh though the use of the video camera POV. Unlike typical monster movies we don’t know exactly what is going on, snippets of news reports and conversations hint at a wider problem but largely our knowledge is limited to that of the characters, something that makes it all the more terrifying and tense.
Visually the film is stunning, the rough and ready filming approach can jar a little, those with motion sickness may not want to sit too close to the screen, but there is always just enough shown in order to get your barings, and first time director Matt Reeves shows he has a great eye for the little details, just showing you glimpses and eventually more and more of the creature as the film progresses. The way these digital effects are blended into the handheld footage is nothing short of astonishing and is so successful at creating a believable and plausible story. Nothing in the film takes you out of the world that has been created and largely works so well because of the immersive nature of the visual effects. The acting too is impressive, often such films are let down by unbelievable performances but here all the relatively unknown actors inhabit their characters perfectly creating a genuine bond. They seem real and human, and also like they are good friends, which makes sitting through the events of the film with them enjoyable but also nerve wracking.
Overall Cloverfield is a massive success, its desire to re-imagine the monster movie for the you tube generation works, the execution is grand and unique and more than any other film experience of recent times it leaves you breathless and on edge. Its short runtime is evidence that you can craft a well honed and effective story in under 2 hours and its faithfulness to its characters help it resonate long after your senses have recovered.
Masterfully crafted and knowing Cloverfield revives the monster movie for the 21st century creating an immersive and powerful story with well crafted characters. The first blockbuster of the year and rightfully so.
