Category Archives: Movies

Quantum of Solace, the new Bond film title.


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The next James Bond film is to be called Quantum of Solace, producers have confirmed. The title is taken from one of a collection of short stories published by 007 creator Ian Fleming in 1960.

Producer Michael Wilson said the film would have “twice as much action” as 2006’s Casino Royale, which saw Daniel Craig debut as the iconic secret agent.

The next outing, previously known as Bond 22, is partly being shot at Pinewood Studios in Buckinghamshire.

At a press conference at the facility, reporters were shown a minute of footage from the new film, including Bond swinging on a rope after an explosion at an art gallery in Siena, Italy.

Another scene showed him meeting M – played by Dame Judi Dench – outside in the snow.

Filming on the movie has been taking place at Pinewood since November.

He’s looking for revenge, you know, to make himself happy with the world again
Daniel Craig on James Bond

Craig said the cryptic title referenced how Bond’s heart had been broken at the end of Casino Royale.

“Ian Fleming had written about relationships,” he explained.

“When they go wrong, when there’s nothing left, when the spark has gone, when the fire’s gone out, there’s no quantum of solace.

“And at the end of the last movie, Bond has the love of his life taken away from him and he never got that quantum of solace.”

Craig said the new film would follow 007 as he goes out “to find the guy who’s responsible”.

“So he’s looking for revenge, you know, to make himself happy with the world again.

“But the title also alludes to something else in the film,” he added.

‘Driven by revenge’

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Olga Kurylenko, who plays Bond girl Camille in the film, said that she has yet to film any scenes, but was working hard preparing for her role.

“I’m doing weapons training and body flight training for aerial scenes and stunt work for fighting,” she said.

“This girl is going to kick ass. She’s on her own mission and she’s driven by revenge.”

But it is not clear whether Camille is a secret agent.

French actor Mathieu Amalric, who plays the villainous Dominic Greene, told reporters his character had “the smile of Tony Blair and the crazy eyes of Nicholas Sarkozy”.

Actress Gemma Arterton plays an MI6 agent in the film and has already shot her love scenes with 007.

She said: “I felt like a giggly girl, and I felt so young and inexperienced – but I kissed James Bond!”

The 21-year-old, who recently starred in the St Trinian’s film, said her Bond role is “not so frolicksome” and her character “fresh and young, not sultry and a femme fatale”.

‘Pretty prickly’

Dame Judi Dench, who returns for her sixth Bond film, said: “I get to do more in this one, which is brilliant.”

She hinted that her character’s relationship with Bond would be “pretty prickly”.

Rumours about the name had grown after fans noticed that film studio Sony had bought the domain name quantumofsolace.com.

But co-producer Michael Wilson said the name had only been decided “a few days ago”, adding the story’s start point would be “literally an hour after the last film left off”.

Asked if Casino Royale star Eva Green would appear in Quantum of Solace, co-producer Barbara Broccoli said: “There are no flashbacks in the film, but she’s certainly on Bond’s mind.”

Director Marc Forster is in charge of work on the movie, which is due for release on 7 November. read more | digg story

Why the MPAA and RIAA can’t stand college students

According to a recent report from the Associated Press, the Motion Picture Association of America–Hollywood’s antipiracy wing–admitted to releasing data that was not only factually incorrect, it grossly overstated the impact college students have on the movie industry’s losses.

The MPAA claims its original figure citing a 44 percent loss due to college piracy was inflated by a whopping 29 percent. In fact, the MPAA admitted that the actual impact college students have on the industry’s revenue loss is just 15 percent.

“The 44 percent figure was used to show that if college campuses could somehow solve this problem on this campus, then it would make a tremendous difference in the business of the motion picture industry,” an expert covering the case said. The new figures prove “any solution on campus will have only a small impact on the industry itself.”

So why do the MPAA and the Recording Industry Association of America focus so much of their time on college students? Is there something that these disgusting organizations aren’t telling us? Are college students really that bad? Sadly, it’s just another example of these organizations trying to vilify the easy target when the real violators are left to roam free.

