In terms of narrative, “10 Cloverfield Lane” is a far cry from its heavily marketed predecessor, 2008’s “Cloverfield.” But fans of the franchise need not worry—the movie is still triumphantly terrifying and manages to take on an even more curious and austere identity. Whereas eight years ago the original “Cloverfield” frightened its audience by way of dramatic visuals and exhilarating action scenes, “10 Cloverfield Lane” draws dread in a more silent and cerebral way under Dan Trachtenberg’s shrewd direction. Aided by a remarkably talented cast, solid cinematography, and a menacing musical score, the film unfolds to be a tremendously well-executed psychological thriller.

“10 Cloverfield Lane” tells the story of Michelle (Mary Elizabeth Winstead) after she survives a car accident on an otherwise ostensibly normal day. When she regains consciousness, she is horrified to find herself trapped in an underground bunker. Shortly after, she meets Howard, (John Goodman) who claims that the air in the world above them is contaminated and that he has rescued her from death. The only other person in the bunker is Emmett (John Gallagher Jr.), who seems to buy into Howard’s claims, making Michelle even more uncertain of what to believe. The film follows the three characters’ consequent interactions, which quickly become rooted in tension, deception, and mistrust.

All three lead actors deserve praise for brilliant performances that collectively serve as the strongest aspect of the film. However, as the premise of the storyline hinges largely on the portrayal of Howard’s character, Goodman’s delivery plays a particularly pivotal role in cohering the film, and the actor must be commended for his compelling interpretation. Rather than falling prey to the trope of the creepy captor—for which the screenplay, vacillating between trite and refreshing, gives dangerous pockets of opportunity—Goodman plays Howard’s character with sagacious restraint, delivering the bulk of his lines with a maddeningly neutral expression so as to sow uncertainty in the audience over whether or not his contentions are genuine. The film quickly comes to revolve around Howard’s credibility and in its entirety becomes a delightfully exasperating mind game, wherein we find ourselves pulled toward Howard, hopelessly transfixed on tracking Goodman’s carefully calculated speech and actions in our hunger for any scrap of further insight into his character. Goodman’s stellar performance propels the psychological dimension of the film and is the key to its riveting cerebral quality. Indeed, the magnetism of the film’s mind game is sustained and strong––until it falters as the movie nears its ending, where Goodman plays a lesser role. In his absence, the film fumbles for a definitive identity and stumbles over tedious tonal inconsistencies.

Still, throughout its majority, “10 Cloverfield Lane” takes on a decisively tense and confining atmosphere largely driven by its terrific coupling of cinematography and music. While the restrained spatial setting of the film—a small, claustrophobic bunker—easily presents the challenge of keeping viewers from being suffocated themselves by monotonous visuals, cinematographer Jeff Cutter transcends the issue. His varied shots prevent the setting from ever becoming tiresome. Shots that are deliberately uncomfortably close—putting full focus on Howard’s fidgety fingers, for example—make us hold our breath in unease. Exquisite, spacious shots, such as a wide shot of Michelle standing against a wall painted a soothing blush pink, cue a deep, relaxing exhale. Although somewhat unoriginal, the film’s musical score compliments these shots beautifully. Shrieking strings intensify scenes of apprehension, and quiet, thoughtful musical phrases accompany more subdued moments. The success of these elements makes for a gripping atmosphere that not once becomes overbearing.

While “Cloverfield” was entertaining enough, “10 Cloverfield Lane” makes it clear that it surpasses its predecessor in vigor and perspicacity. In refusing to succumb to predictability and in transforming its constricted space and small cast into unconventional strengths, “10 Cloverfield Lane” packs a great deal of punch and in spite of a somewhat muddled ending sequence proves itself an admirable directorial debut from Dan Trachtenberg.