 "Photo: Paramount Pictures")
J.J. Abrams has created the quintessential monster movie, if not the defining movie, of our generation.
If you didn't see the mysterious, nameless movie trailer before "Transformers" this summer or haven't been sucked into the online frenzy over the film, hurry to a computer and watch a trailer now. "Cloverfield" is unconventional homage to '50s monster movies through the perspective of the post Sept. 11 generation's home video camera. The film follows a group of 20-somethings as they celebrate their friend's job promotion by giving him a surprise party. While the film starts out with typical boy-girl relationship drama, the film takes a horrific turn as an explosion happens in the middle of Manhattan. Chaos ensues as party goers struggle to understand what is going on. The remainder of the film follows a small group of four as they risk their lives to save their friend who is trapped uptown.
One of the problems with monster movies of our generation is that we are so desensitized by images of violence and imagery that it is very difficult to suspend our belief enough to actually be frightened. Abrams breaks down this barrier and taps into our fear using two methods: first person perspective and Sept. 11 imagery.
By having the entire film shot in what people are calling "Blairwitch" style, the viewer feels like they are actually there. This is similar to a Universal Studios simulator or a video game. When the camera creeps around the corner to sneak a peek of the monster, you are immersed into the minds of the people experiencing this fear. But is it a monster? How can that be relatable? Abrams fixes this by preying on America's taboo and vulnerable images of Sept. 11. Buildings crumble in a cloud of smoke that shoots through the streets as people run in terror. American flags are ultra present in the film. Even the movie poster is a direct reference to the famous photograph of the Statue of Liberty overlooking a smoke ridden Manhattan.
The film also stands as a commentary for this generation's obsession with video and pictures. With the ability to take a picture or video from any cell phone or digital camera, our generation is drowning in the wave of video overstimulation. With Big Brother sites like YouTube, Facebook and MySpace hosting videos and pictures, nearly everything seems to be captured somewhere. Many times throughout the film the characters tell the camera man to put the camera down in order to avoid danger. However, the camera man always responds that "People are going to want to see this" or "I need to document."
The ending to the film furthers this commentary through a quick "don't blink or you've missed it" image of (SPOILER ALERT) what Abrams has admitted to being a satellite dropping out of the sky. This footage is from a few days before the monster attack. Bloggers have speculated that this is what caused the monster to wake up. However, one has to look at a satellite for what it is--a piece of technology that can take pictures or video of anywhere around the globe and has the capability to relay communication between places. Perhaps Abrams is saying that over communication will be our ultimate doom.
Abrams gives the viewer one more Easter egg at the end of the film's credits, so be sure to stick around for it. If you listen real closely, a voice says, "Help us." If this wasn't creepy enough, online bloggers have found that, when reversed, the message says, "It's still alive." If you're a fan of "Lost," you know that Abrams is not one to explain everything in the first chapter. Therefore, a sequel to this cornucopian film of unknowns is inevitable.
Bottom Line: Do you actually see the monster? Yes. Will I get dizzy? Yes. Is it a damn fun ride? Hell yes. Check out "Cloverfield" playing at the AMC Towson Cinemas.
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