Movie Review: “10 Cloverfield Lane”

Mary Elizabeth Winstead, John Goodman, John Gallagher Jr.
Dan Trachtenberg

The 2008 found footage movie, “Cloverfield,” showcased producer J.J. Abrams at his secretive best, flying completely under the radar until the mysterious release of its buzzworthy teaser. No one imagined that Abrams could pull off the same trick again, yet that’s exactly what he’s done with the intriguingly titled “10 Cloverfield Lane,” this time with the whole world watching. It was an ingenious but risky marketing stunt for a movie scheduled to hit theaters only eight weeks after the surprise announcement, and it worked like a charm. While the film will undoubtedly frustrate those expecting any sort of substantial connection to its namesake, “10 Cloverfield Lane” is a well-crafted thriller that deserves the added exposure its title brings, even if that affiliation threatens to overshadow the story itself.

The movie opens on a young woman named Michelle (Mary Elizabeth Winstead) as she frantically packs a suitcase with some clothes and personal belongings before leaving town to escape a toxic relationship. While driving through the night, Michelle is blind-sided by a truck and knocked unconscious, eventually waking to find herself chained to a wall and treated for her injuries. Michelle immediately fears the worst, but her captor Howard (John Goodman) insists that he saved her life by pulling her from the wreckage and then bringing her back to his fallout shelter following some kind of massive chemical attack that has rendered the outside world uninhabitable. Though Michelle is understandably skeptical of the slightly deranged Howard, she’s able to corroborate his story with Emmett (John Gallagher Jr.), a good-natured construction worker who broke his arm while fighting his way into the bunker. Forced to accept the possibility that Howard’s nutty conspiracy theory might actually be true, Michelle can’t shake the feeling that he’s still hiding something.

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The Light from the TV Shows: HBO’s “The Newsroom” is unabashedly Sorkin-esque…which is a good thing

It’s arguably the laziest possible comparison to suggest that Aaron Sorkin’s new HBO series, “The Newsroom,” comes across like “Sports Night” and “Studio 60 on the Sunset Strip” fused with “The West Wing.”

With that said, however, it’s also hard to deny the inherent accuracy of such a statement, given that it’s a series that takes place behind the scenes of a television program, except rather than sports or comedy, the predominant thrust of the program is politics. Plus, it’s full of bombastic speeches, rapid patter, romantic comedy, and – oh, yes – more than a few walk-and-talks.

In a nutshell, “The Newsroom” is about as Sorkin-esque as anyone could possibly hope for his return to television to be. This, of course, opens a whole other can of worms…but we’ll get to that.

“The Newsroom” begins by introducing newsman Will McAvoy, played by Jeff Daniels, as he sits on a political discussion panel in a college auditorium, and although it’s basically a blind introduction which offers us nothing about his career, we can already tell from his responses that whatever talents he once had as a newsman have been supplanted by a desire to play it safe. It’s also a bit of a given that, in short order, he’s going to give an answer that causes him to break out of his rut, but it’s a testament to Sorkin’s writing and directing that, when it does finally happen, it still manages to feel pretty damned inspirational.

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