The main reason the RIAA and MPAA can’t stand college students is actually quite simple–they’re the easiest target. How many times have you heard organizations blame so many of the world’s problems on the 18 to 25 crowd? A quick history lesson on what happened in the ’70s should be enough to satisfy that assertion.

Let’s face it: The 18 to 25 crowd represents change and innovation. It represents a new way of thinking and the condemnation of the old guard. And it’s the old institutions like the movie and music industries that can’t seem to grasp that the change that’s occurring–the right to own your own digital media after purchasing it–is a rogue tidal wave that will eventually lead to their demise.

Sadly, the MPAA and RIAA just don’t like college students. In fact, why would they? After all, isn’t this the group that, according to RIAA spokeswoman Cara Duckworth, “has reached a stage in life when their music habits are crystallized, and their appreciation for intellectual property has not yet reached its full development”?

I simply don’t understand these organizations. Instead of being the bastions of progress in an age where everyone can see that a change is coming, the RIAA and MPAA have decided to insult college students and cite faulty statistics to back up their ludicrous claims.

Why haven’t these organizations focused on the real pirates who cruise in gunships overseas and account for well over 15 percent of that revenue loss the MPAA is so quick to mention? Even better, why doesn’t the MPAA realize that the 15 percent loss is nothing compared with the incredible box-office losses it’s incurring because of crappy movies and skyrocketing ticket prices?

College students represent change, innovation and a new way of thinking. The MPAA and the RIAA represent two industries that would like nothing more than to go back to the days of no video media and vinyl–their comfort zones.

Unfortunately for them, that simply won’t happen. Realizing this, both organizations made a conscious decision to vilify college students in the hopes the rest of us would jump onboard. We didn’t.

The MPAA and the RIAA are two organizations that should be looked upon with the greatest amount of distaste and downright condemnation. Trust me, they’re really that bad.

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Oops: MPAA admits college piracy numbers grossly inflated

“For clearly not in any and every body
Can mind and can intelligence exist.”
-Lucretius, De Rerum Natura, book five

Unbelievable.

After commissioning a 2005 study from LEK Consulting that showed collegiate file-swappers were responsible for 44 percent of movie studio “losses” to piracy, the MPAA then used the report it bought to bludgeon Congress into considering legislation to address this massive problem. Now the MPAA admits that the report’s conclusions weren’t even close to being right; collegiate piracy accounts for only 15 percent of “losses.” Oops. And that’s assuming you believe the rest of the data.

The Associated Press broke the news today; apparently, the MPAA is busy notifying government and education officials about the blunder, which may explain why it’s too busy to post a mea culpa to its web site. The group blames “human error” for the calculation problem.

Of course, human error can and does happen to the best of us, and at least the MPAA finally owned up to a mistake that no one else would have noticed—even if it took over two years. Of course, the reason no one else would have noticed it is because the group kept the 2005 report and its methodology under wraps. But even the summaries that it published were enough for us to express some potent skepticism of the numbers back in 2006 and to argue that “the contours and effects of piracy are quite open to debate, and as a result, the best ways to address the problem are up for debate, too.”

But the MPAA didn’t see it that way. It had its numbers, and it trucked them off to Congress. Howard Berman (D-CA), a powerful Congressman from Hollywood who does plenty of work with IP issues, bought the complete bill of goods. In March of 2007, we reported on Berman’s veiled threats against universities and colleges in the US, comments apparently based in part on the now-discredited report.

“Indeed, the statistics demonstrate that students engage in rampant piracy,” he said at the time, “and while Congress has given universities many exemptions from copyright liability it might be time to condition some of those exemptions on action taken by universities to address the piracy problem.”

This attitude led to bills like the College Opportunity and Affordability Act of 2007, still pending a vote in the House. That bill directs schools to “develop a plan for offering alternatives to illegal downloading or peer-to-peer distribution of intellectual property as well as a plan to explore technology-based deterrents to prevent such illegal activity.” Or, in English: figure out some way to sell content to your kids, then figure out some way to filter their Internet connections if that fails. No one was required to implement these plans, but the very fact that the bill has already cleared its House committee suggests that Congress is getting serious about having universities bring down that 44 percent—sorry, 15 percent—number.

