10 Cloverfield Lane (2016)

10cloverfieldlane_2016_poster
10 Cloverfield Lane (2016)
  • Time: 105 min
  • Genre: Drama | Mystery | Sci-Fi
  • Director: Dan Trachtenberg
  • Cast: Mary Elizabeth Winstead, John Goodman, John Gallagher Jr.

Storyline:

After getting in a car accident, a woman is held in a shelter by two men, who claim the outside world is affected by a widespread chemical attack.

8 reviews

  • 10 CLOVERFIELD LANE is unlike other films of its genre because it’s a different kind of horror. It’s a suspenseful, nail-biting, edge-of-your-seat fast paced thriller that leaves audiences with an unforgettable experience. This film is truly terrifying because it works on a whole new spectrum of fear, constantly reinventing the horror genre. It’s a film you will appreciate and respect when you leave the theater and trust me, you can’t say that for many horror films. It’s hands down one of the best follow-up films I’ve ever seen in an age where prequels, sequels, and remakes have become the norm.

    A woman (Mary Elizabeth Winstead) discovers the horrifying truth about the outside world while living in an underground shelter with two men (John Goodman, John Gallagher Jr.).

    A few months ago, no one expected to see a follow-up trailer of the hit 2008 film, Cloverfield. However, producer and legendary director J.J. Abrams worked his magic in the dark, crafting this film in secret. “We wanted to make it a blood relative of Cloverfield.” – J.J. Abrams.

    The events that unfold in this film are consistently entertaining and always unpredictable. Especially the continuous plot-twists, which plunges the narrative into a darker reality. I couldn’t keep my eyes off the screen from start to finish. The only time I took my eyes off the screen were very briefly to whisper to my friend sitting next to me how insanely great this film was.

    This is the first feature film directed by Dan Trachtenberg, and what an exceptional job he did at reintroducing the universe of Cloverfield in a completely new light. It’s not the same shaky-cam handheld footage we witnessed in the first film (although it gives homage to that style near the end). Although that filmmaking style brought us closer to the characters, Trachtenberg’s filmmaking divergence from what Cloverfield is known for worked in favor for this film. Trachtenberg must be extolled for his breakthrough directing. He focuses on the tiniest details like a bottle of alcohol or a wedding ring which plays a vital role in the infrastructure of the plot. For a fresh director, he seems extremely seasoned. I imagine that he received some invaluable advice from his producer, J.J. Abrams.

    The cast only consisted of three main characters, played by the talented Mary Elizabeth Winstead, John Goodman, and John Gallagher, Jr. Three characters are a perfect amount for this film because it allows us to better connect with them, and watch their character progression. 10 Cloverfield Lane contains a beautiful score that enhances the character’s emotional journey, a truly dark and terrifying narrative, fluid editing style, startling performances by each actor, fresh direction and directing, and so on. The list does not end.

    The cast did such a marvelous job bringing their characters to life, and when I mean marvelous, I mean that they’re performances will blow you out of the water. Especially, John Goodman, who (without giving away too many details) brings so much darkness and depth to this narrative. What I loved most about 10 Cloverfield Lane was how powerful the main protagonist was from beginning to end. She’s constantly faced with seemingly insurmountable obstacles (especially during the ending sequence), but always manages to use her brain to find a solution.

    Anything and everything you could ever want to see from a follow-up film of Cloverfield is found within 10 Cloverfield Lane. For fans of the original film, to fresh eyes entering the Cloverfield universe for the first time, this is a well-crafted unique experience that all can enjoy. This is the type of film that leaves you feeling satisfied, and craving more at the same time. It’s a memorable experience and a great accomplishment. It’s films like 10 Cloverfield Lane that remind me of why I love cinema so much, and hopefully, when you witness it, you’ll also fall in love.

