A concept that isn't new or refreshing,... but it worked all the same.

Rating: 7/10 (5 November 2009)

The first 20 minutes or so of the movie, it wasn't the camera work that got on my nerves (it never did, really), but the characters who were introduced to us. Yes, I know, it was necessary, as we're supposed to feel for them, care about their problems, pick up on the romances & sex-talk, etc. etc. But I still saw nothing but a group of shallow twenty-somethings that had nothing substantial to say. Just a bunch of wealthy, modern day yuppies. Not exactly the most interesting social group of our population (although they always think they are). Why not have different groups of people (filming the events with digi-cams & cellphones) and have a couple of their story-lines cross each other at some point. Would have made things a lot more interesting, if you ask me. So, considering this film's high rating on here, I think most people fail to see that behind CLOVERFIELD's impressive façade, there's a better film hidden that simply wasn't made (or the film-makers didn't think about making). Just look at the Korean THE HOST, and you'll know what I mean with a better film. More interesting characters and better monster action. In CLOVERFIELD the monster didn't even form a direct threat for the main characters. There never was any interaction between them and the giant beast. So, one could argue that this isn't really a monster movie, but pretty much an old school disaster flick. Either way, what eventually saved the film, was its up-tempo pace. Aside from the lingering opening 20 minutes, the events followed one another tightly enough.
The special effects were fine and the action throughout the film decent enough. And with the hand-held camera swooping around, rest assured: It's not at all nauseating and there are enough shots where you can get a decent look at the giant beast (and some other thingies too). But the only way CLOVERFIELD works, is when you don't think about things. When you do, you'll discover flaws or think of things you would've preferred to have seen handled differently. You'll basically discover scenes & shots that are just too conveniently set up, too well-directed and just aren't very realistic (and with docu-style realism being the complete blue-print of this film, you can consider that a flaw). To add to the implausibility, the character who's filming all the footage practically filmed like everything the whole time. I doubt in reality anyone would be able to do that when trying to save your own life and that of your friends. To "solve" this problem, the scriptwriters just had him say things like "I'm documenting! I have to document this! I'll keep on documenting!" one too many times. It had me thinking "Yes, I know this is supposed to be real found footage", so instead of enforcing the authenticity of it all, it kind of took me out of the action and made me more aware of the fact that it was just a normal movie. I'm sure I wasn't the only one experiencing this.
But who gives a damn about these minor quibbles. I even ended up being forgiving, because I did enjoy the ride. So, regardless, CLOVERFIELD still is a fine GODZILLA-inspired monster-flick. And due to its bleak ending (of which we already get a pretty good hint because of the footage having been labeled "The Area Formerly Known As Central Park" at the beginning of the film), it's a whole lot less sappy than Roland Emmerich's blockbuster from 1998. That one "feelgood summer hit-film" true GOJIRA fans refuse to speak of and had the tag-line "Size Does Matter". At any rate, if you take out the popcorn and switch off your brain, you can have fun with both films. Big, dumb, loud, stomping grounds & levelling buildings. Works for me. The only real problem with both CLOVERFIELD and the American GODZILLA, is that they also pretend to be something else. Delusions of grandeur. Happens in all lines of work, I guess. I can forgive that if enough entertainment is provided.
Oh yes, why isn't this concept not all that new or refreshing? Just check out a film like CANNIBAL HOLOCAUST (1980). Heck, the concept of a "faux documentary" even goes back to the days of silent film-making, with a film like HÄXAN (1991). So, BLAIR WITCH PROJECT may deserve some credit, but sure as hell not all of it.