But university actions, no matter how draconian, are unlikely to affect collegiate downloading habits too much. The AP also quotes Mark Luke, a VP at education technology group Educause, who argues that most college students live off-campus; therefore, even if the MPAA numbers are now in the ballpark, filtering campus Internet connections will have only a minimal effect.

With most of the Ars staff having backgrounds in higher education, the MPAA lobbying drive to turn universities into copyright cops touches a raw nerve. The fact that one of the key data points in this lobbying for the last two years was overstated by a factor of three is bad, but the fact that it came from a secret report just makes it all worse. After all, this is exactly opposite the approach taken by most of the academic world (and the open-source community) when it comes to research, and there’s a good reason why findings need to be open and repeatable and scrutinized by other experts before gaining acceptance. Or before guiding US law.

Yes, college students need to rein in the file-sharing. We get it. Artists need to eat. But while the MPAA has been busy lecturing universities about the way they run their IT operations, perhaps the universities have something to say to the motion picture business about how it buys and releases its research. Back to school, MPAA.

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Meet Oscar’s Class of 2008 : And The Nominees Are…

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Oscar voters sure are happy about a somber set of films.

In nominations named Tuesday, There Will Be Blood, which follows a ruthless tycoon’s pursuit of oil, and No Country for Old Men, a bloody contemporary Western, lead the best-picture pack with eight each. Two other top-picture contenders, Atonement (distraught lovers) and Michael Clayton (deceitful lawyers), are close behind with seven each. The light spot on the list is Juno, the sweet story of a precocious, pregnant teenager, which got four nominations.

While no front-runner has emerged, No Country for Old Men has won the most critics’ awards, including those from the National Board of Review and the New York Film Critics Circle. There Will Be Blood was cited as best picture by the Los Angeles Film Critics Association and the National Society of Film Critics. Atonement won the Golden Globe among dramas. None of them is a box-office blockbuster.

Leading Blood and Clayton are best-actor nominees Daniel Day-Lewis as the oilman and George Clooney as a law firm’s fixer. An unexpected entry is Tommy Lee Jones playing the father of a missing soldier in In the Valley of Elah. The other nominees are Johnny Depp, Sweeney Todd, and Viggo Mortensen, Eastern Promises.

Cate Blanchett earned her second best-actress nomination for playing Queen Elizabeth I. She got the first as the young British monarch in 1998’s Elizabeth. She portrays the mature queen in Elizabeth: The Golden Age.

Julie Christie, suffering from Alzheimer’s in Away From Her, and Marion Cotillard, the tragic French singer Edith Piaf in La Vie en Rose, were considered locks in the actress category. Joining them is Laura Linney, who cares for an aging father in The Savages. Again, Juno injects levity into a serious lot. Its 20-year-old sensation, Ellen Page, tops off the list.

Blanchett’s name appears again in the supporting-actress category for her role as Bob Dylan in I’m Not There. Also nominated are Ruby Dee, American Gangster; Saoirse Ronan, Atonement; Amy Ryan, Gone Baby Gone; and Tilda Swinton, Michael Clayton.

In a big surprise, Juno‘s Jason Reitman was nominated in the directing category after being snubbed by the Directors Guild of America. In turn, Into the Wild‘s Sean Penn, a guild nominee, was shunned by Oscar voters.

Other nominated directors include Julian Schnabel, The Diving Bell and the Butterfly; Paul Thomas Anderson, There Will Be Blood; Tony Gilroy, Michael Clayton; and Joel Coen and Ethan Coen, No Country for Old Men. The Coens are the first sibling team to be nominated.

If there is a sure bet in the supporting-actor category, it may be No Country for Old Men‘s Javier Bardem, who has won many critics’ awards. He is up against Casey Affleck, The Assassination of Jesse James by the Coward Robert Ford; Philip Seymour Hoffman, Charlie Wilson’s War; Hal Holbrook, Into the Wild; and Tom Wilkinson, Michael Clayton.

