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Exactly. We should never have been fooled by that one, I mean, who designs a scary monster patterned after a baleen whale? What's it going to do, strain me to death?
cloverfield rumor
- Thread starter bigGdelta
- Start date
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Explode? 
- Joined
- Oct 10, 2007
- Messages
- 432
ob;108582 said:Scroll down a bit to see "the monster", or, apparently so
Ok i don't know too much about Cthulu, but i went to see "Cloverfield" today and the monster definitely does not look like the one in the link. I wont give away what happens in the movie but i will describe the monster for you. So if you dont wish to find out, skip the description.
It is hard to describe since you never get too see it very carefully, but basically it has long tail, black narrow eyes on the front of its face. A mouth that seems small in respect to its face, with two big sharp teeth coming out of it. It has a sea monster type look and is pretty big. I wouldn't say as big as a sky scraper but about 20 maybe 30 stories high. It has legs that are pointy at the tips, and have a sort of "spidery" look to them. Also it drops off parasites that look like a mix between a spider and a crab. I would say these are about 4 feet long, and very aggressive. Thats all i can recall for now. hope it helps. Oh i forgot to mention, on the sides of its head there is a big red bulge that pulsates. My guess is that it is some sort of heart or maybe a brain.
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So...... do you recommend it?
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- Oct 10, 2007
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definitely. The way it was filmed gets a little annoying and it does make you slightly dizzy but nothing extreme. In my opinion it was a really good movie, and it has a great end, that leaves you asking a lot of unanswered questions, so hopefully there is a sequel, but i think if there were one it might take away from the first. Overall it's interesting and it is not your usual big screen movie. I really recommend it.
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Hmmm... that's the second time I've heard the end leaves you guessing. I think I'm gonna have to wait for it to be available on Netflix. I hate paying $8 for disappointment. (only gambling I do is buying octos)
Maybe the "parasites" are giant cirolanid isopods. That would be scary. I think a good picture of the actual monster would help me determine whether or not I'm interested. Friggin teasers.
Maybe the "parasites" are giant cirolanid isopods. That would be scary. I think a good picture of the actual monster would help me determine whether or not I'm interested. Friggin teasers.
- Joined
- Oct 10, 2007
- Messages
- 432
i found this http://nymag.com/daily/entertainment/2008/01/17/images/cloverfieldsmallslowhu0.gif which sort of shows the monster, you can see the red "thing" pulsating on its head.
- Joined
- Apr 6, 2003
- Messages
- 1,839
Okay, just got back from the theater.
"Cloverfield" is really good.
Let me get the heavy stuff out of the way first. Yes, "Cloverfield" is, among other things, a monstrous allegory for the 9/11 attack on New York. If you look at the movie's poster with an eye for New York's geography, you notice that the monster literally makes landfall a scant few blocks from the World Trade Center site. Certain images of destruction in the film are derived from ones in our collective memory: skyscrapers collapse, clouds of pulverized debris race down the streets, people flee across the Brooklyn Bridge. Even the final moments of a couple at the film's end seem touched by the day (they die holding hands, as some pairs were seen to do before they fell from the WTC towers).
Some critics have reacted badly to all this, and I can't say they're wrong. Some people are still too raw from 9/11 and can do without the flashbacks. On the other hand, 1954's "Gojira" was also critized in Japan by those who felt the movie's images of Tokyo's fiery destruction cut too close to the bone. As much as "Gojira" was a conscious invocation of atomic bombings (and the poisoning by H-bomb fallout of Japanese fishermen), it was more broadly about the generalized destruction of war. B-29s incinerated 18 square miles of Tokyo on March 10, 1945, and "Gojira" came back to burn the rest just nine years later. And yet, "Gojira" did a huge business in Japan and was nominated for the Best Picture award in Japan's version of the Oscars. It lost to a little film named "The Seven Samurai."
All this begs a question, actually, two questions. Is America ready for an entertaining, cathartic and frequently terrifying allegory for 9/11? Is the City of New York ready for it? I think the answer to the first question is yes. We've had a number of historical dramas about the day, heroic narratives of bravery and sacrifice. What we haven't had is a film about the existential dread pervading a city under attack. We need one, I think. As for New York's readiness, it's hard for me to judge. Outwardly, the City is as fast, tough and beautiful as ever. The attacks are rarely discussed among friends, and when they are they're spoken of in hushed, discreet tones, but when a truck backfires in the middle of a busy street, people duck for cover. "Cloverfield" might be a bit much for some.