  • Just because you’re paranoid doesn’t mean the threat isn’t real. That’s the theme of this film.
    The point is made by our visceral experience as much as by any analysis. The film is one fright, dread, shock, surprise, after another. We’re so exhausted at the end that we feel the emotional draining the Greeks expected of their tragedies — catharsis. We leave “calm of mind, all passion spent.” We feel the validation of paranoia as much as we read it in the film.
    The reality of fear makes this a very contemporary work. The US election is propelled by fear and its exploiters. So are the major flashpoints in world politics.
    Hence the main characters. Howard is a brilliant technician, up on science and construction, but madly driven by conspiracy theory and survivalism. On his sanity we go back and forth. Is his fear justified or is he inventing the apocalypse in order to control his two captives?
    Michelle is the particularly contemporary hero: a newly independent woman who grows into asserting herself. In the opening scene she leaves her boyfriend Ben. The car crash ends her independence. When she awakens after the accident she — and we — expect her sexual enslavement. Is this Son of Room?
    Instead she serves Howard’s need for a daughter figure. For all his powers Howard is a figure of impotence, averse to sexuality. In their word-guessing game he only thinks of Michelle as a girl or a princess, not a woman. Unlike the earlier captive, the girl Howard abducted and finally killed, Michelle survives by turning Howard’s vat of acid against him. Later, when she fights off and destroys the vagina dentata monster from outer space, Michelle assumes the power and authority of the Sigourney Weaver heroine of Alien.
    The fusion of earthly danger and sci-fi is especially significant here. When Michelle first breathes the safe outside air after her escape we share her relief — and her sense that she had been duped by Howard and his mad paranoia. For all his savvy he is a control freak and a lunatic.
    The extra-terrestrial’s attack proves Howard’s mad theory was right after all. He’s still a control freak, conspiracy theorist and brilliant madman. But he’s defeated by the resourceful and newly assertive woman, who is the true hero for our times.
    When Michelle and Emmett recall their regrets they both reveal their failure to have acted when they needed to. Emmett chickened out of going off to college on his track scholarship, resigning himself to a small life within a 40-mile radius. Michelle still feels guilty for not having interceded when she saw a man bully and punish his little daughter (as her father had abused her). Seeing Howard kill Emmett hardens Michelle’s resolve not to fail to act this time.
    Howard says he regrets nothing because he says he has done everything he wanted to. That denies his failure to have turned a captive girl into a daughter. But he has built that bunker. Taken together, the trio represent the two good people who having once failed to act surrendered the field to evil — and they won’t do that now.
    Michelle escapes and kills Howard, then blows up the alien. But for all her new found courage, strength and resourcefulness, her last decision poses a conundrum. On the radio she hears a call for survivors to come help out at the hospitals in Baton Rouge. Instead of heading there, though, she turns left toward Houston. Is she reverting to her earlier instinct not to get involved in others’ suffering or is she instead heading off to her new independence and survival?
    That’s something to debate when we’ve recovered from this film’s emotional and frightful ride.

  • Quickie Review:

    After a car accident Michelle (Mary Elizabeth Winstead) finds herself in a bunker with two other men Howard (John Goodman) and Emmett (John Gallagher Jr.). They claim that the world is under attack and the bunker is the only way they can survive. As the days go by, Michelle realises that everything she’s been told may not be true. 10 Cloverfield Lane is one of the most engaging films I’ve seen in a long time. The story is told by just three characters in a bunker, but had more to say about humanity than some epic dramas. This was possible due to the strong performances, and a story that treated its audience as intelligent viewers. This is a fresh new film that is bound to bring you some great thrills and chills.

    Full Review:

    I can’t remember the last time I went to the cinema and not know what to expect from a movie. 10 Cloverfield Lane was so shrouded in mystery that we didn’t even know it existed till two months ago. The trailers showed a tension filled thriller set in a bunker, but the strong performances by the cast brought so much more to this simple concept.

    The entire movie is based around just three characters Howard, Michelle, and Emmett. So in essence the success and failure of the movie rests on their shoulders. Thankfully they carry the film with ease. Howard is perhaps one of the most terrifying characters in a movie in recent memory. He exhibits all the traits of an abuser, mentally unhinged, making others depend on him, while at the same threatening their safety, and completely convinced that his actions are justified. Gallagher Jr. brought a sense of security through his charm and humour. So he was able to balance out some of the tension built by Goodman. Lastly Winstead’s character was crucial, as she was our eyes into the story. We gain new information through her, so when she is frightened or feels safe, we go through the same roller coaster with her. Unlike some other thrillers, there was not a single moment where I felt like screaming at the character for doing something stupid. In that sense Winstead portrayed a very strong and smart character.