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The Top 10 Movies That Really Didn’t Need Video Games

Unfortunately, video game companies aren’t always able to identify what movies viewers would want to insert themselves into. While super hero and action movies lend themselves nicely to the gaming world, let’s not forget the movies that really didn’t need games, but for one reason or another got them anyway. The blessing of movie based video games that gave us Spider-Man 2 can also be the curse that gave us Austin Power’s Pinball.

10. Jaws

Finally, a game that allows me to play as Richard Dreyfuss! I’ve been waiting for this ever since they canceled the Mr. Holland’s Opus game for Sega Saturn. Wait, I don’t get to play as Rich at all? Unfortunately, in Jaws: Unleashed you take control of the finned nightmare that stalks the film’s protagonists. With open ended game play (not very exciting when you realize most of it is empty water), this game is basically Ecco the Dolphin with teeth. Not surprisingly, the game actually was developed by the Echo people, essentially making it exactly that. Just because Jaws is considered the first summer blockbuster doesn’t mean it had to get a game like every other one. I’m still holding out for a Deep Blue Sea spin off myself.

9. The Godfather

Something just doesn’t feel right about making a game out of one of the most critically acclaimed films of all time. There’s nothing wrong with the idea of an old-timey gangster game. In fact, it’s great potential for an awesome game. Everyone loves riddling a wiseguy in a pin-striped suit with bullets from a tommy gun. But why drag The Godfather into it? You’re just setting yourself up for failure when you tie a game to something so revered. But I suppose EA made the studio an offer they couldn’t refuse.

8. Platoon

The gaming world is populated with hundreds of games about war. However, unlike the plethora of games about World War II, it’s not quite as easy to glorify our action in Vietnam. That’s why the development of a game based on Oliver Stone’s Platoon, which focuses heavily on the horrors of the Vietnam war, is so puzzling. The game mostly carries the Platoon title in name alone, not allowing you to do much else besides shoot enemies in the jungle. Not once do you get to rape villagers, do heroin, burn down villages or frag your own officers.

7. Reservoir Dogs

When Quentin Tarantino made Reservoir Dogs, he purposefully left out the scenes you would expect out of a crime movie. Instead of the diamond robbery itself, he focused on the paranoia and interactions that lead up to and spun out of it. That makes a Reservoir Dogs game seem a little silly. Sure they have guns, but about 60% of the movie is people talking in one tiny warehouse. The game chooses to let you play through the aspects of the movie that you never got to see, leaving you with a rather stale crime game about guys in black suits. The only redemption would have been a Dance Dance Revolution style level of Mr. Blonde dancing to “Stuck in the Middle With You” while cutting a cop’s ear off.

6. Wayne’s World

The only way you could possibly defend this game is to say that out of SNL based movies, Wayne’s World deserved a game the most. Talk about damning with faint praise. The movie is about two slackers who sit on their couch and do a public access TV show from a basement. Fine concept for a comedy film, but it doesn’t exactly lend itself to exciting gaming. The player runs around as Wayne in bizarre stages, shooting lasers from your guitar and avoiding such “non-rockin” items as bagpipes and accordions. Still, better than a game of The Ladies Man.

5. Fight Club

There’s something almost poetically ironic about a movie so focused on anti-commercialism and social anarchy becoming the basis for an unoriginal fighting game. Although the fight club is only one element of the film, the creators of this game chose to focus entirely on that and distill the movie down to a simple one-on-one fighting game. Then, in a potent instance of adding insult to injury, completing the whole game unlocks Limp Bizkit lead “singer” Fred Durst as a playable character. However, you could look at the bright side. That means you get to punch Fred Durst in the face whenever you want to.

4. Street Fighter: The Movie

Street Fighter: The Movie: The Game is a game based on a movie based on the game Street Fighter. Instead of cartoon characters fighting each other, now slightly more realistic characters based on the actors in the movie who are supposed to look like the cartoon characters fight each other. There is no reason for this to exist.

