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Howard : [talking about his 50-gallon drum of bubbling chemical acid] It's used as rocket fuel on the launch pads in Seattle... HIGHLY corrosive. [Emmet and Michelle exchange horrified glances, knowing what Howard intends to do with the acid] Howard : My goal in life was to be prepared - and I WAS.
12 de abr. de 2019 · That someone is Howard Stambler (John Goodman, ... When he breaks free and corners her near the perchloric acid (where Emmett's remains can briefly be seen mid-dissolve), ...
11 de mar. de 2016 · 10 Cloverfield Lane: Directed by Dan Trachtenberg. With John Goodman, Mary Elizabeth Winstead, John Gallagher Jr., Douglas M. Griffin. A young woman is held in an underground bunker by a man who insists that a hostile event has left the surface of the Earth uninhabitable.
- (355K)
- Drama, Horror, Mystery
- Dan Trachtenberg
- 2016-03-11
- As the film hits its five-year anniversary, we take a look back at the twist ending -- and why it's necessary.
- Trapped in a Box
- Sprint to the Finish
- Houston Has a Problem
By Carlos Morales
Posted: Mar 7, 2021 4:05 pm
10 Cloverfield Lane, the second installment in producer J.J. Abrams’ Cloverfield series, first hit theaters five years ago this week, so we’re taking a look back at the film and its controversial twist ending.
All she has to do is get outside.
Lights flicker on and off. An electrical fire consumes the living room. Howard’s pained screams echo through the vents as his flesh burns from exposure to perchloric acid. Any way of life Michelle could have had in that bunker is long dead, the clock already ticking down to its inevitable destruction. Howard’s doomsday bunker, a monument to his monstrous need for control, is vaporized by an explosion mere minutes after she escapes from it. Sealed inside a hazmat suit she made out of shower curtains and duct tape, she takes her first steps back into a world she was told was no longer habitable.
She takes off her mask and breathes. The air is clean. For a second, she’s safe. For a second, she’s free. Then, she sees an alien ship in the distance. “Oh, come on,” she says. Given the controversial response to 10 Cloverfield Lane’s ending when the film was released five years ago, it’s a sentiment likely shared by many members of the audience.
The biggest objections to the ending generally appear to come from a feeling that the genre swap from contained thriller to the realm of science fiction was a step too far, that it came out of nowhere and undoes the logical and realistic style the movie possessed up to that point. How any individual person feels about the smoothness of the transition is, of course, subjective and not exactly something that can be argued with. What can be argued is what type of movie we’re dealing with up to the point that the ending occurs, both because genres are malleable, nebulous distinctions that often blend into each other, but also the timing and placement of doling out information does not actually change what type of movie we are watching.
As far back as Michelle’s (Mary Elizabeth Winstead) original flight from her fiancé in the opening scenes of the film, 10 Cloverfield Lane makes it clear that whatever catastrophic event is occurring is wide-scale: The radio mentions a “power surge” that has caused blackouts to many cities on the southern seaboard. Emmett (John Gallagher Jr.) tells Michelle about giant red flashes unlike anything he’s ever seen. The woman who tries to break into the bunker has clearly been affected by some kind of chemical attack due to the intense burns on her skin. Strange vehicles are heard moving above the bunker multiple times, insinuating a military presence that is not our own, something that Howard (John Goodman)even theorizes could be related to “extraterrestrial signals.” While most of what we see is contained to three people inside a bunker, the larger story of an alien invasion is foreshadowed numerous times before the reveal. It was always a science-fiction film. Some people just didn’t notice it.
For most of the runtime, Michelle is presented as a crafty, resourceful, and determined woman who nevertheless is hampered by a perennial need to run away from her problems. We don’t know exactly what happened with her fiancé beyond a “fight,” but the first thing we see Michelle do is leave her entire life behind and flee. She elaborates on this aspect of herself when she tells Emmett a story about seeing a little girl in a hardware store who was being physically abused by her dad, and how it reminded her of her own relationship with her father. Michelle says she wanted to help the girl, to intervene the way her brother did when their father was abusive, but she couldn’t. “I did what I always do when things get hard,” she says. “I just panicked and ran.” It’s a self-accusation that hangs over the rest of the film.
What’s being communicated here is more complicated than simply guilt at avoiding difficult situations. Earlier, when Michelle first wakes up and tries to escape Howard on her own, he remarks that “you’ve got some fight in you.” Michelle isn’t helpless or passive. She’s not even completely lacking in courage. Her problem is being afraid to put herself at risk to help others. Living in Howard’s bunker is an abusive and dangerous situation, and running away from him is the correct course of action, but it’s also not a course of action that challenges her convictions about her own limitations. Simply revealing whether or not Howard was correct about what was going on outside doesn’t work as the ending of the film because it doesn’t resolve our protagonist’s internal conflict. Survival isn’t the only goal. For Michelle’s story to come to a close, she needs to change.
When Howard confronts Michelle and Emmett about using tools, he threatens them and demands to know what they’re up to. Both of them are complicit, but Emmett takes the blame, claiming he was making a weapon. Michelle knows he’s sacrificing himself for her, but she stays quiet. Mary Elizabeth Winstead plays the heartbreak perfectly, conveying with only her facial expressions the turmoil of knowing that like with her brother, she’s again allowing someone else to take abuse on her behalf, and she’s not courageous enough to stop it. Howard kills Emmett for this, which means that Michelle’s subsequent escape from him can by definition only be for her own benefit. If Howard was the only threat, then Michelle has only succeeded in keeping herself alive.
Yet after being attacked by aliens (and once again using her craftiness to save herself), Michelle is finally faced with a genuine choice. While driving away from Howard’s home, a radio broadcast tells survivors to either head to Baton Rouge to safety or to come to Houston to help fight off the invasion. Michelle is home-free. Nobody or nothing is forcing her hand. She is under no obligation to intervene. This is why a natural disaster or some other tragic situation that she wouldn’t really be able to assist with wouldn’t function for her character in the same way. A malicious force is hurting and killing other people, and Michelle can choose to run away or, for the first time in her life, put herself on the line to help others.
She turns the car towards Houston, and lightning strikes reveal more alien ships in the distance. What happens to her afterward is uncertain.
But she’s not afraid anymore.
10 Cloverfield Lane is a 2016 American science fiction horror thriller [6] film directed by Dan Trachtenberg in his directorial debut, produced by J. J. Abrams and Lindsey Weber and written by Josh Campbell, Matthew Stuecken, and Damien Chazelle. The second film in the Cloverfield franchise, it stars Mary Elizabeth Winstead, John Goodman, and ...
11 de mar. de 2016 · Her captor — savior? — is Howard (John Goodman), a dour survivalist who informs her that the world has been depopulated by some kind of chemical or nuclear attack. Howard suspects Russians...
Howard Stambler is the main antagonist of 10 Cloverfield Lane. He was a former US Sailor who worked with satellites, but he discovered alongside his teammates a terrible secret. After that he became an insane and paranoid man and began to prepare himself for an unknown threat of some kind.