Okay, enough with the cathartic-experience-of-apocalypse-by-proxy talk. Let's get down to the fun, geeky stuff, because "Cloverfield's" metaphorical freight runs on a track paralell to a very fast, tight and occasionally brilliant popcorn flick. In the first twenty minutes, we meet the six main characters, all young, career-oriented hipster doofuses leading unremarkable lives. They've known each other for years. Rob and Beth were friends, but then they slept together and now things are awkward; Jason, Rob's brother, and his girlfriend Lily; Malena, who's on the outer periphery of the clique; and Hud, Rob's best friend and the story's chief videographer.
Melodramas unfold at a going-away party for Rob, faithfully documented by Hud. Then there's a massive impact, the lights go out and people start screaming. On the televison, a reporter announces that a supertanker has capsized in New York Harbor. The partiers head to the roof for a better view. Another impact, a massive fireball rips through the southern tip of Manhattan and meteors of burning debris rain down. The Statue of Liberty's head bounces down the street, with ominous punctures in it's face. (In a nice, honest moment, gawkers take pictures of the head with their cell phones.) A monster steps across the street.
All hell breaks loose, and stays loose for the next hour. Unable to flee to Brooklyn and separated from Beth, the survivors head uptown to rescue her, walking along the empty tracks of the No. 6 subway train. They're not alone. The behemoth inspires terror and awe, but the smaller creatures in its train are intimately scaled and their attacks feel more personal. The survivors make it out of the tunnel, but one of them has suffered a vicious bite. After stumbling into an emergency triage unit set up in a department store, the bite's effects quickly manifest, and amid panicking soldiers and patients, the victim is hustled into an isolation tent by doctors in bio-hazard suits. What happens next is all the more appalling for being (mostly) unseen. Reduced to three in number, the survivors learn that Manhattan has been handed a death sentence. If they can rescue Beth from a listing skyscraper and reach helicopters evacuating the few remaining ground troops, they might just survive.
The record of the events that's contained in Rob's camcorder survives as a memory card recovered later from, in the words of the Department of Defense, "the area formerly known as Central Park."
"Cloverfield's" technique is formidable. Director Matt Reeves came up in American episodic television directing nothing scarier than "Felicity," but he orchestrates the mayhem beautifully and cleverly exploits the potential of the camcorder gimmick. He's a rather gifted imagemaker, too, tossing off quick poetic shots of a horse, still yoked to a hansom cab, wandering through a deserted Columbus Circle, and a B-2 bomber drifting above a string of birds fleeing Central Park. The sound design is fantastic, too. When the behemoth walks, you feel it.
The film is sufficiently good for me to be genuinely annoyed by its shortcomings. Excepting the one who get's bitten, the leads aren't very good. If you want to pour your limited budget into effects work and location shoots, thus leaving you with no money for name-brand actors, fine. If you cast unknowns for narrative reasons, i.e. because stars like to survive in the end, that's fine too, but there's really no excuse for casting mediocre unknowns when there are, quite literally, thousands of talented unknown actors in the United States, and a fair portion of them live in New York. (Full disclosure: I'm a talented unknown actor, but too old to play any of the callow yuppies in "Cloverfield's" leading roles. I'm not bitter about my station, but there's just no excuse for racing ponies when thoroughbreds are available for the same price.) The dialogue isn't inspired or even naturalistic, but the main characters are so resolutely average that it doesn't matter. Arguably the film's best line is spoken by a harried soldier, asked what the beast is, who says simply, "Whatever it is, it's winning."
