• Dan Trachtenberg, Director: 10 Cloverfield Lane. Dan Trachtenberg is a director and writer, known for 10 Cloverfield Lane (2016), Portal: No Escape (2011) and Kickin.
• In celebration of the end of 2016, the Collider staff has put together a ranked list of the 20 best trailers of the year, including Logan, La La Land, and more.
• 10 Cloverfield Lane movie reviews & Metacritic score: Waking up from a car accident, a young woman (Mary Elizabeth Winstead) finds herself in the basement of.

But boy, do you root for Mary Elizabeth Winstead as the far- from- stupid young woman trapped in an underground bunker in “1. Cloverfield Lane,” a sensationally effective semi- sequel that bears virtually no narrative or stylistic resemblance to its predecessor: The camera holds steady this time, locked in close quarters with a monster who turns out to be all- too- pitiably human (played by a marvelously unnerving John Goodman). Which is not say there are no extraterrestrial terrors lurking in this taut, three- character chamber piece — think “Room” by way of “War of the Worlds” — only that the tension is rooted in psychology rather than gimmickry, and evinces a command of craft that feels old- fashioned in the most refreshing possible sense. Marking a rock- solid feature debut for director Dan Trachtenberg and screenwriters Josh Campbell and Matthew Stuecken (both credited for the story along with “Whiplash” writer- director Damien Chazelle), “1. Cloverfield Lane” is the rare follow- up that wasn’t even conceived with the first movie in mind.

Watching “Cloverfield,” the 2008 found-footage disaster movie about an alien invader on the streets of New York, it was hard to root for human characters who. Read the 10 Cloverfield Lane movie synopsis, view the movie trailer, get cast and crew information, see movie photos, and more on Movies.com. In 2016, Hollywood movies had nothing on what got made outside of Hollywood; the year after Fury Road and Inside Out and The Martian, it’s hard to think of a single. New insight sheds doubt on whether or not the upcoming 10 Cloverfield Lane was originally made as a Cloverfield sequel.

Developed for Paramount’s now- defunct Insurge Pictures genre label under the working titles “The Cellar” and “Valencia,” the film initially told a self- contained story before it was ingeniously reverse- engineered into an offshoot of the “Cloverfield” universe, all done under the sort of secrecy we’ve come to expect from the imprimatur of J. J. Still, the studio may court some blowback from die- hard fans of the original film (which grossed $1. Trachtenberg’s movie as a cynical cash grab, or take issue with the fact that it was shot on a tripod. It’d be easy enough to concur, if not for the simple fact that “1.

A tight, tense thriller carried by excellent performances from John Goodman and Mary Elizabeth Winstead. Title Trailer # Size Trailer # Size Trailer # Size Trailer # Size Added.

Cloverfield Lane” is vastly smarter and more satisfying than its predecessor; every cynical cash grab should turn out this good. In an opening sequence that eerily echoes Marion Crane’s flight from justice in “Psycho,” an emotionally distraught Louisiana woman named Michelle (Winstead) packs her bags and drives out into the night. Along the way, she’s hectored by an angry boyfriend on the phone, and also by Bear Mc. Creary’s frenzied score, which rises to a pitch of shrieking intensity shortly before her car skids off the road and flips over. When Michelle regains consciousness, she finds herself in a bunker several feet below ground, where she is fed and tended to by her grizzled, heavy- set man named Howard (Goodman). He urges her not to fight him or try to escape from the bunker, which represents her only hope of survival. Shortly after the car accident, Howard says, some sort of mass chemical attack took place, killing everyone and rendering the air unbreathable — though not before he managed to rescue Michelle and bring her back to the bunker, along with his genial young neighbor, Emmett (John Gallagher Jr.).

