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Reviews provided by RottenTomatoes
Mark Rahner, Seattle Times: It's a giant-monster movie from the point of view of some of those little people running and shrieking in the street -- and it works incredibly well. Read more
David Edelstein, New York Magazine/Vulture: We've sat through that kind of movie again and again, but we've never sat through anything with Cloverfield's subjective sting. You'd have to be tougher than I was not to be blown sideways by it. Read more
J. R. Jones, Chicago Reader: The fleeting, incomplete glimpses of the monster early on prove the old dictum of B-movie auteur Val Lewton that a momentary image can have greater impact than a prolonged one. Read more
Keith Phipps, AV Club: It puts human faces on the victims of mass destruction, faces that might easily have been yours or mine, staring down the maw of something we don't understand. Read more
Bill Goodykoontz, Arizona Republic: A twitchy thrill ride that's relentless in its escalation of tension, merciless in its intensity. Read more
Ty Burr, Boston Globe: Cloverfield captures the chronic self-absorption of the Facebook generation with breathless, cleverly recycled media savvy, and then it stomps that self-absorption to death. These days, that's entertainment. Read more
Michael Phillips, Chicago Tribune: There's nothing to Cloverfield, really, but stripped-down chaos shot in a faux-verite Blair Witch Project fashion...But I have to say, I was with it. Read more
Amy Biancolli, Houston Chronicle: An efficiently gripping sci-fi/horror romp. Read more
Lisa Kennedy, Denver Post: Fully visceral, visually impressive. Read more
Tom Long, Detroit News: Cloverfield is visceral attack that it leaves the viewer reeling for details that flew by like so many bricks raining off broken buildings. Read more
Lisa Schwarzbaum, Entertainment Weekly: A surreptitiously subversive, stylistically clever little gem of an entertainment. Read more
Chris Vognar, Dallas Morning News: A remarkably economical, street-level view of widespread panic caused by an abomination that gets, and ultimately needs, no explanation. Read more
Amy Nicholson, I.E. Weekly: It's like Abrams and crew have looked into the void and thought: the only thing worse than Armageddon is if no one witnessing it is hot. Read more
Kevin Crust, Los Angeles Times: While it [the "camcorder ploy"] injects the film with a run-and-gun urgency, the device grows tiresome and ultimately leaves the film shortchanged. Read more
Scott Foundas, L.A. Weekly: The plot effectively reduces down to one long slog from Spring Street to Central Park South. Read more
Bruce Newman, San Jose Mercury News: Cloverfield is the ultimate movie for people who don't feel a cataclysm has really happened until they can videotape it, upload it and stream it live to the rest of the world. Read more
Jan Stuart, Newsday: The shaky video camera perspective is alternately involving and irritating, but director Matt Reeves keeps the carnival of wreckage spinning at a brisk clip. Read more
Anthony Lane, New Yorker: Under the modern flummery, behind the faux amateurism and the handheld shudder, Cloverfield is a vastly old-fashioned piece of work, creaking with hilarious contrivance. Read more
Jack Mathews, New York Daily News: It's fun in its morbidly campy way. Read more
Manohla Dargis, New York Times: Works as a showcase for impressively realistic-looking special effects, a realism that fails to extend to the scurrying humans whose fates are meant to invoke pity and fear but instead inspire yawns and contempt. Read more
Roger Moore, Orlando Sentinel: A jolt to the genre. The camera tumbles, the smoke billows, gigantic footsteps thunk, women shriek and the car alarms blare. And we are there. Read more
Steven Rea, Philadelphia Inquirer: The running and climbing, the tidal waves of debris rushing down the avenues, the screams and carnage grow tiresome. Read more
James Berardinelli, ReelViews: This film takes you into the heart of the maelstrom and leaves you there. Read more
Roger Ebert, Chicago Sun-Times: An effective film, deploying its special effects well and never breaking the illusion that it is all happening as we see it. Read more
Stephanie Zacharek, Salon.com: Maybe we now live in a world where we record the moment first and feel it later. If that's the case, Cloverfield leaves us waiting to feel. Read more
Peter Hartlaub, San Francisco Chronicle: A terrific movie, filled with spectacle and a surprising amount of humor, which makes up for its lack of terror or emotional impact. Read more
Dana Stevens, Slate: Despite a first reel entirely devoted to establishing characters, Cloverfield is basically a line-'em-up, pick-'em-off horror movie that's effective without being either viscerally frightening or emotionally moving. Read more
Colin Covert, Minneapolis Star Tribune: It's the end of the world as captured on an unsteady camcorder, a YouTube panic attack. Read more
Rick Groen, Globe and Mail: Reeves does a masterful job wedding the restricted perspective of Hud's lens with CGI glimpses of an already blasted cityscape. This is the gimmick's raw excitement phase -- we're hooked. Read more
Peter Howell, Toronto Star: Smartly reconjures the 1950s monster movie for the digital age. Read more
Richard Corliss, TIME Magazine: We know only what they know, see what the videocamera sees. I.e., not much. Read more
Claudia Puig, USA Today: A surprisingly gripping thriller. Employing a pseudo-documentary handheld camera style, it offers a fresh spin on the monster movie genre. Read more
Nathan Lee, Village Voice: The mechanism is the message in Cloverfield, a movie so aluminum-sleek, ultra-portable, and itsy-bitsy sexy, it's amazing Steve Jobs didn't pull it out of an envelope at Macworld. Read more
John Anderson, Washington Post: A relentless, I-thought-my-eyeballs-were-bleeding exercise in visual disorientation. Read more