"Cloverfield"

Directed by: Matt Reeves
Starring: Michael Stahl
David, Mike Vogel, Jessica
Lucas, Lizzy Caplan, Odette
Yustman. T.J. Miller
Rated: PG-13 (for violence, a
few disturbing images, adult
language)
Running time: 85 minutes
Best suited for: the New Age
horror fan
Least suited for: the tradi
tional horror fan (or, for that
matter, the lighthearted roman
tic comedy buff)

In a nutshell, here's what

"Cloverfield" is: the offspring of "Godzilla" and "The Blair Witch Project." If that assessment sends you running to the theater, good for you. If you are instead retreating to the safety of writerfree reality TV, you're probably better off there. If you're still unsure . . . well, you may want to err on the side of caution on this one.

"Cloverfield" is a very nervy, very daring monster flick. It's also Mystery opensa very good monster flick, a nihilistic, edge-of-your-seat thriller catering to the vérité-loving, herkyjerky MTV crowd. Herkyjerky as in camera motion. The entire film is viewed through the lens of a meandering hand-held video recorder, the somewhat goofy amateur videographer running for his life now and then, mostly in the dark. So if you're expecting long sweeping panoramas or the crescendo of weeping violins, don't look here.

"Cloverfield"- a rather peculiar title for an unnamed monster- is military code jargon for an "incident" that took place in an area that "was once known as Central Park." That's the title's only reference, about the only moment that doesn't occur through a viewfinder.

What happens is this: Something large and angry swims into New York Harbor, attacking an oil tanker and nibbling on the Statue of Liberty before coming ashore and getting all mean and unruly. Anyone who's seen the trailers for "Cloverfield" (quite impressive trailers, I will admit) will get the gist.

"Godzilla" was pretty much the same premise, although without nearly the stylistic panache. This monster, quite strong and very big, begins to topple tall buildings like so many dominoes, and watching them fall amid dust and smoke, one can't help but flash upon 9/11. I believe 9/11 may be a prevalent thematic element in many horror flicks to come- it being reality's own version of things that can go bump in the night.

Meanwhile, upscale Rob (Michael Stahl-David) is leaving for a job in Tokyo. I suspect the location is a veiled tie-in to the "Godzilla" element. These guys don't miss a trick. Rob's 20something. His brother, his brother's fiancee and all his tony friends throw him a surprise party. They are all 20-something as well, and how any of them manages to afford a posh, high-rise Manhattan apartment- well, just keep reminding yourself, it's only a movie, it's only a movie.

For the first half-hour, we're content to meet these pretty, successful and sulky new age yuppies. The uptight Lily (Jessica Lucas) wants to video Rob's last night in New York, hence the camera's fortuitous presence. We meet the potential cast of victims- um, characters- and learn all their phobias and woes.

Some viewers might start wondering, okay so where's the monster? But you know it's coming . . . and somehow, for me, this merry foreplay builds the suspense.

And when it does come, the film masterfully conveys the confusion and terror of people who really don't know what's going on. "Godzilla" was a monster flick from the monster's perspective. This one's a monster movie from the perspective of a guppy, one of an enormous human school who apparently are getting gobbled up at a significant rate. (Steven Spielberg used this approach in 2005's "War of the Worlds," and it worked for me there, too.)

You will jump out of your seat now and then. Your heartbeat will race. And that, gentle reader, is what a monster flick is all about.

If there's a failing- okay, call it a sticking point- it's director Matt Reeves' decision to keep his characters a little too surly, a bit too preoccupied with themselves. (Spielberg used this approach in "War of the Worlds," and it didn't work for me there either.) Sure, it moves the film: Rob recklessly decides to plunge farther into Manhattan (that's like, toward the monster) to rescue his ex-girlfriend. The others obediently follow, bickering much of the way. But still, except for a few brainless remarks (comic relief) from the guy behind the camera, these people are way too self-absorbed.

Then again, happy shiny people couldn't afford that apartment.