David A. Robertson discusses new book, All the Little Monsters: How I Learned to Live with Anxiety, offers powerful advice on mental health at Playhouse Cinema
On Jan. 23, 2025, award-winning author David A. Robertson was invited for a discussion about his new book at Playhouse Cinema, organized by gritLIT.
In a world where mental health is often misunderstood or stigmatized, Robertson offers a candid and compassionate look at his own battle with anxiety and depression in his new book, All the Little Monsters: How I Learned to Live with Anxiety.
Robertson offers powerful insights on finding strength in struggle and the importance of embracing mental health challenges. Through his book and conversation, Robertson aims to connect with others who may feel isolated in their own mental health battles, providing hope and wisdom to navigate the difficult yet transformative journey of living with anxiety and depression.
"If someone's going to look at me in my career and just see me hear me talk or read my book they might think that I've got it all together. And I think it's important to hear it sometimes that I don't and if I can struggle and if I can live with those struggles and I can still do what I'm doing then I think anybody can," said Robertson.
If someone's going to look at me in my career and just see me hear me talk or read my book they might think that I've got it all together.
David A. Robertson, Author
All the Little Monsters: How I Learned to Live with Anxiety
Robertson highlights the power of community by sharing lived experiences, underscoring how deeply stabilizing this connection can be for one’s mental health journey. He emphasizes that feeling understood and supported by others can play a vital role in healing and growth.
"The more we share with each other and the more we listen to each other, I think the more we were able to build a community of support for each other. And I think that's probably what I hope I'm able to do with the platform I have is maybe be a part of that community-building process," said Robertson.
Robertson understands discussing personal struggles or mental health challenges can often feel difficult, as vulnerability is frequently associated with embarrassment or shame. Robertson used an analogy to explain how opening up becomes easier with practice, emphasizing that the more we share, the less intimidating it becomes.
"It's like going off a diving board. You know you go up to the 15-meter platform and it takes you an hour to jump and you finally jump and you realize, oh, this isn't so bad. Then you get up again and you go again and that this time it takes you a minute. And then you jump next time you just don't even hesitate you just jump off. But I feel like that the more I talked about what I was going through and the more I was really open and honest . . . it actually was something I began to embrace," said Robertson.
The more I talked about what I was going through and the more I was really open and honest . . . it actually was something I began to embrace.
David A. Robertson, Author
All the Little Monsters: How I Learned to Live with Anxiety
Robertson believes that anxiety isn’t something that can be cured. Instead, he advocates for adopting a mindset focused on learning to live with mental illness, rather than striving for a permanent solution.
"You can't burn off your mental health struggles. You can't have them surgically removed, right? And so what's the next best thing? You have to learn how to live better with it, cause it's there. And so you have to carry it with you in a better way," said Robertson.
Robertson explained that for those who struggle in silence or avoid seeking help for their mental health, their concerns will only intensify over time and eventually catch up with them.
"I think that eventually will lead to a spiral and it'll kind of present itself in a destructive way. Eventually, the more you push it down, the more you ignore it, the more you pretend that it's not there; it just bubbles and it grows," said Robertson.
Mental health is a deeply personal journey, one that looks different for everyone. However, you don’t have to face it alone. By seeking support, you can find a community that becomes your lifeline.
If you ever need support, there are many mental health services available to help you through difficult times. Accessible resources for McMaster students such as crisis hotlines, counseling services and student support services offer confidential support and guidance. Do not hesitate to reach out to a professional who can provide the care and understanding you deserve.
If you're interested in normalizing conversations around mental health and challenging the stigmas that surround it, you can purchase All the Little Monsters: How I Learned to Live with Anxiety, where Robertson shares his hard-earned wisdom in hopes of making others' mental health journeys feel a little less lonely.
The festival is laying the foundation for continuing community and creativity
Creativity and community often go hand in hand. Creativity can help to bring communities together and a sense of community can also help foster creativity. It’s the connection between these two concepts that help to make initiatives such as the Hamilton Black Film Festival possible.