Sealed off from the outside world thanks to an airtight door and no cell- phone reception, these three individuals — possibly the last vestiges of humanity — begin the long, uneasy task of sweating out the apocalypse. Certainly there are worse places in which to do it: The well- furnished bunker (outfitted with just the right ratio of cozy to musty by production designer Ramsey Avery) has electricity and running water; the shelves are lined with books, games and movies; and there’s enough food in the pantry to last them until the air clears. But comforts and utilities only go so far, as Trachtenberg and his cinematographer Jeff Cutter — whose camera navigates the space with effortless ease, even when it has to squeeze inside an air shaft or down a garbage chute — treat their solitary location as both a physical refuge and a psychological trap. The lengthy midsection of “1. Cloverfield Lane” is a work of expertly modulated unease that alternates between claustrophobic suspense and doomsday panic; it’s the rare thriller in which the horror of what might be out there seems less threatening than the possibility that there may be no horror at all. For although there is persuasive, even irrefutable evidence that a cataclysmic attack has indeed taken place, the movie never allows us to forget the possibility that Howard might be a paranoid, delusional psychopath — someone who just happened to have a fully stocked shelter ready to go in case the world decided to end.

That sense of menace stems less from the occasional contortions of the script than from Goodman’s terrifying, richly fleshed- out performance. A brilliant character actor who has been on a hot streak of late — he was a memorable gargoyle in “Inside Llewyn Davis,” and brought his boisterous comic gusto to bear on “Argo,” “The Gambler” and “Trumbo” — Goodman makes Howard a memorably complicated villain.

Michelle and Emmett are indebted to the man for his resourcefulness and foresight, and there are moments when Howard drops his guard to reveal a glimpse of a more reasonable, even likable person beneath the clenched, controlling surface. But those moments don’t last, and even Howard’s hospitality feels conditional, tinged with spite, entitlement and barely suppressed rage. The more Michelle comes to grasp the nature of his particular pathology, the more she comprehends her need to escape, even if it means confronting whatever might be waiting on the other side of the door. Winstead, a seasoned scream queen and one of the most undervalued leading ladies around, emphasizes the character’s quicksilver intelligence and refusal to give up no matter how bad things get (which is often very, very bad), and she gives the second half of “1. Cloverfield Lane” its thrilling momentum as Michelle takes matters into her own hands.

Gallagher, so good opposite Brie Larson in “Short Term 1. Emmett’s role is necessarily the least developed of the three. How To Watch Woodshock (2017) Online. Still, the psychological grounding that Trachtenberg achieves here provide more- than- sufficient ballast for the harrowing final moments, which send the movie in an appreciably wilder, more unhinged direction; rarely has “out of the frying pan and into the fire” felt more apt as a description. It would be unfair to say more, or to note exactly how “1.

Cloverfield Lane” connects with “Cloverfield” — a question that matters more from a branding perspective, anyway, than a dramatic one. By the end of this tense and unexpectedly human- scaled movie, all that high- concept disaster porn feels like even more of a distant memory. Reviewed at Paramount Studios, Los Angeles, March 4, 2. MPAA Rating: PG- 1. Running time: 1. 03 MIN. Production. A Paramount release and presentation of a Bad Robot production. Produced by J. J.

Abrams, Lindsey Weber. Executive producers, Bryan Burk, Drew Goddard, Matt Reeves. Crew. Directed by Dan Trachtenberg. Screenplay, Josh Campbell, Matthew Stuecken; story, Campbell, Stuecken, Damien Chazelle. Camera (Deluxe color, Panavision widescreen), Jeff Cutter; editor, Stefan Grube; music, Bear Mc. Creary; production designer, Ramsey Avery; set designers, Trinh Vu, Dave Kelsey; costume designer, Meagan Mc.

Laughlin; sound (Dolby Digital/Datasat), Michael B. Koff; supervising sound editor, Robert Stambler; re- recording mixers, LA, Will Files; special effects supervisor, Matthew James Kutcher; special effects coordinator, Eric Roberts; visual effects supervisor, Luke Mc. Donald; visual effects producer, Michael W.

Silver; visual effects, Kelvin Optical; stunt coordinator, Lex Geddings; assistant director, Jason Blumenfeld; second unit director, Paul B. Uddo. With. John Goodman, Mary Elizabeth Winstead, John Gallagher Jr.