One of the wonderful agonies I found when I started watching Lost years and years ago was the show’s tendency to show a character’s reaction to a revelation/object/monster rather than the revelation/object/monster itself. It became characteristic of the show, and something emblematic of Abrams’ style.
Granted, J.J. Abrams had little involvement with Lost past the pilot, but he did work with Damon Lidelof to lay much of the show’s groundwork. Including, presumably, Abrams’ love of the Mystery Box. See, according to him, there’s a certain level of suspense and wonderment to be found in not knowing something. That there is a mysterious monster is more frightening — and in some ways more beautiful — than what it is. It’s less important what’s in the hatch than that there is one. The best horror writer is the one in your head, coming up with all sorts of half-formed possibilities for why something might be the way it is.
More than anything though, it makes us want to see what’s going on. Take Predator, due to the alien’s stealth, we spend much of the film not knowing what’s killing Dutch’s squad. Simply knowing something’s out there, something we can’t see and something deadly enough to take out an elite band of mercenaries, is terror enough. Alien does the same thing, withholding a good view of the Xenomorph as long as possible, leaving us to fill in the gaps on this monster. It’s effective, so much so that finally seeing the titular alien would be a letdown were it not for H.R. Geiger’s inspired design.
Point is: there’s something to be said for being restrained.
Cloverfield, that found-footage monster movie produced by Abrams, is in actuality a magnificent exercise in restraint. Rather than doing what Godzilla and virtually every other monster-invasion movie does, Cloverfield focused only on a small group of friends trying to survive on the ground. There’s no sweeping shots or frantic discussions in a war room. The found-footage nature of it forces the filmmakers to keep it small and, in turn, the audience in the dark. We see the monster’s limbs, we see smaller monsters, and all the time it’s scarier because we don’t see it in full. The possibility of it all is far more frightening.
Keeping in that sensibility is the not-a-but-kinda-sequel 10 Cloverfield Lane. Trapped in a bunker with a captor/savior while Armageddon might have happened outside, protagonist Michelle — and the audience — is left to fill in the clues as to what happened. We don’t know what happened outside, we don’t know if Howard is really doing this out of the kindness of his heart, heck, we don’t know what his angle is at all. That the movie is not particularly forthcoming on any of this makes every hint of malice or mystery terrifying. There’s nothing scarier than not knowing what’s going on.
10 Cloverfield Lane earns this, however, by making sure we know Michelle on at least some level. We aren’t totally in the dark, we have a handle on our protagonist and thus we can react with her to all the crazy crap going on. We have a touchstone, a constant, a frame known to counter the unknown. Without that, 10 Cloverfield would be more frustrating than gripping.
Y’know, I’m not a fan of horror movies. Too much reliance on squick and pain and how downright creepifying something can be. But what 10 Cloverfield Lane, Alien, and Lost did are much more my jam. The simple fear of the unknown taken up to eleven, an implacable fear that you can’t quite put a finger on. Now that is terrifying.
Also, 10 Cloverfield Lane is a dang fine movie you should check out and I wanna rant about, but won’t because the less you know the better. Like I said, it’s scarier when you know less.