In this task, you are given a text of many news articles seperated by special token "|||||". Your task is to summarize them.

When J.J. Abrams released Cloverfield in 2008, it arrived cloaked in secrecy. Now, some eight years later, the film’s so-called “blood relative” (Abrams’ term, not mine), comes with a similar marketing strategy. Going-in, viewers are unlikely to be certain what to expect and, emerging, they might not be quite sure exactly what they witnessed. The problems with 10 Cloverfield Lane result from attempts to tie it, however tenuously, to the earlier movie. Take away the disappointing, disjointed, and anti-climactic final act, and this is an effective white-knuckle psychological thriller. And, although the final 15 minutes don’t ruin the movie, they detract from its better parts. 
  
 The premise is simple: following a car accident, Michelle (Mary Elizabeth Winstead) awakens to find herself chained to a wall in what appears to be a basement. She soon learns that she has been brought to this place by the hulking, rather scary Howard (John Goodman), for her “own good.” The basement is actually a doomsday bunker with three occupants: survivalist Howard; his former handyman, Emmett (John Gallagher Jr.); and Michelle, whom Howard rescued from her smashed car. In the outside world, all is not well. According to Howard, apocalyptic events have occurred. His plan is for the three of them to shelter in place and wait it out until things are safe. Michelle thinks he’s crazy. Emmett isn’t so certain. 
  
 By using double-bluffs and red herrings, director Dan Trachtenberg crafts a claustrophobic psychological thriller that hums along nicely. Hitchcockian misdirection abounds. From moment-to-moment we’re never quite sure who (or what) Howard really is: a lonely savior whose paranoia has been validated or a creepy kidnapper acting out a twisted delusion? Is the situation outside the bunker real or a figment of Howard’s warped mind? Did “the Ruskies” attack? Or aliens? Or nothing at all? Perhaps Howard faked the mutilations of some pigs to “prove” that the air isn’t safe? So many questions… At times, 10 Cloverfield Lane has a similar vibe as the TV series Lost which, not coincidentally, was produced by Abrams’ Bad Robot Productions. 
  
 While keeping us guessing, 10 Cloverfield Lane provides several nail-biting scenes. Sound is an important part of how the tension is amplified - every noise is loud and the insistent musical score throbs. 10 Cloverfield Lane doesn’t employ “found footage” like the original Cloverfield. Camera movement is smooth and clean and the shots are composed to emphasize how cramped and uncomfortable the limited space is. The movie is presented from Michelle’s perspective and its tone varies with her mood. Her opinion of Howard and the situation changes frequently and the film reflects that. There’s even a goofy musical montage that shows the three companions playing board games and putting together puzzles like any “normal” family. 
  
 Winstead is a good choice to play the heroine because she’s strong yet feminine. (She previously appeared as Bruce Willis’ daughter in the fourth Die Hard film and as the lead in the prequel to John Carptenter’s The Thing.) John Goodman is a perfect Howard - Goodman has the rare talent of being able to play both a cuddly, likeable guy and a frighteningly dangerous one. In 10 Cloverfield Lane, he’s asked to do both. 
  
 The film’s failing is that, in linking it to Cloverfield, it abandons the elements that made the majority of the movie effective. The final fifteen minutes don’t work as a way to wrap up this story or as an introduction to a larger (generic) canvas. They feel tacked-on and rushed. Nevertheless, as weak as the conclusion may be, it doesn’t obfuscate the good things to precede it. 10 Cloverfield Lane is packed with suspense and tension and offers some of the best bait-and-switch work of any recent psychological thriller. It’s easy to forgive any missteps toward the end when considering the entire package. 
  
 10 Cloverfield Lane (United States, 2016) ||||| 3.5 stars (out of 4) Check your nerves at the theater door. Take a deep breath while you still can. And then calmly apologize in advance to the person sitting next to you for jumping out of your seat and clutching a stray hand for dear life. 
  
 There. Now you’re ready to partake in some terrifying fun. 
  
 Producer J.J. Abrams is trumpeting his latest Bad Robot project as a sort-of sibling to 2008’s creepy found-footage hit Cloverfield. But this pic is more of a blood relative to the claustrophobic thrills and dark humor of the 1990 classic Misery. And no, you don’t have to be familiar with the mothership movie to fully understand — and appreciate — this sharp and tightly wound winner. 
  
