Monsters, machine guns, and motion sickness in “Cloverfield”
Monsters, machine guns, and motion sickness in “Cloverfield”
“Cloverfield,” the movie that’s been shrouded in mystery ever since its ominous trailer first appeared in theaters (then it was only known by the name “1/18/08”) is finally here. “Cloverfield” takes the tired “monsters attacking large cities” genre and proves they can still be originally made by using one very clever technique. The entire movie is filmed with a hand-held camera.
The movie starts out at a surprise party for Rob, who’s leaving for Japan to start his new job. Jason (Rob’s brother) assigns Hud (Rob’s best friend) to document the night. Hud films fond farewells from Rob’s friends. Beth (Rob’s true love) shows up with another guy, and she and Rob get in a fight. Though the party scene drags on just a little, it’s essential for us to know the dynamics of each of the characters.
Not too long into the party, something happens. An earthquake? No one knows, but they all scamper up to the roof to get a better view. They see a large explosion in downtown Manhattan, and as they run out of their building, the head of the Statue of Liberty comes barreling down the street.
Rob finds out that after their fight, Beth went back to her apartment in Midtown and is now trapped, unable to move. Using the old ploy of “risk everyone to save one,” Rob tries to make his way to Beth’s apartment.
After that, “Cloverfield” is pretty much non-stop. Throughout the movie, we get glimpses here and there of something large, maybe alien, maybe reptile, destroying everything in its way; tiny (compared to the monster) creatures continuously drop off of the monster and chow down on any nearby humans. Here is the genius of “Cloverfield.” By simply changing the point of view from third person to first person, we in the audience feel like we are running right along side the characters on the screen. We know as much as they do, which is why the movie is really creepy, even downright scary, in some parts.
Like much of J.J. Abrams’ stuff, mainly “Lost,” many things in “Cloverfield” are left unexplained. We never find out where the monster came from (although Hud speculates that it emerged from an ocean trench), and for good reason. Too many monster movies are too focused on where the monsters came from and why they are here. “Cloverfield” is essentially about the people and what they experience as the world falls apart around them. It reminded me of M. Night Shyamalan’s “Signs.” It’s true that much more is going on and there’s much more to the story, but we aren’t privy to that information, and it makes the movie that much better. The hand-held camera does grow a little tiresome. I don’t think I could’ve gone longer than 86 minutes. But, “Cloverfield” is very effective. It tries something new, and it works. It’s proof that it really doesn’t matter what the movie’s about, but how it all happens. I just have one suggestion for everyone: Take a few motion sickness pills before going.
Grade: B+
“Sweeney Todd” is a bloody good time
First thing’s first: Sweeney Todd is not a hero. This movie is about the villain. Some people would even call Todd an “anti-hero,” but even that implies he has some sort of moral guidelines he follows.
Sweeney Todd (Johnny Depp “Pirates of the Carribean”) was once Benjamin Barker, barber extraordinaire, but a long time ago Barker was sent away to prison on trumped-up charges. The culprit was the evil Judge Turpin (Alan Rickman “Die Hard”), who envied Barker. Barker had a lovely wife and child, and Judge Turpin wanted them both.
The movie begins when Benjamin Barker, now Sweeney Todd, has come back to London after escaping from prison. There’s only one thing on his mind: revenge. Todd has become so consumed with the injustice that has befallen him that soon into the movie he comes to the conclusion that everyone deserves to die, not just those who wronged him.
Todd finds an old friend, Mrs. Lovett (Helena Bonham Carter “Corpse Bride”), who informs Todd of what happened to his lovely family. He then sets up his business in his old barber shop, right above Mrs. Lovett’s store, which is famous for having the worst meat pies in London.
It’s not long before Todd starts exacting his revenge on anyone and everyone who sits down into his barber’s chair by slitting their throats. Todd and Mrs. Lovett devise an ingenious plan where they bake the dead bodies into her meat pies. The pies are an instant success. Although I did have one question: If Todd keeps killing his customers, who’s passing around the word of mouth about his business?
There is a very telling scene halfway into the movie where we see the despicable judge Turpin sentence a young boy to death by hanging. That is when we realize that, because Sweeney Todd has become so enveloped by his rage, he is no different from the very person he hates. Todd kills people indiscriminately, and so does Judge Turpin.
Sorry, I’ve gotten so into the story I’ve forgotten to mention that “Sweeney Todd,” for those that don’t know, is a musical and a fantastic one indeed. Tim Burton’s movie is dark and brooding, but at the same time some of the songs are almost happy, almost uplifting, like a source of light in an otherwise dreary world. Depp and Carter do all their own singing. There are no fancy dance numbers, just heartfelt, soulful songs that drive the story forward and convey feelings that regular dialogue fail to do.
There’s a lot to say about “Sweeney Todd” and not enough newspaper space to do it in. It’s a dazzling movie that is unequivocal in its message: If you let hate and rage consume you, you are no better than the people who made you feel that way.
Grade: A