Is the monster scary? Yes. Simple's prior description of it is accurate, an amalgam of hominid, arthropod and reptile morphology that moves as a biped or a quadruped, depending on its fancy. It has joints in odd places, paired secondary limbs down its middle and a bridge-killing tail. What unifies the elements (and disturbed me) is the way it moves, which is hard to describe but not unlike the awkward crawl of a grounded bat. The sound design for its voice alternates Gojira bellows with a high, almost echolocatory cry. Until the film's climax, we get a better sense for the behemoth's shape from glimpses of newscasts than by master shots with the camcorder, a smart move. (The integration of CGI creature effects with the digital camcorder medium and TV news cameras is almost seamless, it should be noted, with momentary exceptions, mostly involving the smaller buggers.)
The precise nature of the smaller buggers symbiosis with the behemoth is never explained. Hardly anything is explained, which I prefer in monster movies unless the creature's morphology and lifecycle are thought out logically and make sense. Lacking any pretense of scientific plausibility, "Cloverfield's" bestiary is simply scary. There is a strong family resemblance between the behemoth and the creatures that drop off its flanks, and until I'm corrupted by "official" backstory, I'll enjoy my sexual dimorphism theory: the big one's female and the small ones males, hundreds of mates parasitically bound to the female until she dislodges them by rubbing against buildings, and the human effects of the small ones' bites an extreme anaphylactic reaction.
"Cloverfield" is the best attempt yet at an American translation of Honda's 1954 "Gojira," and fans of that one will detect numerous homages. "Cloverfield" is not an American kaiju flick, but it was made by people who love the genre and were bold enough to shed many of its formal conventions. It actually made me cringe back in my seat at times, and I'm a jaded, cynical moviegoer inclined to look at a 250-foot tall movie monster and think, "No way is that biomechanically sound." It still got to me, though, and some of the scariest images are hard to shake. Horror films are exercises in the manipulation of primal fears. Manipulating them successfully isn't easy. Manipulating them successfully in cynics who are aware they're being maipulated but still want to hide is hard.
Well done.
Clem
"Cloverfield" is really good.
Let me get the heavy stuff out of the way first. Yes, "Cloverfield" is, among other things, a monstrous allegory for the 9/11 attack on New York. If you look at the movie's poster with an eye for New York's geography, you notice that the monster literally makes landfall a scant few blocks from the World Trade Center site. Certain images of destruction in the film are derived from ones in our collective memory: skyscrapers collapse, clouds of pulverized debris race down the streets, people flee across the Brooklyn Bridge. Even the final moments of a couple at the film's end seem touched by the day (they die holding hands, as some pairs were seen to do before they fell from the WTC towers).
Some critics have reacted badly to all this, and I can't say they're wrong. Some people are still too raw from 9/11 and can do without the flashbacks. On the other hand, 1954's "Gojira" was also critized in Japan by those who felt the movie's images of Tokyo's fiery destruction cut too close to the bone. As much as "Gojira" was a conscious invocation of atomic bombings (and the poisoning by H-bomb fallout of Japanese fishermen), it was more broadly about the generalized destruction of war. B-29s incinerated 18 square miles of Tokyo on March 10, 1945, and "Gojira" came back to burn the rest just nine years later. And yet, "Gojira" did a huge business in Japan and was nominated for the Best Picture award in Japan's version of the Oscars. It lost to a little film named "The Seven Samurai."
All this begs a question, actually, two questions. Is America ready for an entertaining, cathartic and frequently terrifying allegory for 9/11? Is the City of New York ready for it? I think the answer to the first question is yes. We've had a number of historical dramas about the day, heroic narratives of bravery and sacrifice. What we haven't had is a film about the existential dread pervading a city under attack. We need one, I think. As for New York's readiness, it's hard for me to judge. Outwardly, the City is as fast, tough and beautiful as ever. The attacks are rarely discussed among friends, and when they are they're spoken of in hushed, discreet tones, but when a truck backfires in the middle of a busy street, people duck for cover. "Cloverfield" might be a bit much for some.
Okay, enough with the cathartic-experience-of-apocalypse-by-proxy talk. Let's get down to the fun, geeky stuff, because "Cloverfield's" metaphorical freight runs on a track paralell to a very fast, tight and occasionally brilliant popcorn flick. In the first twenty minutes, we meet the six main characters, all young, career-oriented hipster doofuses leading unremarkable lives. They've known each other for years. Rob and Beth were friends, but then they slept together and now things are awkward; Jason, Rob's brother, and his girlfriend Lily; Malena, who's on the outer periphery of the clique; and Hud, Rob's best friend and the story's chief videographer.