 The scares start before a single line of dialogue is uttered. With ominous music taunting us in the background, we see a twenty-something girl (Mary Elizabeth Winstead) flitting around in an empty apartment. She walks out in a huff, leaving a diamond ring on a table. While driving on a desolate highway, her boyfriend, Ben, calls her on the iPhone and pleads forgiveness. (Check the closing credits to ID the A-lister who supplies Ben's voice). And then … boom. 
  
 This was a highly clandestine production for a reason: Part of the beauty of the film is that you don’t know what the heck is going on, and you don’t want to know. So plot details shall be kept to a minimum. 
  
 These are just the necessary basics: 
  
 — The girl is named Michelle. She wakes up and finds herself handcuffed to a bed in a cellar, which is part of a large, tricked-out underground bunker. It looks strikingly similar to Desmond's hatch in Lost. (Hey, let's pretend that Abrams, a Lost cocreator, is giving a subtle wink to all the show's fans!). Anyway, Michelle wants out. 
  
 — Her gruff caretaker, Howard (John Goodman), is a self-professed survivalist. He explains to Michelle that she can’t leave because the country is “under attack,” and the air is polluted. She needs to stay in the enclosed space for one year. Minimum. 
  
 — Another person, a good-natured dude named Emmett (John Gallagher Jr.), is also staying on the premises. He claims he is there of his own free will. 
  
 As the suspense heightens, the dynamic between the three characters in these ultraconfining surroundings constantly changes. At any given moment, Howard could either be a trustworthy father figure or a deeply disturbed kook. He adores his '60s ditties on the jukebox, which is endearing. He has a thing for Pretty in Pink too. Duckie! Blane! How sinister can he be? Then again, he also has a shotgun and a short-fused temper. Never mind. He’s a lunatic. Right? 
  
 What an inspired choice to cast Goodman as the man in charge. Though not a traditional leading man, the underrated actor has crafted a career by playing a relatable everyman. He has been a good guy (Roseanne, Argo), a loveable goof (The Flinstones), a bully (Revenge of the Nerds) and honed his comic skills hosting Saturday Night Live roughly 33 times. There’s a comfort in seeing him on screen, even when he’s biting off the ear of a goon in The Big Lebowski. We want to believe he’s being honest with Michelle when he laments the loss of his daughter. But only a fool would underestimate him. And Winstead — in a breakthrough performance — does not play scrappy, quick-thinking Michelle as a fool. 
  
 (Winstead's mental strength is a key cog in the triangle. Nobody wants to root for an idiotic damsel-in-distress). 
  
 It bears repeating: Don’t try to outguess the narrative. And, for the love of Google, don’t scour the web for third-act spoilers. Just exult in knowing that an old-fashioned scary movie can still make you squirm, laugh and gasp for air. 
  
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 Want stories like these delivered straight to your phone? Download the Us Weekly iPhone app now! ||||| I'd like to apologize to those who were sitting next to me for my aggressive popcorn munching during "10 Cloverfield Lane," the new J.J. Abrams-produced nail-biter starring a creepier John Goodman than you've ever seen (and that's saying something.) 
  
 You see, the popcorn was a surrogate for my nails, which I would have bitten off completely had I not had this precious snack at, um, hand. If you're like me, which is to say easily creeped out by unbearable tension and constant fear, not to mention intense claustrophobia, then I strongly suggest you either bring your own snacks, an old sweatshirt or a good friend's arm to chew on. 
  
 A couple things to get out of the way: First, this film, directed by Dan Trachtenberg, is not a sequel to the 2008 Abrams-produced "Cloverfield," though it does share a similar vibe, not to mention part of a title — which hints at a franchise (Abrams has mentioned a "bigger plan.") And a disclaimer: We won't reveal the end here in any way, but we WILL have to say what we THINK of the ending. If even that feels like a spoiler to you, then feel free to stop reading a few paragraphs early. 
  
 Now to the plot. We meet Michelle (Mary Elizabeth Winstead, elevating what could be a stock feisty-girl role with intelligence and occasional humor) as she's packing to leave a boyfriend after an unexplained conflict (a famous actor's voice is heard on voicemail). She jumps in her car and heads off. As night falls into inky blackness, we hear references on the radio to an unexplained power surge. 
  