    What I truly appreciate about the movie is that nothing is spoon-fed to us. There are hints here and there that potentially reveal the true intentions of a character, but you can’t know for sure. One moment you think you know the truth about someone, but then another piece of evidence could pop up that completely contradicts what you’ve learnt. This sense of uncertainty was perfectly captured in Winstead’s performance, as a result you as the audience don’t know what to believe. You are kept on edge for the whole movie.

    Some of you who have seen the 2008 Cloverfield may be wondering what ties these movies together. I don’t want to go into any spoiler territory, so I’ll keep it short. This is not a direct sequel or a prequel, the best I can say is that it’s a ‘sidequel.’ By which I mean it carries the spirit of the original by having an aspect of the unknown. Yet, the focus of the movie is very much on the humans. That ‘unknown’ is just means to have these people in a bunker to tell a story about human nature. The link between the two movies is very weak, which does make it fun to speculate with friends later.

    10 Cloverfield Lane is an excellent a movie by a first time director Dan Trachtenberg, and I can’t wait to see his future projects. The strong performances by the cast brought weight to this small scale thriller. This movie explores the idea that humans can be just as terrifying as any monster that lurks in the dark.

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  • (RATING: ☆☆☆☆ out of 5)

    THIS FILM IS RECOMMENDED.

    IN BRIEF: A sequel that has its own life, 10 Cloverfield Lane is a nifty little thriller.
     
    GRADE: B

    SYNOPSIS: Trapped inside a bunker with strangers, an injured woman must decide which is the safer place for her.

    JIM’S REVIEW: Less is more, especially when trying to solve a mystery. The fun is in unraveling the clues and following them to their logical conclusion. (It was Colonel Mustard, in the Conservatory, with a Candlestick.) No spoilers here! The less you know about the plot of 10 Cloverfield Lane, the more enjoyment you will have in this classic detective game.

    With that in mind, I will only expose the set-up. Three characters are hold up in a bunker with the threat of world annihilation above. But is that really the case? Is the evil within or just out of reach? Which haven is the safer choice?

    John Goodman plays Howard, the unhinged (or completely sane) master of the house. Mary Elizabeth Winstead is Michelle, his guest (or prisoner). It is essentially a two-character drama as tensions mount between them. John Gallagher, Jr., in a smaller role, plays Emmitt, the third party in this match-up.

    Under Dan Trachtenberg’s astute direction, all of the actors are solid. Their give-and-take with the characters pays off convincingly. The film mashes up the sci-fi genre with the mystery quite nicely. The damsel-in distress moments build to a frenzied and taut survival lesson, with some unexpected twists and turns along the way. Credit the creative screenplay by a trio of talented writers, Josh Campbell, Matt Stuecken, and Damien Chazelle. Their script wisely stays focused on the personal level between the characters and their apocalyptic dilemmas. The claustrophobic elements are front and center and add to the suspense, as does Stefan Grube’s editing. Ramsey Avery’s set-piece provides some wonderful insightful touches (and clues) in its home-sweet-home faux-feel.

    Like all mystery thrillers, the ending will either satisfy you or not, depending on how much you have personally invested in this charade and the believability in the film’s narrative. (I was fine with the ending and found it did fulfill my expectations, with a few questions still unanswered, but then I am a stickler for logical sense in my thrillers.) 10 Cloverfield Lane combines all the attributes we require from psychological thrillers, sci-fi films, and horror stories quite efficiently which makes the film creepy fun.

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  • Like Academy Award winner Brie Larson, Mary Elizabeth Winstead acts brilliantly with her eyes. In 10 Cloverfield Lane (my latest review), she portrays the quintessential, astute heroine. Winstead channels fear, dread, and discomfort like nobody’s business. And being the only good commodity in 2011’s prequel The Thing, she’s now the best commodity in “Lane” (2016’s most beguiling surprise).

    Produced by J.J. Abrams, taking place in Louisiana, showcasing a soundtrack fastened with 60’s radio hits, and having all of its plot points intricately put into their rightful places, 10 Cloverfield Lane is nifty not to mention wholly original. A majority of its running time is in enclosed spaces (agoraphobics need not worry). In terms of its final act, well “Lane” has a quota of squirmy, alien fare. The CGI and special effects are decent but may just be for show. You will for the most part, be more enamored by what you didn’t see on the outside (the first 90 minutes are what I like to call the violence in the mind).