Melodramas unfold at a going-away party for Rob, faithfully documented by Hud. Then there's a massive impact, the lights go out and people start screaming. On the televison, a reporter announces that a supertanker has capsized in New York Harbor. The partiers head to the roof for a better view. Another impact, a massive fireball rips through the southern tip of Manhattan and meteors of burning debris rain down. The Statue of Liberty's head bounces down the street, with ominous punctures in it's face. (In a nice, honest moment, gawkers take pictures of the head with their cell phones.) A monster steps across the street.
All hell breaks loose, and stays loose for the next hour. Unable to flee to Brooklyn and separated from Beth, the survivors head uptown to rescue her, walking along the empty tracks of the No. 6 subway train. They're not alone. The behemoth inspires terror and awe, but the smaller creatures in its train are intimately scaled and their attacks feel more personal. The survivors make it out of the tunnel, but one of them has suffered a vicious bite. After stumbling into an emergency triage unit set up in a department store, the bite's effects quickly manifest, and amid panicking soldiers and patients, the victim is hustled into an isolation tent by doctors in bio-hazard suits. What happens next is all the more appalling for being (mostly) unseen. Reduced to three in number, the survivors learn that Manhattan has been handed a death sentence. If they can rescue Beth from a listing skyscraper and reach helicopters evacuating the few remaining ground troops, they might just survive.
The record of the events that's contained in Rob's camcorder survives as a memory card recovered later from, in the words of the Department of Defense, "the area formerly known as Central Park."
"Cloverfield's" technique is formidable. Director Matt Reeves came up in American episodic television directing nothing scarier than "Felicity," but he orchestrates the mayhem beautifully and cleverly exploits the potential of the camcorder gimmick. He's a rather gifted imagemaker, too, tossing off quick poetic shots of a horse, still yoked to a hansom cab, wandering through a deserted Columbus Circle, and a B-2 bomber drifting above a string of birds fleeing Central Park. The sound design is fantastic, too. When the behemoth walks, you feel it.
The film is sufficiently good for me to be genuinely annoyed by its shortcomings. Excepting the one who get's bitten, the leads aren't very good. If you want to pour your limited budget into effects work and location shoots, thus leaving you with no money for name-brand actors, fine. If you cast unknowns for narrative reasons, i.e. because stars like to survive in the end, that's fine too, but there's really no excuse for casting mediocre unknowns when there are, quite literally, thousands of talented unknown actors in the United States, and a fair portion of them live in New York. (Full disclosure: I'm a talented unknown actor, but too old to play any of the callow yuppies in "Cloverfield's" leading roles. I'm not bitter about my station, but there's just no excuse for racing ponies when thoroughbreds are available for the same price.) The dialogue isn't inspired or even naturalistic, but the main characters are so resolutely average that it doesn't matter. Arguably the film's best line is spoken by a harried soldier, asked what the beast is, who says simply, "Whatever it is, it's winning."
Is the monster scary? Yes. Simple's prior description of it is accurate, an amalgam of hominid, arthropod and reptile morphology that moves as a biped or a quadruped, depending on its fancy. It has joints in odd places, paired secondary limbs down its middle and a bridge-killing tail. What unifies the elements (and disturbed me) is the way it moves, which is hard to describe but not unlike the awkward crawl of a grounded bat. The sound design for its voice alternates Gojira bellows with a high, almost echolocatory cry. Until the film's climax, we get a better sense for the behemoth's shape from glimpses of newscasts than by master shots with the camcorder, a smart move. (The integration of CGI creature effects with the digital camcorder medium and TV news cameras is almost seamless, it should be noted, with momentary exceptions, mostly involving the smaller buggers.)
The precise nature of the smaller buggers symbiosis with the behemoth is never explained. Hardly anything is explained, which I prefer in monster movies unless the creature's morphology and lifecycle are thought out logically and make sense. Lacking any pretense of scientific plausibility, "Cloverfield's" bestiary is simply scary. There is a strong family resemblance between the behemoth and the creatures that drop off its flanks, and until I'm corrupted by "official" backstory, I'll enjoy my sexual dimorphism theory: the big one's female and the small ones males, hundreds of mates parasitically bound to the female until she dislodges them by rubbing against buildings, and the human effects of the small ones' bites an extreme anaphylactic reaction.
