CLOVERFIELD NOW AVAILABLE

CLOVERFIELD NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE CLOVERFIELD FROM IMDB

Five young New Yorkers throw their friend a going-away party the night that a monster the size of a skyscraper descends upon the city. Told from the point of view of their video camera, the film is a document of their attempt to survive the most surreal, horrifying event of their lives. Written by Davi Silva

HERE IS A REVIEW FOR THE MOVIE CLOVERFIELD FROM DVDTALK

The emperor has no clothes. Or better yet, the monster has perfect focus?

It's difficult to review "Cloverfield" without at least mentioning the buzz-guzzling hype machine producer J.J. Abrams kicked off with the arrival of the teaser trailer last summer; a cryptic piece of footage that sent the tails of geeks and bloggers everywhere wagging with gale force velocity. It was a tantalizing glimpse of forthcoming havoc. However, now having viewed the entire film, perhaps a peep was all that was needed. Just a preview to get the blood flowing. Basically a 70-minute YouTube video, "Cloverfield" has all the head-rattling jolt and dramatic verisimilitude of a prank phone call.

Assuming the POV of a video camera employed to capture the farewell party for lovelorn Rob (Michael Stahl-David), the night is turned into a living hell when a Godzilla-like creature starts to tear up Manhattan, leaving the city a wide-awake nightmare of decimating army attacks, brutal monster stompage, and assorted 9/11esque references of destruction. With camera in tow, a small group of partygoers scour the city for Rob's spurned ex-girlfriend, finding little hope as the creature's rampage blocks all exits.

"Cloverfield" is an ambitious film, endeavoring to resuscitate the panic of seeing a building-sized creature annihilate a city after decades of bad monster movies have reduced such sights to giggles. Its heart is in the right "Blair Witch" place, but the execution is all wrong (not to mention a little late, coming after doppelganger "The Mist"), reducing the scares to puzzled yawns.

Director Matt Reeves is armed only with a "single" DV camera to cover the action, and while I applaud "Cloverfield" for trying to find ways to widen the scope of such a limited viewpoint, the routes taken are strangely ineffective; it fumbles the wallop of citywide alarm and tarnishes the "reality" this film is so desperate to abuse. The picture's concept is that the audience is watching a video of the monster attack found after the mayhem, but instead of facing that stark viewpoint head on with punishing cinema verite cartwheeling, "Cloverfield" uses painfully obvious editing tricks, employs peculiar time jumps, and introduces the ludicrous idea that the tape in the camera is somehow screwy, which allows for cringe-worthy backstory flashbacks to Rob and his woman in happier times already committed to the cassette. Now there's some serious storytelling desperation at work.

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