Cloverfield.

Cloverfield is the brainchild of producer J.J. Abrams, the man behind other cult-ish media like television's Lost and Alias. The exceptional first trailer established the simple premise. Something attacks New York City; chaos ensues. That preview combined with a well-executed buzz-inducing marketing strategy to create the rare eagerly anticipated January release.

What is Cloverfield? Much of the movie’s entertainment is derived from its mystery, so all you get is: something attacks New York city; chaos ensues. If you're worried about this being an I Am Legend retread, forget about that. In a way this is the opposite of I Am Legend. Much of that movie was a slow build, not so much about the action as the psychological side of isolation and determination; this is different. The first half hour is far too long and uninteresting as it introduces the main characters, a group of twenty-something yuppies at a going-away party in New York City. You could show up thirty minutes late and not miss a thing. Then a seismic event occurs, triggering mild panic that soon morphs into complete bedlam, and the fast-paced remainder of the movie unfolds in quasi-real time.

All of this so far may sound (and is) mildly interesting, but the selling point of Cloverfield is this: the movie is shot in the first person, as though from a personal camcorder. There are no wide shots, no big pictures to set the scene, and nothing to relate the scope of what might be happening. The camera is always held by one of the characters, unless it is momentarily dropped or set down. The movie even features cut-in portions of what was previously on the tape before the fateful day's events were recorded. The shaky picture often makes Bourne Supremacy look stable and provides only a partial view of the various occurrences, a clever technique that is both intriguing and annoying in its unconventionality. Though the idea is not completely novel (see: The Blair Witch Project), such an approach is unique enough to entertain on its own merit. It’s actually the best part of the movie, even though the lack of full information is often frustrating. Since the camera tracks the same people throughout the movie, the humanity should be a main hook. However none of the main characters are remotely interesting or sympathetic. Thus the human drama is disappointingly minimal, and the narrative power of the movie is almost non-existent, nowhere near the brilliant concept’s potential.

With its handheld camera and viral internet marketing strategy, Cloverfield is undoubtedly trying to capitalize on and connect with the YouTube generation. The approach fails in part because handheld shots work far better in a secondary or tertiary role. As the primary method of informing, such a process can be as bothersome as it is creative. With that aspect inconsistently entertaining and the catastrophe never entirely explained, the movie's momentum occasionally falters, forcing one to more deeply ponder what the heck is happening.

The anticipatory bar is set high enough that Cloverfield has very little chance of living up to the hype. But the problem is not the massive buildup, but that the movie itself is simply not very interesting beyond its excellent cinematographical gimmick and the big question of WHAT IS IT? Perhaps those who have absorbed themselves in the web chatter surrounding the movie will think otherwise.

Bottom Line: Cloverfield gets a borderline recommendation for the filmmaking experiment, but the story sinks otherwise. 5 of 10.

P.S. Rumors are that a sequel may be in store, with the intent of showing the entire debacle from a different person’s video camera, which would be another interesting experiment.

Juno.

Independent films are an interesting breed. Made outside the mainstream studio structure, the best ones compensate for their lower production value with a better story and characters. Every year an indie or two does captures the collective fascination of critics and the public by doing so. This year's darling is Juno, the name of the newly pregnant teenage girl around whom the simple story revolves. (Audio review here.)

Like many such films, Juno's strengths lie in its unique characters. Foremost among them is the titular one, who has a singular vernacular and attitude that carries the movie. As she decides what to do with the child, she must also deal with the various reactions from her family and friends. But rather than become depressed or reclusive, Juno instead chooses a positive approach, dealing with her issues directly and responsibly. This leads to a relatively sunny take on subjects often approached in a dark or politically charged manner. The movie does tell you what to think about issues; it does not argue strongly either way; it just tells you what characters are doing, and gives a little of their rationale, somewhat like Clint Eastwood's phenomenal Million Dollar Baby a few years back.

On one hand, making light of serious situations like abortion and divorce feels wrong. Conversely, the ability and opportunity to laugh at potentially overbearing situations is a relief, and it is part of what makes us human. While such reactions likely would not be appropriate in reality, movies are not reality, but an escape in which a little levity is more than appropriate.

From the guitar-laced harmonic strains of its soundtrack to the aforementioned quirky characters, Juno is a quintessential indie flick. Like Garden State, it has a few transcendent glimpses into the human soul, but they are too few and far between to carry the movie to extreme heights. Like Little Miss Sunshine, it places quirky characters into unusual and often comic circumstances, but the humorous moments here do not approach the hilarity of Little Miss Sunshine. Most of the comedy is based upon the unique dialogue or the continual series of culture clashes between Juno and everyone, which are amusing throughout.

Some critics (Roger Ebert) are hailing Juno as the year's best film, which is a drastic overstatement. Such grand labels are a joke, and a statement on how monotonous comedies have become. Its ipseity amidst the dramatic leanings of most Oscar contenders makes the movie better and more enjoyable than it actually should be. Juno is a cool breeze drifting through an open window, not an eye-popping blast from the air conditioner. It is enjoyable and well-crafted, not the best film of the year, maybe a fringe contender for the top ten.

Bottom Line: The movie is equivalent to its main character: cute and likeable, but lacking in a few areas. Recommended primarily for indie fans. 7 of 10.

Side Note: As I mentioned in an earlier comment, after this year's Oscars, I'm blowing up my rating system and starting anew. I'm tired of giving everything a seven.