"Cloverfield" is the best attempt yet at an American translation of Honda's 1954 "Gojira," and fans of that one will detect numerous homages. "Cloverfield" is not an American kaiju flick, but it was made by people who love the genre and were bold enough to shed many of its formal conventions. It actually made me cringe back in my seat at times, and I'm a jaded, cynical moviegoer inclined to look at a 250-foot tall movie monster and think, "No way is that biomechanically sound." It still got to me, though, and some of the scariest images are hard to shake. Horror films are exercises in the manipulation of primal fears. Manipulating them successfully isn't easy. Manipulating them successfully in cynics who are aware they're being maipulated but still want to hide is hard.
Well done.
Clem
- Joined
- Oct 7, 2004
- Messages
- 2,580
I'd have to say that from now on, almost every single monster flick/action flick with explosions happening in NYC is going to be said to have a tie-in with 9/11.
Seriously, it's a movie. Tie ins or not, a monster smashing up the city is still pretty neat.
I saw the movie on the 17th (Yes, Hong Kong released the movie on the 17th, with our GMT+8 time, which means that we got to see if half a day earlier than the rest of the world.) and I also was a follower of the viral marketing campaign and I must say that it actually made the movie "that much more" interesting if you know where to look.
Spoilers below, stop if you don't want to read:
You've been warned once
.
.
.
You've been warned twice
.
.
.
Too late now, it starts below (going from the start of the movie to the end)
Rob's party:
Rob's going to Japan to work for a company call Tagurato.
Somebody is spotted in Rob's party sporting a Slusho T-shirt.
The tanker:
The tanker that capsized belongs to Tagurato (you can actually see the Logo on the boat as the boat is listing towards the camera)
Tagurato:
Tagurato is a oil drilling company/deep sea exploration company along with several subsidies, such as Slusho.
The company owns a oil-drilling platform, which has recently collapsed (without explosions and with a roar heard in the video) that is near the Mid-Atlantic ridge.
The company is known to be rich enough to have its own security force (private army).
Other subsidiaries:
Slusho (cold slushy drink thing)
Bold Futura (High-tech, secretive about its customers, maybe the military developing branch.)
ParaFUN (Oil/Wax products, seems to be nothing special)
(medical research group specialising in the use of marine biology and science to search for cures?)
Bold Futura:
Recently hurled a satellite into space. Might have fallen back into the Atlantic near Coney Island (Coney Island Scene below)
Chuai Station:
Recently collapsed without so much as a explosion. A found camera phone footage shows armed men within the station and what seems to be guns being fired towards the ocean before the station collapsed. A person "identified" only as the Whistle-blower ha sent a note to the public declaring that there was no oil to be found at the Chuai station and that there is a secret being covered up there. A dark spot (thought to be a oil stain) appears in the footage before the station's collapse.
A roar is heard as the station finally goes down when all of a sudden debris fly out of the water like missiles and hits a lifeboat.
Slusho:
Slusho's active ingredients is DSN (Deep Sea Nectar)
Nobody knows what DSN is other than the fact that it's from the sea.
Slusho is known to have mood lifting and strength enhancing effects for what seems to be all animals.
Fed to: Dogs, fish (yellow-tails) and humans.
It seems that Slusho goes bad when exposed to heat.
Recently approved by the FDA for sale and consumption in America.
The monster:
Nicknamed "Mr Grumpy Pants" by the Internet community, it seems to be of epic proportions. At least the height of the statue of liberty when on all fours, amphibious. Relatively quick/agile. Incredible strength (Statue of Liberty heads are 1)Not aerodynamic and 2)Are not bouncy. It would take a lot for the SoL head to fly, hit a building and then rebound.)
The body seems to be carrying a host of smaller organisms.
What the military used to try take it down:
M1A(?) Abrams tanks, M16s, M270 MRLS (just think rockets, lots of them), AT4 (a rocket designed to punch a hole in light armour), F-16s, a B-2 on a carpet bombing run, F-18s and finally (in the last scene) what seems to be a MOAB or a Fuel Air bomb (perhaps maybe even a tactical nuke)
Is it dead?