    Anyway, the film with only 4 characters visible on screen, is a genre piece tested purely in psychological thrills and chills. On the surface, its structure as a sequel (to 2008’s more big-budgeted Cloverfield) feels a lot like direct-to-video. Thankfully that never ends up being the case. And rightfully, “Lane” isn’t a follow-up that continues the whole found footage BS.

    The story begins with an outlined car crash scene so loud, so instinctive, and so unexpected, it might just make you flip out of your seat. In said crash is thirtysomething Michelle (played by Mary Winstead). Michelle has just broken off her engagement to her boyfriend Ben (voiced by Bradley Cooper). After leaving his ring and keys to his apartment on the dining room table, she drives away to someplace north of the Bayou State. A mystery motorist hits her from the back, Michelle’s car spins out of control, and she ends up in a ditch. When she awakens, she finds herself confined to an underground shelter owned by a short-tempered man named Howard Stambler (played by John Goodman). Howard has either abducted her or wants to keep her alive from an unknown, extraterrestrial/nuclear attack. Unsure of his motivations (Howie is a little rattled, a little threatening, and socially inept), Michelle vows to escape anyway even though Goodman’s trouper thinks the air outside is unbreathable. She attempts this with the help of another young soul in confinement (the naive Emmett Dewitt played by John Gallagher, Jr.). Some online critics have compared 10 Cloverfield Lane to last year’s Academy Award winner, Room. If that’s the case then heck, sign me up.

    Now “Lane” with its bedazzling score, its claustrophobic setting eliminating plenty of storyline holes, and its 1950’s bunker overtones, is an effectual, nerve-shredding thriller. It evokes Hitchcock, The Twilight Zone, and doesn’t need extra images of monsters to invigorate you, the viewer. Having seen Cloverfield, I didn’t get much of a connection between that shaky camera vehicle and the new, supposed successor. No matter. 10 Cloverfield Lane stands on its own with three great performances (the creepy John Goodman, Winstead, and the affable John Gallagher, Jr.), a sense of disquiet that exists in the gray matter, and direction by rookie Dan Trachtenberg that feels like seasoned veteran stuff. The ending which I won’t reveal, contains a level of badassery (not to mention an inkling of hope). It will make you pump your fist and feel a sense of wonderment all at the same time. My rating: 3 and a half stars.

    Note: If you haven’t seen “Lane” yet, brace yourself. This might sound a little weird. There’s a slight homage to the 1986 flick, Pretty in Pink (yup). In that 80’s relic, Molly Ringwald is an aspiring designer of clothes. She draws up attire patterns with pencils and paper. In 10 Cloverfield Lane, Winstead’s Michelle does the exact same thing. She tries to design a space suit in case she escapes the isolated, underground bunker (small spoiler). Oh and look for a scene where John Goodman’s Howard actually watches “Pink” on VHS. All hail Harry Dean Stanton (ha).

    Rating: 3.5 out of 4 stars

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  • A woman departs, leaving behind her engagement ring. On the road to a new chapter in her life, she takes a call from her boyfriend, who pleads with her to return. She drives on in the night, stopping at a gas station. A car drives up, there’s a sense of danger but nothing comes to pass. Moments later, she’s driven off the road by a speeding pick-up truck.

    When she awakens, she finds herself chained up in a basement bunker. Her captor declares himself her saviour. There’s been an attack, he reveals, and the fallout has rendered the atmosphere toxic. Leave the shelter and she dies. Another survivor, a young man who is the man’s neighbour, attests that he himself witnessed the flash of light that was a prelude to the catastrophe. Was there an attack? Is her rescuer telling the truth? Or is she the latest victim of her captor’s sinister plan? The young man is Emmett (John Gallagher, Jr.), the woman is Michelle (Mary Elizabeth Winstead), the man in the bunker is Howard (John Goodman), and the film is 10 Cloverfield Lane.

    The title is deliberate. Producer J.J. Abrams has described the film as a “blood relative” to Matt Reeves’ 2008 found-footage monster film, a hit which Abrams also produced. Indeed, 10 Cloverfield Lane is more kindred spirit than literal sequel, capable of standing on its own to welcome newcomers but containing enough connective tissue to its predecessor to please the fans. If nothing else, 10 Cloverfield Lane is a clever way to continue and expand a franchise.

