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# ‘Cloverfield’ gets a little too shaky
- URL: https://www.smdp.com/cloverfield-gets-a-little-too-shaky/
- Published: 2008-01-25T16:00:00.000Z
- Updated: 2026-10-24T23:08:24.000Z
- Author: Guest Author
- Tags: local, Santa Monica, #archive-import

*By TAYLOR VAN ARSDALE is a writer/producer and movie reviewer for the Daily Press. She*

I was going to cut a check for $10 to the first person that could tell me what the name “Cloverfield” represents, but within minutes (thanks to Wikipedia & IMDB.com) I had my answer. Oh, I know it’s supposed to reference the government’s “designated name” for an incident that takes place in Manhattan, but I’m talking about the real meaning behind J.J. Abram’s poor excuse for a title. Apparently “Cloverfield” is the street name near Abram’s Santa Monica offices. Unfortunately, more thought went into the culling of the lame title than into the entirety of the plot.

“Cloverfield” aka “Shaky Cam” follows four of Manhattan’s dumbest youths as they traipse after Michael Stahl-David who dutifully makes his way through a monster-infested city hoping to find his girlfriend, Odette Yustman, who, though trapped under tons of concrete and debris, has managed to hold onto and muster the strength to use her cell phone.

As our insipid protagonists traverse the city they encounter all manner of horrible atrocities; the monster, it’s spidery underlings, exploding bodies and the worst tragedy of all; being stuck in midtown when the shops are closed. Oh, how I miss Bergdorf’s.

To director Matt Reeves’ credit there are some really funny moments, and lines, all delivered by T.J. Miller, from whom also comes the film’s most enjoyable performer, unfortunately he’s hidden behind the camera 98 percent of the time, so we rarely see him. Aside from Miller, and the monster’s credible performance (I really felt his rage), the acting in this pic isn’t worth the $10 dent in your wallet.

Drop the believability factor at the theater doors folks; though potentially moments from death, only Stahl-David has the impetus to call home, no one else seems to have a family nor desires to contact their loved ones; when Lizzy Caplan begins bleeding out from her eyes, and is hustled into quarantine, someone ridiculously asks, “Is she okay?” and after running up 42 flights of steps not one person is winded.

And don’t expect closure either — the newest trend (since “The Sopranos” season finale) seems to be open endings. In other words, this film doesn’t have one, that is, unless you count the resounding, “boo” that may follow from every audience member.

What is great about “Cloverfield” is it provides a certain comfort level for the amateur cinematographer, to know that anyone, regardless of his or her expertise with a camera can make a movie. I think I’ll go out and shoot a film on my iPhone this weekend — and if I follow in writer Drew Goddard’s footsteps I won’t even have to come up with an ending.

![](https://storage.ghost.io/c/55/9f/559f9abc-8372-4a2e-8c2d-27386da4e363/content/images/2026/10/012508-15_01.jpg)

TRUE VIEW: ‘Cloverfield’ was shot with a generous amount of hand-held camera work. (Photo: Photo courtesy Paramount)

*Originally published in the Santa Monica Daily Press print edition on January 25, 2008.* [Read the original PDF.](https://s3.us-east-1.amazonaws.com/smdp%5Fbackissues/012508.pdf?ref=smdp.com)