3. The Da Vinci Code

It may be a slight mistake to base a video game on a movie where the action packed climax comes in the form of Tom Hanks spinning dials on a tiny puzzle tube. Instead of just focusing on making it a puzzle game, there is actually car chases, stealth and combat as well. Because really, when you think of The Da Vinci Code, you think of action. Not to mention that the fun of a puzzle/mystery game is unraveling the truth of the game yourself, which is impossible when you’ve already read the book and seen the movie. Mystery solved at that point. As far as Tom Hanks movies go, a Philadelphia game might be more fun.

2. Little Nicky

When you look at a list of Adam Sandler movies, it’s possible to see how games could be spun out of them. A Happy Gilmore golfing game perhaps? How about a Waterboy football game? Nope, the movie they decided to immortalize as a game was Little Nicky, a forgettable movie by Adam Sandler standards, and that’s saying something. Besides walking around New York fighting demons and eating Popeye’s chicken, the game features wonderful mini games such as shoving a pineapple up Hitler’s ass (shown above). When a game has to make a whole mini-game based on that gag you know it’s in trouble.

1. Napoleon Dynamite

We all remember a few years ago when Napoleon fever hit the world. Every kind of product imaginable had Jon Heder’s awkward face plastered on it and you couldn’t go three feet without hearing someone quoting it. So it’s really not a shock that some enterprising young game creator pushed ahead a Napoleon game. But that doesn’t make it right. From such activities as tetherball, feeding a llama and dancing that famous dance, you can play through the life of Napoleon with all the excitement and gusto you saw in the film. As in not very much at all.

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Cloverfield Mythos Explored: Monsters + Marketing = Millions

WARNING — SPOILERS AHEAD: This article contains background information and plot details on the film CLOVERFIELD and its viral marketing campaign, and recklessly indulges in spoilers and speculation, so beware.

Cloverfield movie posterParamount’s Cloverfield broke the box office record for best January opening ever, earning an estimated $46 million this holiday weekend. Not so shocking since the J.J. Abrams-produced monster flick was probably the most anticipated film to be released in a month known for its poor box office returns. What is shocking is that special-effects-filled film was made for a mere $25 million, though, that’s not counting all the money spent all its well-known viral marketing campaign.

And what a campaign it was. You can say it all started on 2007’s Fourth of July weekend when an unnamed trailer debuted in front of Transformers. The teaser showed a group of friends at a surprise going-away party for their pal Rob, who’s leaving the next day for his new job in Japan. Right in the middle of the merriment, the building is rocked by what feels like an earthquake. When the party-goers hit the streets to see what happened, WHOA!, flying through the air comes the head of the Statue of Liberty.

Now that’s an attention grabber. Since the teaser didn’t have a name, it became known simply as “Cloverfield” to the hordes of Internet browsers wanting to know WHAT IS THIS MOVIE?!?! Soon after, viral Web sites began springing up, including www.1-18-08.com, which eventually became the film’s the official site. More cryptic were the other sites, which we’ve found out more recently may hold a key to the origins of the Cloverfield monster: slusho.jp, a fictional Japanese company that makes the “Slusho” frozen drink (seen previously in other J.J. Abrams projects); tagruato.jp, a site for the bogus deep-sea drilling company Tagruato; and tidowave.com, the environmentalist organization T.I.D.O WAVE which is fighting against Tagruato. (According to Cloverfield Clues, the T.I.D.O. site was recently locked by the “Internal Affairs Department” presumably for allegedly destroying Targruato’s Chuai oil-rig station and attacking the company’s CEO Ganu Yoshida.)

SlushoWhat do all these viral sites have to do with the New York-based Cloverfield? Well, as it turns out, main character Rob revealed a few weeks ago on his MySpace Blog that the job he’s taking in Japan is as the V.P. of Marketing and Promotions for Slusho. Slusho happens to be owned by Tagruato and the company’s CEO Ganu Yoshida was planning a trip to NYC to meet with the owner of BevVo, the largest privatized water manufacturer in the world, to discuss distributing Slusho through pre-established public waterways and to tour potential Slusho manufacturing plants in the United States.