No
How am I sure?
After the credits (which did take 5 minutes..maybe more before it ended) you could hear what seems to be a whispered "Help us", but if you play it in reverse, it says "It's still alive."
Cloverfield - Hidden Message
The smaller wee beasties:
The size of a medium sized dog, quick, agile. Shape similar to the spiders from Starship Troopers. Very much like insects, they fall down from Grumpy Pants, can hang upside from tunnels and such, possess night vision. (You'll know if you've see the movie). Bite releases "something" to make people explode.
About the "We have a bite scene":
No, those are not mutants behind the thing, those are humans in hazmat suits becuase nobody wants the blood of explody people all over your shirt.
The helicopter scene:
After the thing got bombed and much elation that the thing was hit, the thing lunges at the helicopter which is possibly 50-70 stories above the ground. So that thing is pretty tall when standing on two feet/leaping.
Last part of the Coney Island Scene:
If you look at the boat you see in the video and pay attention to it, you can actually see "something" splash into the water. I've personally been unable to see it, but I have people tell me about it. It's something you have to pay attention to.
TBC~ Have to go out and rewatch it
Update: Tagurato's main website is down, possibly due to actions from a enviromental group bent on taking it down called T.I.D.O Wave.
T.I.D.O Wave's website has been locked up by the FBI ~ In-game.
1-18-08.com - 1 18 08 Resources and Information. - Some very interesting pictures, some obviously photoshopped by a not very adept computer user, some rather disturbing. If you open it for 6 minutes, you can hear the monster's roar. Big source of clues for those who are interested.
One of the pictures (the badly photoshopper/night vision one) shows the Navy pounding it with everything along with an A-10 mid right of the photo. A-10s are ground based planes, which means that either 1) The monster is getting close to the coast or 2) We have unskilled photoshoppers.
Request: Can someone add to a estimate of the size of the bite based on the wound on the sperm whales head? Identifying body parts of marine mammals have never been a strong point of mine.
Seriously, it's a movie. Tie ins or not, a monster smashing up the city is still pretty neat.
I saw the movie on the 17th (Yes, Hong Kong released the movie on the 17th, with our GMT+8 time, which means that we got to see if half a day earlier than the rest of the world.) and I also was a follower of the viral marketing campaign and I must say that it actually made the movie "that much more" interesting if you know where to look.
Spoilers below, stop if you don't want to read:
You've been warned once
.
.
.
You've been warned twice
.
.
.
Too late now, it starts below (going from the start of the movie to the end)
Rob's party:
Rob's going to Japan to work for a company call Tagurato.
Somebody is spotted in Rob's party sporting a Slusho T-shirt.
The tanker:
The tanker that capsized belongs to Tagurato (you can actually see the Logo on the boat as the boat is listing towards the camera)
Tagurato:
Tagurato is a oil drilling company/deep sea exploration company along with several subsidies, such as Slusho.
The company owns a oil-drilling platform, which has recently collapsed (without explosions and with a roar heard in the video) that is near the Mid-Atlantic ridge.
The company is known to be rich enough to have its own security force (private army).
Other subsidiaries:
Slusho (cold slushy drink thing)
Bold Futura (High-tech, secretive about its customers, maybe the military developing branch.)
ParaFUN (Oil/Wax products, seems to be nothing special)
(medical research group specialising in the use of marine biology and science to search for cures?)
Bold Futura:
Recently hurled a satellite into space. Might have fallen back into the Atlantic near Coney Island (Coney Island Scene below)
Chuai Station:
Recently collapsed without so much as a explosion. A found camera phone footage shows armed men within the station and what seems to be guns being fired towards the ocean before the station collapsed. A person "identified" only as the Whistle-blower ha sent a note to the public declaring that there was no oil to be found at the Chuai station and that there is a secret being covered up there. A dark spot (thought to be a oil stain) appears in the footage before the station's collapse.
A roar is heard as the station finally goes down when all of a sudden debris fly out of the water like missiles and hits a lifeboat.
