What I learned by watching Cloverfield (the anti-review)

After a long wait, I finally saw Cloverfield and I must say I'm glad I wasn't one of those types who rushed to the theaters when it came out. The movie didn't suck, it just wasn't theater material. I know, if you're going to be in the business of reviews, at least do something new, right? Wrong. I just want to chronicle what I watch and what I thought about it. Hence the title ennui reviews (reviews done in boredom).

Anyway, this "review" is the anti-review because it isn't one at all. In fact, it's a few things I thought I'd share with you, dear readers, about the movie Cloverfield. Enjoy.

1. Whatever you do, don't drop the camera. Otherwise, there'd be no movie. Bel and Jyg and I were watching the movie last night. Bel constantly remarked that she would've dropped the camera. Jyg said something to the same context. I kept insisting that if there was no camera, then there'd be no movie, which is why Hud never dropped it. Besides, that was all the fun, knowing that this group of people ran through the streets of New York while this monster destroyed it, all in first person POV.
   
2. If I were in danger, Jyg probably wouldn't come back for me; Bel would just leave me to die, no ifs or buts about it. I love the fact that the movie deals with this "couple" who had a great hatred for each other before the monster attacks, but the man's willing to risk his life for her when she calls. Much like a zombie outbreak, I devised a plan if a giant monster came to Edinburg (perhaps because it got lost) and decided to make food of all the people. I always thought, like a zombie outbreak, that I'd save those I loved. Apparently, those that I love will probably just leave me as these weird legged animals decided to make lunch out of me.
3. Cell phones will only work at the worse times. This is a known fact, actually. And it works on so many levels. After Lady Liberty's head is chucked at the city, there is no signal in city for cell phones. The moment, however, when they're on the bridge - boom! - a call comes through. Later on, the cell phone works and then stops completely. Signal, once again, lost. And while we're on the subject....
4. Monsters love bridges. You'll see this in every Toho Film productions. Okay, maybe not every Toho movie, but the point is, monsters always have a thing for bridges.
   
5. Despite our arm forces' power, sending out the military is pointless. You'll never fail to see some asinine idea such as sending the army after a giant monster. These people weren't trained to take down a giant whatever monster, but an enemy no different than themselves.
   
6. The monster is never dead. Think that bombardment killed him? Wrong! It's still alive and waiting to attack some more. If not the original monster, than it's hellish offspring.
   
7. Whatever you do, don't drop the camera - unless the monster picks you up and swings you around until you're dead. Yeah. That's pretty much the only time you can drop the camera, but rest assured that someone, one of your friends perhaps, will pick up the camera before it all goes down.
   
8. Jyg will probably go back for me. She told me so. :)
   

Ghosts I-IV

I've been a big fan of Nine Inch Nails since their CD The Downward Spiral first played heavily in my ear. With the raw emotional lyrics of Closer, I began to feel that I was no longer listening to the voice of just a man, but of a musical god.

With Year Zero's hype and ballads of a darker world - perhaps a post-Bushian world - the new CD, Ghosts I-IV gives us heavy beats, without the lyrics. This is not unheard of from Trent Reznor, who released a series of instrumental tracks in his band's LP's, not to mention writing some music for the score of David Lynch's movie Lost Highway. The movie's soundtrack not only contains NIN's The Perfect Drug, but two more tracks by Reznor and a several others produced and mixed by him.

The best deal about the new CD is the price. Like Radiohead's In Rainbows, Trent has opted to release this CD on his own with The Null Corporation. This movement of recording sans record label is a kick in the face to the fat cat corporates who make all the money when a CD costs $18.

Somewhere along, this "review" became an anthem. I'm tired. Good night. :)

Oh, and by the way, the CD's fucking awesome so buy it.

She & Him "Vol. One"

I love Zooey Deschanel. I love her acting and I love her face and those wondrous beautiful eyes. She's is probably the best thing to happen to cinema in a long time. Now, along with M. Ward, she is the hottest thing on the music market.