T.I.D.O. is against Tagruato because they claim that Tagruato’s research and practices are destroying our oceans, which would be the cause for T.I.D.O.’s alleged guerilla tactics.

Cloverfield Manga Tie-inNow, how does this involve the monster? A recently released Japanese online manga tie-in (said to be the first issue of four) follows the story of Kishin, a Japanese boy who, along with his mother, has something to do with the monster. Simultaneously, we’re shown a cargo ship at sea pulling something chained to the back; we don’t seen exactly what’s being pulled until the last panel when a pair eyes emerges from the water. The ship bears the Targuato logo. (Cloverfield Clues has an English translation; Wired also has coverage.)

So, that ship could be pulling the “Coverfield” monster OR possibly its mother. According to the film’s production notes, Abrams claims that “Clover” is a baby who’s been “down there in the water for thousands and thousands of years.” In the film, it’s insinuated that the confused, frightened monster sprung up from New York Harbor (hence, its first target, The Statue of Liberty) where it either overturned an oil tanker or was disturbed by a capsized oiler tank. According to Cloverfield News, the oil tanker looks like it too bears the Targuato logo.

According to FSR, director Matt Reeves revealed to them that in the final scene with Rob and Beth on the ferris wheel at Coney Island a month before the monster attack, something can be seen splashing into the water behind them. (The clue was to “Watch the skies, my friends. Watch the skies.”). Speculation is that this was the monster either falling into the water, or just splashing around in it. (See image just below at right of the splash in the water.)

Cloverfield Coney IslandBut, if the monster was down in the water for thousands of years already, how could it have fallen from the sky? Another theory is that it could be the rogue piece that recently fell off the Japanese government’s “ChimpanzIII” satellite. Why? Because according to the Tagruato Web site, coincidentally, Tagruato scientists and engineers are working on tracking down the missing piece which disappeared into the Atlantic Ocean (the Targuato site is currently “down for maintenance”). Perhaps the fallen satellite is what disturbed the monster’s slumber. Also, according to Cloverfield Ending Credits, the main ingredient for Slusho is found at the satellite deep ocean dropzone and that while searching for satellite and ingredients, Targuato woke the Cloverfield monster. The main ingredient of Slusho apparently has the power to turn a tiny fish into a huge whale (explains the monster’s size) and since deep sea creatures naturally have very high heat resistance, this is why the monster was unaffected by the military bomb attacks.

Whatever the cause, the skyscraper-sized monster is awake now and seemly impervious to military assaults. The filmmakers realized that because of the monster’s size and strength, there’d be no way for the human characters to have intimate contact and combat with it. That’s where all those smaller spider/crab-like parasites come in. If the monster started out as a baby with maybe microscopic parasites on it, it would make sense that if the monster grew to a much larger size, so would the parasites. Apparently, once the monster tore into the city, it was able to remove these pests from its body by rubbing its back against a building, thereby setting the fast-paced and now very vicious parasites free to ravage the citizens of New York City.

Cloverfield Production Photo-Marlena is TakenAnd here’s where we get into the super-unknown territory. While we know that the monster is just scared and hungry, chomping away on the tiny little humans, what we don’t know is what the parasites are out for. Typically, a parasite will attach itself and live off a larger organism. In the film, the parasites are smaller than the humans and are attacking by biting. Perhaps they are just blood-sucking parasites? There’s no evidence that they enter the human bodies and take over their new host. Either way, the affects of their attack on the humans is unexplained. Soon after Marlena, one of the main characters, is bitten, she begins bleeding from the eyes and then it seems like her stomach explodes (the audience doesn’t get to see this up close, since Marlena is behind a tarp when this happens and only the outline of her body is shown).