The Hamilton Black Film Festival was founded by author and filmmaker Paize Usiosefe. Usiosefe produced and directed Family and Friends and Yakubu. In 2019, he attended the Toronto International Film Festival as an industry delegate.
Returning to Hamilton after the festival, Usiosefe started to think about his next project and began to develop the idea for what would become the Hamilton Black Film Festival.
On its own, Black films are incredibly important because they are a reminder of presence. They can help Black individuals feel seen as well as foster a sense of community and belonging.
However, festivals such as the Hamilton Black Film Festival are even more important because they carry all the aforementioned ideas forward and create a space for communities and their creativity to occupy.
“Over the years I have been to many festivals. Sometimes I’m there [and] I’m the only Black person in the room. I was thinking about all this. How can we do something where we have the freedom to go there and be happy with your craft? With what you are doing, your artistic creation? Where can you exhibit and say, “This is my place” and “These are my people” and have the confidence to do it,” explained Usiosefe.
How can we do something where we have the freedom to go there and be happy with your craft? With what you are doing, your artistic creation? Where can you exhibit and say, “This is my place” and “These are my people” and have the confidence to do it,” explained Usiosefe.
Preparations are well under way for the festival which will take place May 28–30, 2021, though whether it will be in person at The Westdale or a virtual event will be determined by public health recommendations closer to the date.
The film festival has been very much a community project, involving a team of dedicated and passionate individuals.
Other community organizations have also come together to support the initiative, including The Westdale and the Lincoln Alexander Centre. Including the larger Hamilton community is particularly important to Usiosefe.
“We want to get everyone involved. This is not just about Black people, it’s not just about people of colour. We are using this to bring everyone together,” said Usiosefe.
“We want to get everyone involved. This is not just about Black people, it’s not just about people of colour. We are using this to bring everyone together,”
Usiosefe also hopes the festival will highlight how much the Black community in Hamilton has accomplished.
“What we want people to take away after the festival is [for them] to see how far we have come [and] how we have come together,” explained Usiosefe.
He also hopes that the festival will raise awareness about the Black community’s creativity and their potential, especially that of the younger generation. Usiosefe strongly believes that students have an important part to play in carrying the festival forward.
“We recommend our students join us because they are going to play a vital role in what we are doing, The society is shifting. This is a new generation and people see things differently,” said Usiosefe.
“We recommend our students join us because they are going to play a vital role in what we are doing, The society is shifting. This is a new generation and people see things differently,”
Usiosefe has plans for the festival to continue as an annual event and hopes it will eventually be recognized with the same regard as other film festivals, such TIFF.
In their preparations for this year’s inaugural festival, Usiosefe and his team have laid a strong foundation, carving out a space for the Black community and their art as well as creating an opportunity for the larger Hamilton community to come together.
The Women’s Adventure Film Tour first premiered to a sold-out crowd in Sydney, Australia in May 2017. Since then, the film tour has left its home country and toured across Asia, Europe and North America. This spring, it is coming to Eastern Canada with a stop at Hamilton’s historic Playhouse Cinema on March 21.
The tour celebrates the extraordinary adventures of women by putting on a selection of short films. It is the result of a partnership between Australian company Adventure Film Tours and women-centred outdoors community She Went Wild. The Hamilton screening is open to all and will be two hours long with a short intermission. There will be also be raffle and door prizes offered.
Eastern Canada tour organizer, Benoit Brunet-Poirier got involved with the tour when he met Adventure Film Tours owner Toby Ryston-Pratt on a trip to Australia last year. At the time, Ryston-Pratt had been thinking about expanding to Canada. Brunet-Poirier discussed the opportunity with his partner Jamie Stewart and the two decided to take on the challenge of bringing the film tour home.
[embedyt] https://www.youtube.com/watch?v=r9HXWDFs4WM[/embedyt]
Adventure is important for the couple, who met while rock-climbing. The tour also combines their respective industries as Brunet-Poirier works in the entertainment industry and Stewart works for an outdoors retailer.