Their band, She & Him, whose debut CD, "Volume One," hit the stores earlier this year. I saw the ad in an issue of Spin magazine and I was taken aback. Had my favorite actress actually recorded a CD?! So I did what any psychotic English major would - I Googled it (though a Virgina Tech joke could be made here, I feel it's in bad taste).

Her sultry voice makes their sound a mix between folk/country and pop creating this new indie sound I haven't heard before. While the world is going emo - including the indie music scene - She & Him brings a refreshing sound to the table. I think this one's going to stick around for a while. And even it they don't, I'm happy to know that I actually heard them.

Lil Wayne "I Feel Like Dying"

For those who know me personally, I'm not a big fan of Lil Wayne. Truth is, I don't know who the hell Lil Wayne is. But you also know that I know a good song when I hear one, despite if it's outside my normal musical circle. Once in a while the rapper will put down the bitches and hos genre and pick up the mic to actually make a song with a purpose. Many of the times, this song is buried in the back of the CD and we're never allowed to hear it. Hopefully, considering that the upcoming CD, The Carter III hasn't been released, that this song shall be the anthem of the addict.

Fuck Buttons "Street Horrrsing"

Finished listening to their stuff. Not bad at all. The peaceful sounds of "Sweet Love for Planet Earth," to the chaotic beats, and harsh vocals, of "Okay Let's Talk About Magic," only make me regret that the CD's only six tracks long.

Even if this isn't your type of music - it most certainly isn't mine - you can still enjoy the beats and will both lull you into a sense of calm and one of urgency.

Better snag it while it's still fresh.

Dead Child

Perhaps it was their name that led me to them: Dead Child. I'm not one for the grotesque or extremely morbid, but it does have its shock value and it did beckon to me. But their song, "Sweet Chariot," off their new latest album, "Attack," had me wanting me to end myself.

I think I've gotten old, but most of the crap that people listen to these days doesn't amount to anything. I believe Dead Child has fallen into this trap of making music for the now, rather than to have a purpose other than the bobble heads teenagers have become.

Buy at your own risk.

Attend the Tale of Sweeney Todd

I just finished watching the original Broadway production of Sweeney Todd: The Demon Barber of Fleet Street starring Angela Lansbury and George Hearn. For those of you deathly obsessed with Tim Burton's wonderful rendition of the musical, perhaps you should take a gander at the play that started it all. I'm sure that, unlike Sweeney Todd, it wouldn't kill you to get slightly cultured.



And for anyone who is movie savvy, you know that neither musical is an original idea. In fact, and it has only been massively available in print only currently, it was a book long before it was a musical. And not only that but there have been several adaptations - for you who despise musicals, you're lucky to know that these are actual films (though mostly black and white and grainy).

However, because the most recent release of Todd is a musical, I want to solely focus on that; however, I don't want to compare the two because there isn't any comparison: They both are stand alone pieces that should be honor for times to come. I'm just glad they decided to put it out on DVD because had they not, I probably wouldn't have ever seen the play. I know it's a sad thing to say, but it's more than likely true considering that I don't live in either the 70's or a place with a rich culture.

The Broadway musical was a tad longer and more explanatory, and because we aren't given any flashbacks (well, not as clear as the movie gives us) we are allowed to savor that ironic ending (I won't give spoilers here).

Angela Lansbury as Mrs. Lovett reminds me (and a friend of mine) of a mouse. She's cute (not in that way - never in that way!) though and rather silly and slutty all balled up in one. The Beggar woman is slutty. George Hearn as Todd is powerful and convincing.

The songs are stretched as well, something that the movie edited out either during pre-production or post production. That's all right though, because movies can only hold us for so long; plays have this wonderful thing called an intermission. I don't know, the choice is yours in either case.



Note: Try not to do what I did. Watch the Tim Burton version and then watch the Broadway version. Not that the Tim Burton movie gives anything way, but because you'll have those lyrics stuck forever in your head.