Slusho:
Slusho's active ingredients is DSN (Deep Sea Nectar)
Nobody knows what DSN is other than the fact that it's from the sea.
Slusho is known to have mood lifting and strength enhancing effects for what seems to be all animals.
Fed to: Dogs, fish (yellow-tails) and humans.
It seems that Slusho goes bad when exposed to heat.
Recently approved by the FDA for sale and consumption in America.
The monster:
Nicknamed "Mr Grumpy Pants" by the Internet community, it seems to be of epic proportions. At least the height of the statue of liberty when on all fours, amphibious. Relatively quick/agile. Incredible strength (Statue of Liberty heads are 1)Not aerodynamic and 2)Are not bouncy. It would take a lot for the SoL head to fly, hit a building and then rebound.)
The body seems to be carrying a host of smaller organisms.
What the military used to try take it down:
M1A(?) Abrams tanks, M16s, M270 MRLS (just think rockets, lots of them), AT4 (a rocket designed to punch a hole in light armour), F-16s, a B-2 on a carpet bombing run, F-18s and finally (in the last scene) what seems to be a MOAB or a Fuel Air bomb (perhaps maybe even a tactical nuke)
Is it dead?
No
How am I sure?
After the credits (which did take 5 minutes..maybe more before it ended) you could hear what seems to be a whispered "Help us", but if you play it in reverse, it says "It's still alive."
Cloverfield - Hidden Message
The smaller wee beasties:
The size of a medium sized dog, quick, agile. Shape similar to the spiders from Starship Troopers. Very much like insects, they fall down from Grumpy Pants, can hang upside from tunnels and such, possess night vision. (You'll know if you've see the movie). Bite releases "something" to make people explode.
About the "We have a bite scene":
No, those are not mutants behind the thing, those are humans in hazmat suits becuase nobody wants the blood of explody people all over your shirt.
The helicopter scene:
After the thing got bombed and much elation that the thing was hit, the thing lunges at the helicopter which is possibly 50-70 stories above the ground. So that thing is pretty tall when standing on two feet/leaping.
Last part of the Coney Island Scene:
If you look at the boat you see in the video and pay attention to it, you can actually see "something" splash into the water. I've personally been unable to see it, but I have people tell me about it. It's something you have to pay attention to.
TBC~ Have to go out and rewatch it
Update: Tagurato's main website is down, possibly due to actions from a enviromental group bent on taking it down called T.I.D.O Wave.
T.I.D.O Wave's website has been locked up by the FBI ~ In-game.
1-18-08.com - 1 18 08 Resources and Information. - Some very interesting pictures, some obviously photoshopped by a not very adept computer user, some rather disturbing. If you open it for 6 minutes, you can hear the monster's roar. Big source of clues for those who are interested.
One of the pictures (the badly photoshopper/night vision one) shows the Navy pounding it with everything along with an A-10 mid right of the photo. A-10s are ground based planes, which means that either 1) The monster is getting close to the coast or 2) We have unskilled photoshoppers.
Request: Can someone add to a estimate of the size of the bite based on the wound on the sperm whales head? Identifying body parts of marine mammals have never been a strong point of mine.
- Joined
- Oct 19, 2003
- Messages
- 3,111
More cowbell!
- Joined
- Apr 6, 2003
- Messages
- 1,839
chrono_war01;108686 said:
Chrono, "or not" is not an option. Here's the director himself, from an interview published yesterday (1/18/08):
As for the masked message after the credits, people seem to be hearing different things, but I can safely say that "getting" and enjoying the film are, thankfully, not dependent on a burst of static.
Clem
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Heard directly, it says "Help us", if play it in reverse, it says "It's still alive."
Cloverfield - Hidden Message
@Clem:
"or not" as in It's still a good movie regardless of whether or not you could relate to 9/11. It does't have to have a tie-in with 9/11 for it to be a good movie.
Cloverfield - Hidden Message
@Clem:
"or not" as in It's still a good movie regardless of whether or not you could relate to 9/11. It does't have to have a tie-in with 9/11 for it to be a good movie.
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Glad that we're in agreement.chrono_war01;108707 said:
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It's on the 1-18-08 site. This was what I was referrring to when I was blabbering about whales.
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