By showing women-centred films, the tour is helping break down barriers in the outdoors industry. Brunet-Poirier noted that women are historically thought of as individuals to be protected and this series of short films challenges that notion.
“So I really like the idea of having a woman-focused film tour just because… although women are starting to be represented more in adventure stores and in the media and in film, I do think that there still is a misrepresentation or underrepresentation of women. And so this film tour is just putting… the spotlight on women,” Stewart said.
The couple did their first screening for the film tour in Ottawa last fall. They are taking the feedback from that event on the road by increasing the number of films in order to show a few shorter ones and playing well-received flicks.
[embedyt] https://www.youtube.com/watch?v=7DE3F336tVQ[/embedyt]
One such film, titled Finding the Line, follows professional skiers and sisters Anna and Nat Segal across Canada, France and the United States. While the film’s humour and thrilling 80 degree slopes make it an exciting watch, it is one of Stewart’s personal favourites because of its narratives of overcoming fear and sisterly bonding. It is these narratives that Stewart and Brunet-Poirier feel will resonate with audiences.
“We let go of some films that were focused on physical achievement to give room to films that are focused on the psychological or social achievement of other women. So there are films about BASE jumping and extreme sports, but there are also films that are more accessible,” said Brunet-Poirier.
In this way, the films should provide something that appeals to everyone, regardless of activity level or interest in extreme sports. The couple hopes that the pictures inspire audiences of all ages to attempt new things or take on a challenge that frightens them.
[embedyt] https://www.youtube.com/watch?v=HcWXn_Ydxuc[/embedyt]
Stewart and Brunet-Poirier also focused on ensuring that the films showcases diversity. From a film about an older, blind woman learning to swim for the first time to another about the challenges a lesbian couple faces in a mountain biking community when they open a pizza shop, the films capture a range of identities.
The films were selected from Adventure Films Tours’ global database. While the couple chose some films based in North America in order to be more local, their priority on diversity led them to select films from around the world.
“I am a Chinese woman here in Canada and… we really wanted to showcase diversity and acceptance of everyone… [T]hat's the root of our cause. [We] really try to reach as many people as we can and showing representation in adventure sports of all types of people,” said Stewart.
By centring the diversity of women, Women’s Adventure Film Tour pushes back against the perception of the outdoors community as male-dominated or predominantly white. The films aim to be a comprehensive show of the physical and mental strength of women.
[thesil_related_posts_sc]Related Posts[/thesil_related_posts_sc]
By: Natalie Clark
When the quaint and beloved Westdale Theatre closed down in early 2017, residents of the Westdale community and many McMaster students were especially upset. Although fairly run down, the Westdale had been the community’s hot spot for Friday night dates, Hollywood’s must-see films and the best popcorn in town for as long as anyone could remember.
On Feb. 14, the Westdale community celebrated the long-awaited re-opening of the Westdale Theatre. Guests were told to dress in period attire for a special event accompanied by cocktails and a screening of the 1942 classic, Casablanca. The event also featured a silent auction, where guests could explore the new and improved venue while admiring local Hamilton art.
https://www.instagram.com/p/BtwPnG9B6q9/
With searchlights lighting up the night sky and a red carpet gracing the floor of the doors of the theatre, the Westdale certainly dressed to impress for their grand re-opening. The 350 ticket event sold out in two weeks.
For the past 30 years, the Westdale was owned by an elderly man in Toronto. It wasn’t until he passed away that his family put the theatre up for sale, allowing new owners to claim the theatre, known as the Westdale Cinema Group.
https://www.instagram.com/p/Battr_XFwIc/
“An enormous amount of changes were made… the theatre was in terrible condition, we spent 2.5 million dollars restoring it,” mentioned Fred Fuchs, chairperson of the Westdale Cinema Group.
