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The Films of Matt Reeves

The Pallbearer

Cloverfield (January 17/08)

With its distinctly queasy visual sensibilities and a cast comprised primarily of unknowns (the one notable exception being genre staple Chris Mulkey, who makes a brief appearance as a gruff military man), Cloverfield is a sporadically effective yet undeniably uneven piece of work that clearly would've benefited from a little less excitement surrounding its release (ie the film ultimately can't quite live up to the hype). Set over the course of one very long night, Cloverfield follows a group of friends (including Michael Stahl-David's Rob, Odette Yustman's Beth, and Lizzy Caplan's Marlena) as they attempt to avoid a monstrous creature rampaging through New York City. The film's central gimmick - it's been shot entirely from the point of view of the characters - certainly lends the proceedings a palpable you-are-there quality, yet the almost unreasonably shaky camerawork becomes tedious almost immediately and (worse still) ensures that it's often difficult to discern exactly what's going on (the fate of at least one character remains a mystery because of it, for example). And while it's impossible to deny the effectiveness of several monster-centric sequences, there's little doubt that the movie fares exceedingly poorly in terms of developing its human characters (this is particularly problematic during quieter moments, as the film essentially morphs into a second-rate young-adult melodrama that'd be more at home on the CW). By the time everything's said and done, Cloverfield simply isn't able to overcome its low-rent visuals - as one generally can't help but wish the film had been shot in a more straight-forward, flat-out traditional manner (it might've been nice to get a decent look at the monster, for one thing).

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Let Me In

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Dawn of the Planet of the Apes (August 18/14)

A solid followup to Rise of the Planet of the Apes, Dawn of the Planet of the Apes picks up about a decade after the events of the first film and details the exploits of (and eventual strife between) apes and humans. Director Matt Reeves does a superb job of setting Dawn of the Planet of the Apes apart from most of its summertime blockbuster brethren, with the filmmaker's subdued sensibilities ensuring that the movie, for the most part, unfolds at a refreshingly laid-back pace - which, in turn, paves the way for an impressive amount of character development. The latter is undoubtedly heightened by a raft of better-than-average performances, with series newcomers Jason Clarke, Gary Oldman, and Keri Russell more than holding their own opposite Andy Serkis' commanding, towering performance as central ape Caesar. And although the movie is at its best when focused on the engrossing interactions between the simian characters - this is especially true of virtually everything involving Caesar's rivalry with Toby Kebbell's vicious Koba - Dawn of the Planet of the Apes contains a handful of impressively captivating action-oriented sequences, with the effectiveness of such moments heightened by Reeves' old-school visual choices (ie no shaky-cam!) There's little doubt, however, that Reeves ultimately does press his luck in terms of the movie's running time, as the film occasionally seems to be moving a little too slowly for its own good - with the underwhelming nature of a third-act battle only perpetuating the erratic atmosphere. Fortunately, Dawn of the Planet of the Apes recovers for an exciting climactic battle between Caesar and Koba - which finally confirms the movie's place as both a stellar sequel and an above-average blockbuster.

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