Cloverfield Production Photo-Rooftop RescueWhy don’t we see the gore? In case you didn’t know, Cloverfield is filmed from the perspective of Hud, Rob’s best friend, who was tasked with the recording of Rob’s going-away party. It’s Hud, who, armed with a handycam, captures the Statue of Liberty’s head crashing onto the street in front of their building. From there, Hud and Rob, along with their friends Marlena, Lily, and Jason, attempt to cross the Brooklyn Bridge during a mandatory evacuation of New York City. Rob then receives a phone call from the woman he loves, Beth, who’s injured and trapped in her apartment in midtown — the opposite direction of the evacuation route. That’s when the group decides to turn back to rescue Beth. Their journey — interspersed with footage of the monster’s rampaging — is all captured by Hud’s shaky video camera work, which is why certain aspects of the film are left to the audience’s imagination.

Where does Coney Island come in? Rob’s brother Jason took Rob’s video camera to use at the party, but never put in a new tape. (Why Rob would have a camera that still requires tape is quite interesting, considering the camera seems to have a very high battery life as well as night vision of all things!) Hud was inadvertently recording over footage taken a month prior when Rob and Beth spent the day together. (Rob had always been in love with Beth, but they had been “just friends” until that day when, unbeknownst to their friends, they slept together, then spent the next day having fun in Coney Island). This is why the old footage of Rob and Beth will periodically appear on screen and why the movie ends with the couple on the ferris wheel.

What happened to the monster, the parasites, and the rest of the city? Reports from movie-goers are that if you stay until the movie’s end credits, you can hear someone say “Help us.” This could mean that Rob and Beth, who at the end were trapped under a bridge in Central Park after the military bombed it, could still be alive. Also, it’s said that if you play the audio backward, you can hear someone say, “It’s still alive,” which could mean that the Cloverfield monster is still alive.

As far as the humans go, even if Rob and Beth didn’t survive, Lily was evacuated by military helicopter and last we saw, she survived. We know from the beginning of the movie that the reason we’re seeing this film is because some time after the attack the tape was retrieved. But, we also know that the morning after the attack, the military was going to destroy NYC if they couldn’t defeat the monster. Since the bridge in Central Park where Rob and Beth were hiding under gets bombed by the military that morning, it can be assumed that Manhattan is destroyed. OR, perhaps, since the monster conveniently showed up in Central Park, maybe the military was able to kill the monster and maybe even save Rob and Beth.

Cloverfield Website PhotosJudging by the tape’s survival and the new pictures that were posted on the film’s official site, either the monster was defeated or it gave up the attack and left the city. (I think it’s the latter.) One photo from the site shows a man in a small boat floating in bloodied water; another shows the bloody, bitten into carcass of a whale or some other sea creature. (See the images here after left; click for larger view.)

So, with a film this successful, what about the inevitable sequel? B-D spoke with director Matt Reeves, who said, “Only time will tell. While we were on set making the film we talked about the possibilities and directions of how a sequel can go. The fun of this movie was that it might not have been the only movie being made that night, there might be another movie! In today’s day and age of people filming their lives on their iphones and handy cams, uploading it to youtube…That was kind of exciting thinking about that.” So, if there’s a sequel, it might be chronicling the same events, but through the lens of another person’s perspective.

It’s obvious, though, that this is not the last we’ve seen of Cloverfield.

Cloverfield Mirror Monster Poster

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Cloverfield Graphic Novel + Last Shot Of Movie = Wink, Wink

cloverladies.jpg So Cloverfield came and shed the “is it just internet buzz?” curse of Snakes on a Plane this weekend by chewing up over $41 million bucks at the box office, and that’s not including the bonus holiday Monday take. Although the film has been out only three days, there’s already more monster-sized rumormongering going on. Consider this your spoiler warning, dorkaholics!

Cloversplash.jpg Remember this last shot in the film of our intrepid heroes at Coney Island, enjoying a post-coital day of amusement? Apparently something huge splashes down into the ocean in the background. We missed it, but if you couple it with the translation from the graphic novel that says the Japanese Tagruato corporation’s satellite fell from orbit, then bingo. You’ve got the alarm clock that woke up the monster from its deep-sea slumber. We have no idea if it’s true or not, but there you have it. We now promise you a Cloverfield free week from here on out. Well, maybe.

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