 Then there's a car crash, shocking in its intensity — and the opening credits haven't even finished yet. 
  
 Michelle awakes in some sort of underground cellar. Worse, she's chained to a wall. With ingenuity, she manages to reach her cellphone. But there's no service. 
  
 And then she meets Howard. 
  
 Naturally, Michelle thinks Howard (Goodman, in all his imposing girth) is up to something bad. There's that whole chained-to-the-wall thing, plus that huge lock on the heavy metal door of her cell. But, he explains, he's not a threat — he's a savior. Something terrible has happened up there, outside. It might be chemical, might be nuclear, might be something else. But she's the lucky one. She's been saved. 
  
 Soon, a third character is introduced: An amiable neighbor, Emmett (John Gallagher Jr.), who insists he hurt his arm not trying to escape from Howard but trying to get IN; he supports Howard's story of a catastrophic attack. And the three settle in for a taut, well-choreographed chamber play down in the bunker. 
  
 This is the bulk of the movie, and the best of it: The fraught dance between these three characters, with their shifting allegiances and a power dynamic that never seems clear. Which one of them is lying? Or is everyone telling the truth? Who's the enemy, and are they outside or underground? 
  
 Smartly, Trachtenberg and the screenwriters (Josh Campbell, Matt Stuecken, and Damien Chazelle of "Whiplash") find a way to break the tension — ever so briefly — with a bit of humor (watch for a random Santa Claus reference) and a bit of music, too. You'll probably laugh, as I did, when you realize the soundtrack is playing "I Think We're Alone Now." For a minute we forget the dangers that (might) lurk, both outside and in. 
  
 But the dance will eventually have to end. Trachtenberg scares the wits out of us a few times, and then he launches into a climax that will have many talking — though I found it somewhat disappointing and frustratingly baffling. But you might love it. 
  
 Just remember to bring something to chew on. 
  
 "10 Cloverfield Lane," a Paramount Pictures release, has been rated PG-13 by the Motion Picture Association of America "for thematic material including frightening sequences of threat with some violence, and brief language." Running time: 103 minutes. Two and a half stars out of four. 
  
 Definition of PG-13: Parents strongly cautioned. Some material may be inappropriate for children under 13. 
  
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 Follow Jocelyn Noveck on Twitter at http://www.twitter.com/JocelynNoveckAP |||||
A woman wakes in a bunker and is told the world outside is uninhabitable after some kind of apocalyptic disaster. So starts the JJ Abrams-produced 10 Cloverfield Lane, which Abrams calls a "blood relative" to 2008's Cloverfield. Whatever its relation, viewers are in for a treat as the film has a 91% approval rating on Rotten Tomatoes. Here's what critics are saying. The film revolves around three characters—including "a creepier John Goodman than you've ever seen"—hiding out in a bunker "with their shifting allegiances and a power dynamic that never seems clear," writes Jocelyn Noveck at the AP. Eventually, director Dan Trachtenberg "launches into a climax that will have many talking—though I found it somewhat disappointing and frustratingly baffling," Noveck writes. A warning: "your nails may not survive." James Berardinelli agrees it's "packed with suspense and tension and offers some of the best bait-and-switch work of any recent psychological thriller." Goodman, with "the rare talent of being able to play both a cuddly, likeable guy and a frighteningly dangerous one," is "perfect" as doomsday prepper Howard, he writes ReelViews. But the last 15 minutes "don't work as a way to wrap up this story or as an introduction to a larger (generic) canvas." The ending doesn't bother Peters Travers. The film has "everything a psychological thriller needs to shatter your nerves—and then kicks it up a notch," he writes at Rolling Stone. "You can't take your eyes off" Goodman. Trachtenberg, meanwhile, lets "the claustrophobia of the bunker seep into your blood stream until you're jumping at everything that goes bump in the night," he says. "As for the movie's impact—to paraphrase Donald Trump, it's going to be huge." "Part of the beauty of the film is that you don't know what the heck is going on, and you don't want to know," writes Mara Reinstein at Us Weekly. Her advice: "Check your nerves at the theater door. Take a deep breath while you still can. … Don't try to outguess the narrative. And, for the love of Google, don’t scour the web for third-act spoilers." This is "old-fashioned scary."