    10 Cloverfield Lane does not straitjacket itself to the found-footage methodology of its predecessor, but it does shackle itself with something far more challenging. The premise is so simple that there is nowhere to hide. Save for the first and last five minutes, the movie takes place in the bunker which, given Howard’s care in making it as homey as possible, is a fairly fine place to wait out the alleged apocalypse. Yet it also induces claustrophobic tension as Michelle wavers between accepting Howard’s version of events and suspecting that all is not as it appears. The filmmakers (director Dan Trachtenberg and screenwriters Josh Campbell, Matthew Stuecken and Damien Chazelle) do an especially good job of executing the reveals. Is the photograph Howard shares with Michelle truly that of his daughter? Or is it of a girl who went missing years ago? What of the word “Help” scratched upon the windowpane?

    Winstead makes for a resourceful and relatable heroine, though those who favour their heroines with an inner life may find Michelle lacking. The real star is Goodman, an always valuable actor who crafts an all-too-human monster. Like Anthony Perkins in Psycho, Goodman utilises his appearance and physicality to misdirect. [In many respects, 10 Cloverfield Lane functions as a variation of Marion Crane’s fateful encounter with Norman Bates in Psycho.] Howard intimidates by virtue of his commanding girth and menacing hospitality in the same way Norman disarms with his country boy looks and slight build. Yet Goodman also conveys that there lies beneath the monster a likable man of reason who might have just let his paranoia get the better of him.

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  • “It’s amazing, you people.. You wear helmets when you ride your bikes, you have seat-belts, you have alarm systems to protect your homes. But what do you do when those alarms go off?”

    The biggest mistake the creators of this psychological thriller with a bit of SF made, was to give it the title “10 Cloverfield Lane”. Those who expect a sequel to the excellent movie “Cloverfield” (one of the best found footage films for me) will feel they’ve been cheated on. Those who hope this film has nothing to do with it and assume the chosen title is purely a commercial decision, will ultimately be disappointed. “10 Cloverfield lane” is without doubt the most difficult film to write an opinion about, because revealing too much isn’t fair to those who still want to see it. I know now that I’m going to store a battery Molotov cocktails in my basement, because seemingly these are the most ridiculous but also most effective defense weapons against … uh … lets just say opponents.

    So don’t keep your hopes up for some nerve-wracking action or a destructive, huge monster that turns a metropolis into ruins. The whole film takes place in a kind of bomb shelter with limited space. It was patiently designed by Howard (John Goodman) who subsequently also provided all the necessary facilities to survive any doomsday scenario he made-up. Howard is a former Marine and has been preparing himself for the end of the world for years already. And that’s what Michelle (Mary Elizabeth Winstead) is told when she regains consciousness in Howard’s bunker. The world is ruined after some apocalyptic attack and the air is contaminated. She’s chained to the wall, so she’s convinced she’s being kidnapped. Howard on the other hand, claims that she had a car accident and he took care of her and thus saved her life. After she hears the same story told by Emmett (John Gallagher Jr.), another survivor who helped building this bunker, she’s back at ease.

    What follows is a psychological thriller full of suspicion and doubt. The limited space ensures for an oppressive feeling. It’s better people with claustrophobia avoid this film. Constantly you’re wondering if it’s true about the attack or not. Or is Howard simply a psychopathic madman who came up with this fake story. Repeatedly you’re put on the wrong track. So the plausibility of each option always changes. The most praiseworthy part of this film is the acting of John Goodman. Admittedly I think Goodman is one hell of an actor who gives shape to his character in a natural way. Whether he’s an unscrupulous loan shark as in “The Gambler” or plays an eccentric drug dealer as in “Flight”. Every time it seems as if Goodman was born for the part. The same is true for this movie. On the one hand Howard seems to be a pleasant chubby man with a somewhat neurotic side which makes him a fatalist. On the other hand there’s a veil of secrecy hanging around him and he has a paranoid attitude. It looks as if he has different plans with his guests. In those moments he’s terrifying. The growing distrust between the main characters is portrayed in a fantastic way and it’s extremely fascinating.