“Besides equipping it with state-of-the-art projection, screens, new seats, new sound, new acoustic panelling, we also had to completely redo the air conditioning and the heating, the electrical system, the roof, the bathrooms — it was a complete overhaul of the entire theatre,” said Fuchs.
About two years later, the Westdale Theatre is back open for business, and the community is thrilled. Westdale resident and Silhouette alumnus, David Simpson, had one word to describe the re-opening event, “fabulous”.
“I think that the re-opening will be great for Westdale and for McMaster too, creating a hub for the community,” said Simpson.
https://www.instagram.com/p/Brkq2vjhA1y/
Members of the Westdale community are thrilled about the re-opening of the theatre but are also admiring the other advantages that the theatre welcomes to the community.
“It’s wonderful to see it revitalized, and to see hundreds of people in the theatre is great,” said Vivian Lewis, a member of the Westdale community.
“I think that the theatre is going to bring a diversity of films to the community,” mentioned Lewis. “Right now in Hamilton we just have lots of box theatres that are showing the same thing on every screen, and so this theatre will be our chance to see more art films and more alternative films that aren’t currently available in Hamilton.”
https://www.instagram.com/p/BrA4RzxB7e_/
Aside from standard film movies, the Westdale Theatre will also be hosting frequent live music shows, talks, performances and other special events.
“I’m excited about the idea that it’s not just a movie theatre anymore and that it’s also performance based,” said Sue Trerise-Adamson, another Westdale resident.
“I think that is a really good idea, and it expands all the possibilities of the theatre… I think it’s a real anchor for the whole community of Westdale,” mentioned Trerise-Adamson.
Westdale locals have already begun visiting the theatre for their regular screenings and are grateful to have the theatre back in the community.
Experience the new and improved Westdale Theatre on your own and check out all available screenings and shows on their website: https://www.thewestdale.ca/now-playing/
[thesil_related_posts_sc]Related Posts[/thesil_related_posts_sc]
In December of 2016, Westdale’s iconic movie theatre was put on the market. Opening in 1935, the 495 seat, 6630-square-foot, single-screen avenue was a staple of the Hamilton community.
At the time, Ward 1 councillor and longtime theatregoer Aidan Johnson had been working for over a year to designate the theatre as property of Cultural Heritage to help protect it under the Ontario Heritage Act.
“The cinema is an integral part of the original heritage landscape of Westdale Village. It is inseparable from Westdale itself. It needs to be protected,” said Johnson
The Westdale Cinema Group, a non-profit, was formed to purchase the theatre shortly after, and their offer was accepted in February. A group of individuals and organizations alike, they are continuing to find the donations needed to restore the theatre.
The planned renovations promise new washrooms, an expanded snack bar, new theatre seats, state-of-the-art projection and sound equipment, and an expanded stage to host theatre, music and lecture series.
Films remain a priority, but it is apparent that they wish to expand the functions of the area to make a multi-purpose venue.
“Through our Board of Directors, our goal is to create Hamilton’s premier cinema screening experience for art and independent films and a state-of-the-art exhibition space for music, readings, lecture, video streaming and public meetings,” said the group.
Despite these additions and changes, they also promise that the heritage and historic atmosphere of the theatre will remain intact with a restored 1935 façade, restored architectural detailing, a restored auditorium and the consistency of the front lobby snack bar and back lobby lounge.
While restoration of the theatre begins this month, the group still needs $1.5 million. They are accepting grants from all levels of government, but they need additional funds. Their method is a public fundraising campaign called, “Building Magic,” with reward levels similar to a Kickstarter with products and services from local companies and people featured.
The lowest starts at $19.35 with a custom designed pin by local designer Rachelle Letain. The mid levels include a special screening of Bram Stoker’s Dracula with the film’s producer, multiple options for limited-edition prints, the ability to name a seat and the ability to have your message on the marquee for a week. The maximum level is
$10 000, which offers the full theatre for the night with unlimited popcorn and soft drinks for all attendees.
They are also accepting volunteers if you would like to contribute with time instead of money.
