The thing that makes Coverfield endlessly watchable is the fact that it repackages a very political event without being political. Because what makes the story and the conceit of the “one camera perspective” so effective is 9/11. Sure, this film could be made in a pre-9/11 world, but it wouldn’t be nearly as powerful or terrifying.
But 9/11 is really just the cultural backdrop, and the film never delves into that territory long enough to take away from the ride that some of the most believable special effects work in the history of filmmaking delivers. I’m not being dramatic. Cloverfield is so realistic that days later I’m still myself, “How in the hell did they do that?”
One last bit of praise for the film, there are some subtle hints toward the writings of H.P. Lovecraft, and anybody who has read his work knows where this all could be going in the next film. And yes, there will be a next film since it cost roughly $25 million to make and grossed $47 million over the weekend.
Seriously. Go see it. Even if you think you might get motion sickness from all the shaky camera work. Odds are you won’t, and instead you’ll find yourself enjoying the hell out it.
Oh, and if you have seen it, drop your review in the comments section.
This entry was posted on Tuesday, January 22nd, 2008 and is filed under The Politics Of Film, The War On Terrorism. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.