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10 Cloverfield Lane (2016)
Many movie lovers will leave this film with a dilemma swirling in their mind: can a poorly conceived and poorly directed ending be ignored while you hang on to the memory of the brilliant film that almost was? In cinema, the answer is usually no because we remember a film backwards via the way the story ended. The ending is also the key to how we read a film and how we apply genre codes to make sense of cinematic storytelling. This film traverses three totally different but often compatible genres: the psychological thriller, the horror/gore, and the science fantasy, in that order. Note that the last one is not the same as science fiction, a respectable genre that creatively draws on the logic of science. The film 10 Cloverfield Lane (2016) starts brilliantly as a thriller, drops a gear or two as horror, and then has an inexcusable brain-snap as mediocre science fantasy.
The linear plotline opens with soon-to-be-married Michelle (Mary Elizabeth Winstead) walking out on her fiancé only to drive straight into a horrific car crash. She wakes up chained inside a bunker and is held captive by Howard (John Goodman), a doomsday prophet who built the sealed underground structure in anticipation of a major global event. He eventually convinces her that the outside world is now a post-apocalyptic and uninhabitable mess. His neighbour Emmett (John Gallagher) is the only other actor and becomes a confidante for Michelle, but not for long. For the first three-quarters of the film, tension builds then slowly flattens while Michelle becomes accepting of her plight in a claustrophobic space with all the comforts of home. When Howard’s temper shifts into horror and gore mode, Michelle takes flight only to stumble into a B-grade science fantasy set created with last century computer graphics. Everything this film achieves in terms of emotional tension, doubt, confusion, and of course, unbridled fear…then goes up in a puff a smoke.
John Goodman’s imposing girth, menacing bluster and steely gaze entertainingly convey total terror with enough glimpses of ‘Mr nice-guy’ to create confusion. For the most part Mary Elizabeth Winstead ably reflects vulnerability, disbelief and fear, although she settles into domesticity rather too easily. The early unfolding story sustains a level of plausibility, even when Howard starts going weird. The real thrill in this film, however, is watching it crash and burn in the last twenty minutes as it runs out of ideas and takes a bad turn in the hope that the applause of science fantasy fans will drown out the boos of thriller fans. But neither group wins as the ending transforms this film into an incoherent and unforgivable mess.
Director: Dan Trachtenberg
Stars: John Goodman, Mary Elizabeth Winstead, John Gallagher
CineMuseFilms 
Great review. I agree with most of what you are saying here actually. The ending is rushed and goes into a realm of suspending our beliefs hugely. What I didn’t like was the building for a franchise thing at the end. Is it unforgivable? Maybe not. It certainly made me confused about my feelings overall
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Do you remember the Friends storyline where Phoebe discovers she never saw the endings to sad movies growing up because right before things got sad her mom would always stand up, turn off the TV and cheerfully declare, “Over”? Well, we all need a mom to do that for us as soon as Michelle reaches her ending in 10 Cloverfield Lane and before that final sequence ripped straight from a completely different movie. Not because it’s sad, though, more because it is terrible and ruins the movie.
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You nailed it. In remembering the film the end is what is going to stand out. And it stands out for all the wrong reasons. It is impossible not to leave the theater without a bad taste in your mouth.
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I love how we felt the same about something that could really be a great movie. Unfortunately, I think this stupid ending was a producer’s choice, because since they have Cloverfield in the name, they need to show the wannabe War of the Worlds alien. Such a shame.
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Do you really think the ending takes it down that low? I think it’s the weakest part of the movie, but rest of the movie before that was extremely well done and makes the ending at least forgivable.
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Good question Steve and answers will vary depending on many factors. For me, the endings decode the film; they provide the coherence that holds the story together in some intelligible way. Its certainly possible to just enjoy the film along the way and ignore the ending, as many will do. I agree that the early part was “extremely well done”, but that just set a high benchmark which may the fall that much greater. Thanks for commenting.
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Understandable. I disagree but I can’t deny that your argument is valid. It seems like this movie has had quite a large amount of mixed reviews.
And you’re welcome.
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Well, I might try Netflixing this one some night when my mind is feeling numb and sluggish. I hate being sucker-punched with a bad ending, though.
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Thats the perfect way to describe it Rangewriter; I shall compliment you by using it myself some time.
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Your first sentence says it all, so economically and elegantly! My feelings exactly.
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I went in with low expectations and figured it would be really bad or a fun B movie. Thankfully it was the latter! The ending was completely lame and they took the beings right out of the recycling bins of Transformers and Aliens, but I forgot about it and choose to think of the end as when she gets outside the house! To me the end was too stupid to take seriously.
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I agree; her escape would have made a great ending, esp if it left us unsure of what she found. As it is, unless you believe in giant cockroaches with awesome powers, the ending is a cinematic cop-out.
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I really enjoyed the play element of this film. John Goodman, of course, is excellent and can hold such a cosseted piece, the ending was poorish, yes, but I still enjoyed it as a film, not so much as the original mind, but the tie in was ok and the escape very good indeed. – Esme Cloud chipping in
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