“As we build the new Westdale, we want the tradition of presenting magic to continue — whether visiting the Westdale, for film, music, theatre, or to hear an author.”
[thesil_related_posts_sc]Related Posts[/thesil_related_posts_sc]
https://www.facebook.com/TheMcMasterSilhouette/videos/10154844846555987/
Read the full story here: https://www.thesil.ca/
[thesil_related_posts_sc]Related Posts[/thesil_related_posts_sc]
https://www.facebook.com/TheMcMasterSilhouette/videos/10154519040105987/
You can find more information about the exhibition at this site.
[thesil_related_posts_sc]Related Posts[/thesil_related_posts_sc]
[feather_share show="twitter, google_plus, facebook, reddit, tumblr" hide="pinterest, linkedin, mail"]
By: Hess Sahlollbey
If my tickets were refundable, I would’ve left the theater after five minutes and asked for my money back. What should have been a simple grudge match between two orphans before they team up to face a greater evil is encumbered by a lengthy and superfluous political story and abstract metaphors.
While Man Of Steel was an effective introduction to Superman, Batman v Superman: Dawn Of Justice can easily be surmised as Warner Bros. attempt to address the faults in Man of Steel. While technically a sequel, it rehashes the same themes, ideas and symbolism but with a much darker tone. This over-reliance on previously used material is what ultimately causes this movie to fumble out of the gate. The darker tone also adds a sense of hopelessness that creates an unattractive package.
Zack Synder is a man who’s not unfamiliar with adapting comics to the screen. His past credits on 300, Watchmen and on Man of Steel easily prove that. However a poorly measured ambition to pay homage to Frank Miller’s The Dark Knight Returns and Dan Jurgens’ The Death of Superman is what ultimately led to the direction losing its way. Snyder’s view is clearly on that depicts Superman as a poorly stitched together Christ-figure, while Batman comes off as a billionaire fascist.
While Man of Steel gave hints to Superman being regarded as a messiah, the symbolism and metaphors in that film were subtle. In BvS however, the references are overly pleasant and forced. One element that allowed Man of Steel to succeed was the solid story-arc. Clark Kent/Kal-El struggled and grew with a culminating scene where he overcame severe odds, defeated the evil Kryptonians and ultimately found his place as Earth’s saviour. Batman V Superman, however, doesn’t have a plot that can be recounted in a few sentences because there simply isn’t one. It’s a string of beats that are poorly tied together to form an abstract narrative. Multiple convoluted plots in the story falter near the middle of this film because the acts also fail to smoothly transition from one to the next. Superman and Batman find themselves in a situation where they must fight each other and only stop when a CGI Doomsday shows up.
A poor plot could be forgiven by strong characterization, but BvS mostly comes up short in that aspect too. Superman is a character that’s simply there but has no presence. The bulk of his scenes see him engaging in self-loathing and are a regression from all the emotional development he had in Man Of Steel. He has the least amount of dialogue and spends the majority of the film transitioning from one place to the next, gathering what is often irrational advice. Henry Cavill gives a paper-thin performance with no depth. It’s a stark juxtaposition to his endearing performance in Man Of Steel.
When Ben Affleck was first announced as the new Batman, there was significant backlash online from fans. Even I was unsure whether or not he could pull it off, but his was one the stronger performances in the film. While Batman’s methods of crime fighting were questionably brutal in comparison to previous depictions of the Dark Knight, Ben Affleck easily blurs the line between himself and the character. Jeremy Irons is equally delightful as Batman’s trusty butler, Alfred. His portrayal of Alfred sees him as more of a hand’s on mechanic, while also delivering some of the wittiest lines of dialogue in the film.
Jesse Eisenberg who takes on the role of Lex Luthor, is a different story. While at first he appears as a Mark Zuckerberg-type billionaire with a sinister agenda, his ramblings make his character come off as more cuckoo. Historically the character has been portrayed as a super-genius obsessed with greed and besting Superman. In BvS however, his motivations aren’t just unclear, they’re non-existent. Eisenberg’s most captivating scenes are those where he operates silently because his conversations are filled with nonsensical biblical and theological ramblings. This dialogue again ties back into the movie’s overabundance of depthless symbolism.