    And what was the least commendable in this film? The end. The tension is systematically built up during the first hour and a half, but at one stroke it all disappears and it’s replaced by vicarious shame. Not only the ending is filled with nonsensical, idiotic developments, but it feels like they’ve made this denouement at the last minute out of commercial reasons (something I’m allergic to). Frankly, it looks pitifully poor and the response of Michelle is completely implausible (vague description. I know. But it’s necessary since I don’t want to reveal anything). Maybe I’m wrong, but I’ve a sneaking suspicion that the interference of J.J. Abrams caused it. Is that why the film title changed from “The cellar” into “10 Cloverfield lane”? Was there another planned denouement at first? Was it rewritten under the influence of Abrams so that fans of “Cloverfield” could be lured to the cinema? I have no idea. But my rating plummeted in less then no time to the same level Howard’s bunker was located. Such a shame. No 10 for this one.

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  • Apart from the rather cryptic title, there seems to be little connecting Dan Trachteberg’s feature debut 10 Cloverfield Lane with J.J. Abrams and his Bad Robot Productions’ relatively well-received shaky-cam monster movie Cloverfield from eight years ago. Starting life as a claustrophobic thriller penned by Josh Campbell and Matthew Stuecken called The Cellar, Abrams claims to have noticed thematic similarities between the two during pre-production and decided to work the story into the Cloverfield universe, offering the odd wink or nod here and there along with the occasional hint at the state of the outside world following the arrival of the bandy-limbed kaiju and its pesky offspring.

    Any fans of the first film looking for more of the same will be sorely disappointed, but surely captivated nonetheless at the gripping events that unfold here. The film begins almost dialogue-free with our heroine Michelle (Mary Elizabeth Winstead) packing up and leaving her apologetic partner (voiced by Bradley Cooper) for some unexplained yet irrelevant reason. After she is hit by what seems to be another vehicle whilst driving in the darkness, she wakes up chained to a wall and hooked up to a I.V. drip in a dingy cellar. She soon meets her captor in the hulking, intimidating Howard (John Goodman), who slides her some food and expects a thank you in return.

    Eventually her shackles are loosened and she is informed that she was rescued when the country, or possibly the world, was hit by an attack from an unknown source. Howard lists everything from al-Qaeda to alien invaders as the possible culprit. Yet while everyone was laughing at the ex-Navy man’s conspiracy theories and paranoia, he was preparing for such an event by building an all-singing, all-dancing bunker equipped with electricity, an air filtration system, movies, board games, puzzles, and all manners of activities designed to pass the time during a long stretch waiting for the air outside to clear. The bunker has another resident, the upbeat Emmett (John Gallagher Jr.), who confirms Howard’s claims of the apocalypse but shares Michelle’s concern for his unpredictable behaviour.

    There’s plenty of fun to be had with trying to decipher Howard’s intentions and figuring out just what the hell has happened outside the extremely secure door. The presence of two dead pigs visible from the window seems to concur with Howard’s speculations of a gas attack, but what is with the frequent rumblings heard overhead? You’ll also be chewing your fingers down the bone, as Trachtenberg forges an almost suffocating atmosphere from what is a pretty standard cinematic setting, with Goodman delivering the finest performance of his career. He is clearly unstable with a social ineptitude, but there is sympathy to be had when we learn of his tragic backstory. Clues to his character are given with an extreme subtlety, with an uncomfortable game of charades in particular offering suggestions that there may be a whole lot more going on than first imagined.

    Winstead too, is very good, and its a wonder why her career has hit a bit of a slump of late. Michelle isn’t just a pretty damsel in distress, but a strong, intelligent young woman with a crafty side of her own. With one eye permanently on the door and the other locked in suspicion at her apparent saviour, her desire to see what happened for herself offers many moments of nerve-jangling tension. Where 10 Cloverfield Lane doesn’t really convince is when it’s working that eye-catching word into its title. For anyone unaware of the Matt Reeves’ 2008 film or those so completely caught up in the main story that it has just slipped their mind, the climax may be too much of a shift in tone. While its likely to cause the movie to linger in your mind for slightly longer than it would have if it had remained a stand-alone drama, it seems rather pointlessly shoe-horned in. But don’t let that put you off, as for 90 minutes at least, 10 Cloverfield Lane is outstanding performances from a talented cast and riveting drama that occasionally weaves into horror territory.

    Rating: 4/5

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