WARNING SPOILER
http://edition.cnn.com/2008/SHOWBIZ/Movies/01/18/review.cloverfield/
http://origin.mercurynews.com/movies/ci_8008002?nclick_check=1
Abrams and director Reeves went for the gold and achieved with their creature, designed by industry veteran Neville Page -- lengthy, dead-on body shots reveal a fantastically done "E.T.-lookalike on steroids," as someone mentioned in the bathroom after the screening. It's an expertly crafted creature, capable of tearing New York to shreds. The slothy beast, complete with reverb-drenched, Godzilla-like wails, is worthy of the hype machine's mammoth output. Making its way around Manhattan, the beast crashes into building after building, apparently eating people, though we unfortunately only learn of the giant's culinary preferences through the mutterings of a stunned character, never witnessing that or any truly gore-riffic bloody action.
Smaller, Arachnophobia-esqe creatures fall from the monster and show quite a taste for humans, a strangely Starship Troopers-like stroke of genius. Though mysteries remain about the spidery offshoots, their presence heightens the tension and suspense of the film (how many places can one ginormous creature be at once, anyway?). They create one of the best, most classically claustrophobic scenes in the film.
Despite the film's strong points and a fantastically realized beastie, Cloverfield never once produces the unbridled terror of a film like Alien, although the debris-strewn New York landscape inevitably will hit too close to home for many viewers.
Thick yellow dust clouds the Manhattan streets, coating and choking the staggering, shell-shocked survivors as they try to make sense of what has just transpired, drawing uncomfortable parallels to newscast images of the terror attacks of Sept. 11, 2001.
The scenes of mass hysteria and destruction, coupled with the chilling imagery of the Statue of Liberty's head rolling down a neighborhood street, might leave some people unsettled. Reeves fumbles for cheap laughs to lighten the mood: Onlookers whip out cameras and cell phones to snap shots of Lady Liberty's head, creating an odd, off-putting scene that seems less a commentary on popular culture and more intended to evoke iconic imagery of America under attack by a looming, faceless terror.
However, the film's few shortcomings are easy enough to overlook. The overly emotive imagery, love-story subplot and throwaway characters are outweighed by the film's strengths. The supersize reworking of a seemingly tired format sets the bar high for any big-budget monster flick unlucky enough to follow in Cloverfield's wake. A flurry of big-screen creature features will undoubtedly try to duplicate Cloverfield's probable commercial windfall and cleverly crafted concept. (Guess what -- they won't be able to.)