The real star of this film however was Gal Gadot. She is an absolute show-stealer anytime she’s on screen. Gadot’s depiction of Wonder Woman is sexy, mysterious and most importantly sparse. She has few scenes in the movie but always leaves you wanting more. Gadot’s role in the film is the only place where Zack Snyder seems to be aware that less is more. It should also be noted that it’s the first depiction of Wonder Woman on the big screen and sets the bar very high for whatever comes next. The same can also be said of Ezra Miller, Jason Momoa and Ray Fisher who all appear as Barry Allen/Flash, Arthur Curry/Aquaman and Victor Stone/Cyborg respectively. We get brief peeks that leave us wanting more.
Despite months and anticipation and millions of dollars of marketing, Batman V Superman: Dawn of Justice is ludicrous in its reasoning and plot. A film whose purpose is to launch an expanded cinematic universe, the film has slivers of brilliance, but does everything else in the most inefficient manner possible.
[thesil_related_posts_sc]Related Posts[/thesil_related_posts_sc]
[feather_share show="twitter, google_plus, facebook, reddit, tumblr" hide="pinterest, linkedin, mail"]
By: Joe Jodoin
Earlier last week, Napster-founder Sean Parker announced his plans to release a video streaming device that will allow people to watch newly released movies at home the same day that they are released in theatres.
The box itself would cost $150 to purchase and install, while each viewing of a movie would cost $50. This may seem expensive at first, but there are many scenarios where such an option would be significantly cheaper than a trip to the movies.
Famous and influential directors such as Steven Spielberg, J.J. Abrams, Peter Jackson and Martin Scorsese have come out in favor of the device, and actually serve as shareholders in the company. However, directors such as Christopher Nolan and James Cameron are very much against it, since it would negatively impact the ways movies are made and experienced.
Screening Room is so controversial amongst the industry because the pros and cons are pretty much equally balanced. One of the main benefits would be that it aims to capture an audience that doesn’t already go to the theatre, such as families. A family of four would usually need to spend more than $50 on tickets alone, while also needing to spend money on fuel and concessions. If my five roommates and I all split the money to watch a new movie together on a Friday night, it would turn out to be relatively cheap and easy compared to a trip to the theatre.
It would also serve to eliminate all the problems with going to the movies. You wouldn’t have to worry about waiting in lines, trying to find good seats, or even running late and missing part of the movie. You also wouldn’t have to deal with other audience members, who may be talking or texting on their phones. Bathroom breaks would also be possible, due to the ability to pause the movie, and you would have a 48-hour window to finish the movie in case there is an emergency (although you are only able to watch the movie once within this time period).
There are also reasons why Screening Room is feasible for theatre owners and the studios. Twenty of the $50 would go to the studio that made the movie, and when you rent a movie, you will receive two free tickets to a movie theatre. Since theatres make their money off concessions (and not the tickets), this provides encouragement for people who don’t normally go to the theatre. People should then feel more comfortable about buying snacks, since they got their tickets for free. It also provides people with a chance to see movies that aren’t playing in a theatre near them. I recently had to go to Mississauga to watch three movies, which I would have rather watched at home.
Let’s break it down. If I wanted to see a movie with my mom, we would spend $50 on a movie and get two free theater tickets. The two tickets would be worth $24 each, so we would really be spending only $26, which adds up to only $13 a person. This is only slightly more expensive than going to a theatre, yet I would have the comfort of watching the movie in my own home.
A lot of people hear the $50 price tag and immediately dismiss the service as too expensive, and the $150 cost for the box itself doesn’t help, but in the long run it could be worth it.
