Rendező:
Matt ReevesForgatókönyvíró:
Drew GoddardOperatőr:
Michael BonvillainSzereplők:
Michael Stahl-David, Lizzy Caplan, Jessica Lucas, T.J. Miller, Mike Vogel, Odette Annable, Anjul Nigam, Margot Farley, Theo Rossi, Brian Klugman (több)Streaming (3)
Tartalmak(1)
Rob (Michael Stahl-David) egy New York-i fiatalember, aki nemsokára Japánba költözik. Barátai búcsú bulit rendeznek neki, amelyet Rob jó alkalomnak talál titkolt érzelmei bevallására és más elvarratlan szálak elvarrására. Az este azonban egészen váratlan fordulatot vesz, amikor a partizókkal teli terem hirtelen megrázkódik. A társaság elcsendesedik, meghallgatja a tévében a földrengésről tudósító híreket, majd kimennek a tetőre, hogy megnézzék, mekkora a pusztítás. Akkor azonban hatalmas robbanást pillantanak meg a távolban. Elmegy az áram, és mindenki pánikszerűen kimenekül a sötét utcára. A baráti társaságot emberi sikolyok és valamilyen mély, állatias morgás fogadja az utcán, ahol addigra minden megváltozott. A várost hatalmába kerítette valami, ami egy más világhoz tartozik, rettenetes és óriási. (UIP-Duna Film)
(több)Videók (4)
Recenziók (12)
Hatásos, hátborzongató. Végre valaki sikeresen átvitt az Ideglelés film ötletét egy új szintre. A költségvetés fele a vizuális effektek, a másik fele Skywalker Sound. A dolby hangzás elengedhetetlen! De ne számítson semmi komolyra. A szörny és Michael Giacchino (zseniális) "nyitánya" a zárófeliratokban mintha egy ötvenes évekbeli sci-fi filmből pottyant volna ki. Cloverfield egy klasszikus anyag, átalakítva a média korához. Szégyen hoz Emmerich Godzilla filmjére.
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"I'm documenting." I am devastated that Cloverfield is just an average picture. It was a really nice idea (despite being pipped to the post by that Spanish zombie movie - Rec - that I’m intrigued to see). That goes hand in hand with the convincing stylization. I’m not exaggerating when I say that the sound is just perfect. The music composition during the closing credits was just delicious. And lastly the entire movie up to the storming by the army was absolutely gripping. Unfortunately, the creators then ran out of ideas, just recycling those already used, all of a sudden the chosen style no longer has anything to offer and primarily the characters’ reaches the pinnacle of illogicality and starts to be actively annoying. If this were just another classic Godzilla movie, that wouldn’t matter at all, but pseudo-documentaries trying to be “what would happen if" realistic, this is really surprising and ruins the entire concept. And the last five minutes really puts the icing on the cake. Why couldn’t it have finished with that fall? This way, although it has a clean running time of about seventy five minutes, in the end even that is too long. And it’s a huge shame.
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Even though it wants to look The Blair Witch Project in terms of realism, there were many scenes that felt unnatural, for example, the attack by the little aliens, the infection of a loved one or the helicopter. I'm just not able to believe that at such pivotal moments, when my life (or that of my loved ones) is on the line, I would still be willing to view my surroundings through a camera screen, no way. Otherwise, a perfectly done job (the effects, the production design, the monster’s appearance) and a deliciously apocalyptic atmosphere with some shots that take on a sweetly surreal touch (e.g. a white horse pulling a carriage at the epicentre of the monster's rampage). The experience is multiplied many times over if you can watch the film in a darkened cinema on a big screen and with a top-notch sound system.
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After watching it a second time several years later, I'm raising my rating because I appreciate above all the fantastic demonstration of the implementation possibilities. Goddard politely circles around genre clichés but manages to profile the protagonists, and Reeves takes the whole thing to a new level with a clever POV, showing only as much of the titular monster as the audience needs, though we’re certainly begging for more. Fantastic special effects and a perfect soundtrack move the film into top form. At a time when polished CGI is the standard, the flying head, the iconic bridge, and the leaning building look like a technical treat from a time yet to come. 4 ½.
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A demonstration of an ineffective effect. For most of the short runtime of the film, I felt that I was witnessing the realization of a typically sparse screenplay of a disaster film, which was cleverly wrapped in refined technical means and served to the audience raw. Unfortunately, this does not change the fact that under the raw packaging, Cloverfield is baked, in some places even burned. In fact, the technical design must also be seen in the context of the time period - just look at the extent to which the handheld camera dominates, for example, in contemporary American series. From this perspective, producer J. J. Abrams perfectly found the pulse of the time period and presented the audience with a film with a familiar appearance and content that fully suits the current obsession of people with feeling threatened. Unfortunately, Cloverfield is no more than wrapping, and even this wrapping only plays on the first signal. This film is only image and sound. Bad characters, affected actors, no content. Although this is undoubtedly a quality genre film, the way in which the film's carelessly obscured conventionality shines through disappointed me. Despite my modest expectations... [6/10]
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