This device would also not be useful for people who are happy to wait for a much cheaper option to watch their movies, such as a digital download or on DVD. I’m someone who always needs to see movies as soon as possible in good quality, but people like me are a rare breed. Screening Room also plans on being the one and only video-on-demand box on the market, which will encounter problems since other companies offering VOD services have contracts with major studios. This issue would need to be resolved before the product hits the market.
Finally, Screening Room would not only change the way movies are seen, but the way they are made too. Filmmakers such as Cameron and Nolan are against this device, because they specifically design their works as movies that need to be experienced in the cinema. Whether this is because the movie is shot on film, or because of surround sound, or 3D, an artist should have the right to have people see their movies in the way they intend them to be seen. Studios also specifically make movies that people will want to see in theatres, because that’s how they make most of their profit. If audiences transition to mostly watching movies at home, things like bombastic action, special effects and sound won’t matter as much.
In an age where more and more people are investing their money into home theatre systems, Screening Room may seem like a path to the future. However, this is also an age of piracy, Netflix and Blu-ray, where people have many cheaper alternatives to accessing infinite amounts of media and entertainment. While Screening Room is attracting a lot of attention and controversy right now, if it ever does hit the market, I doubt it will be anything more than a niche product, aimed to attract families and movie obsessives. Don’t expect to see all the movie theatres getting torn down anytime soon.
[thesil_related_posts_sc]Related Posts[/thesil_related_posts_sc]
[feather_share show="twitter, google_plus, facebook, reddit, tumblr" hide="pinterest, linkedin, mail"]
By: Joe Jodoin
Eight years after the original Cloverfield was released in 2008, a new iteration of the movie has hit the big screen, but surprisingly, not as a sequel. Just by watching the trailer, there seems to be no connection to the original whatsoever. Producer J.J. Abrams has said that 10 Cloverfield Lane is “a blood-relative” to the original. I was very interested to see the movie and figure out how these two seemingly unrelated movies are connected.
A lot about this movie has made me very excited. First of all, nobody even knew this movie existed until the first trailer dropped in January. The trailer was also fantastic, and left a lot of mystery surrounding what the film was really about. Abrams has even described this film as his “mystery box”, which worked very well in generating excitement and buzz around it.
I felt terribly conflicted walking out of this movie, since overall I really enjoyed it. However, calling it a Cloverfield movie was completely unnecessary. It pretty much contains no connection to its 2008 predecessor, and it seems to have just gotten the title 10 Cloverfield Lane to generate more buzz and make more money.
You’re not supposed to know too much about the plot going in to this movie, as the mystery and surprise are the movies biggest strengths.
A girl gets into a car accident. She wakes up in a bunker with two men who say there was a chemical attack and the outside world is uninhabitable. But one of the men seems to be more than meets the eye, and our protagonist begins to wonder if staying with her captor is even more dangerous than life outside the bunker.
About 90 percent of this movie is filled with tension, scares, and nail-biting scenes, mainly driven by John Goodman’s performance as the unhinged man who built the bunker. His performance stands out, but is complemented by great directing from first-time director Dan Trachtenberg. Mary Elizabeth Winstead is excellent as the female protagonist, and her character provides the lens through which the audience experiences the movie. John Gallagher Jr. is the third person in the bunker, and plays one of the construction workers who built it. These three actors are the only lead actors in the movie, and all three of them do excellent jobs keeping viewers entertained.
While a majority of this movie is incredibly well made and enjoyable, the ending is where things fall apart. Without giving away spoilers, there is a silly twist that makes what’s left feel pretty much pointless. The twist forces a completely different tone on the rest of the movie and takes away all the tension without an amazing payoff.
Not everyone will hate the ending as much as I did, but I’m sure everyone will love the bulk of the movie. I won’t say anything else, because the less you know about this movie, the better. I don’t think it will by as re-watchable as some other movies this year, because a lot of the fun comes from not knowing what will happen next, but I definitely think this movie is worth seeing.
[thesil_related_posts_sc]Related Posts[/thesil_related_posts_sc]
