Ghost Gang - Complicated Creatures


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The architectural layout of the movie and book are really quite different. And yet, the changes are understandably different. The film then jumps backwards in time, to a pregnant Malorie heading to the doctor for a physical. They had known that something wrong was happening sprinkled around the globe, and now it has suddenly hammered the United States. And as they are leaving the hospital, Malorie watches as a woman bludgeons herself to death.

And on the way home? Things only get worse when Jessica sees this uh, thing… too, crashes the car, and then steps into oncoming traffic. Suddenly, Malorie, finds herself pregnant and alone in the middle of a raging inferno of chaos all around her. But a woman, out of the blue, comes to get her, protects her, and then also sees this apparition. She then climbs inside a convenient burning car, and turns it into a makeshift pyre as she immolates herself. Thankfully, Malorie is pulled into a nearby home owned by Greg.

Thankfully though, the other people taking shelter from the insanity on the streets took pity on the vulnerable pregnant woman and brought her in. Quickly, the people in the house learn that they have to cover up the windows, and stop looking outside. That to look outside is death. The band of merry survivors then begins to grieve their loved ones, and try to wrap their head around this new world they live in. Eventually, the house turns to the mundane task of figuring out how to stay alive.

Food and basic necessities are the main concern. And in time, a woman wanders up to the house, and group decides to allow her in.


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Turns out, she is pregnant, and due about the same time as Malorie. Oh fun. Douglas basically goes ape. Ok, pause, I cry bull crap on this particular detail. This is an apocalypse and we are talking about an untouched grocery store? Protected by a padlock?

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The front of the store is all plate glass! But I digress. We are going to let this particular detail go. So five of them cover the cars windows, and buckle up for a ride of their lives. And after a fairly uneventful grocery shopping event all things considered , they hear a pounding at the back of the store. Apparently there was someone locked in the meat fridge, and he was talking about having been locked in, and that he wanted out.

Sure enough, there was a madman inside the locker, and Charlie dives through to keep him from coming out. Fast forward a bit, and we find Malorie and Olympia simultaneously going into labor.


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And begins killing everyone in the house. First Douglas, by opening up the garage door, as he systematically murders everyone in the house, until he is finally stopped by Tom before he can get to Malorie and the babies. Gotta say, this scene in the book is one of the best scenes ever. It really was the culmination of a brilliant build up. So that leaves us with Tom, and Malorie… oh, and boy and girl. Then, one day, Tom gets a radio transmission calling out to them, and telling them that there is a safe haven.

And that if they travel by the river they can make it. And when Tom is bum-rushed by a group of non-blindfolded individuals, and killed, Malorie decides she is going to take the children and try to find this sanctuary. And off they go, drifting down the river for several days until they make it through the rapids, and then up the bank until they can follow the bird sounds to the school for the blind. The very first thing we have to talk about, more important than anything else, is the cause of the madness.

All we know is that the madness started in Russia somewhere, and then quickly made its way around the globe. Like, within the same day. And even with airplanes and international travel the way it is today it screams around the globe in the span of a single day. So, what could it be then? I mean, I guess it could have been aerosoled out onto the ground in a plane traveling that fast. But then, how do you account for the insanity, and suicides? Is it just in the air?

Can you guys work out how this could be viral? There was a movie in the last year or two where madness was spread via the television screens that are ubiquitous. Anyway, could it be that the global populace was hammered by psychosis rending TV rays? Well, that would account for the speed of its spread.

But, no one was watching a TV when they were turned. Ok, so radio waves? Well, there are a number of things that the book makes infinitely clearer than the movie — and this is one of them. It is pretty widely understood in the book that this is some sort of alien visitor, that may or may not be hostile.

It is posited that the aliens are just developed in such a way so as to cause madness in human viewers. They accidentally mirror back to the viewer their worst possible psychological fear that induces suicide. They could have even been friendly. But the spreading death might have been an accidental by-product of their accidental skin makeup. But is there another theory here that can beat aliens?

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Glen, below in the comments drops some goodness on us all and brings to us a supernatural explanation for the movie. Which, I love. No seriously, there are Biblical accounts of vengeance poured out by angels — like for example Sodom and Gomorrah — the Angel of the Lord swept through the city and annihilated anyone that remained. Or, what if its some other spiritual attack? Ghosts, the dead? It could totally have been some sort of evil uprising from the spiritual realm. I like it as one of the most realistic explanations of this confusing part of the movie.

I personally believe that the effect of the attack is an alien life form. If, in fact, they did become clear that is. But there are two distinctly different responses to casting a glance at the aliens. Why two different responses? We do know those who are mentally unstable have the secondary response, this euphoric epiphanic experience. About half way through the movie, the house gets a visit from a man named Gary played by Tom Hollander of Pirates of the Caribbean fame.

Well, we know from his telling of the story that he was jumped by roaming inmates that had fled a local asylum. Most of you reading this have probably been pretty intrigued by the details so far. Yeah, some are insane. Sure, sane people become suicidal. Got it. And then you hit this section and you are finding yourself going… but there is literally nothing to explain.

Malorie, boy, and girl made it to a refuge.

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The birds are a bonus detection system. Well, you might find this as shock, but the book ending is really really different. But woah, is it really scary… and really dark. Instead of being this glorious refuge, it was a place where everyone new coming to the shelter deliberately blinded themselves as a form of protection.

There are troughs, and shoots where they are herded through. I maybe making this up. But boy was that ending dark. It was a really dark ending. But here, in the movie, it is so gloriously uplifting as to be shocking. Not only do Malorie and her children make it, but she reaches a point of catharsis that culminates in the naming of her children. Create the best ending possible. It was partially consoling and partially disconcerting?

It was unsettling in its confusion. Well, because we never could see the creatures that were causing the chaos. But in the movie, the moment you show one of the aliens, you are supposed to die. I even kept saying to myself, but how are they going to solve the alien problem? Who knew flying leaves was going to be the solution?!? But anyway, in the book, there is a scene where Malorie feels the presence of a creature on the other side of her blindfold.

But the creature, tries to remove her blindfold for her.


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  • It pulls at it. Curious as to what that thing is all about. And then it leaves, leaving Malorie unharmed. Which sort of put to bed — for me anyway — this question of whether or not the aliens are hostile or not. I do not believe that they are. But you are going to have to opine below as to what you think.

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    Wells for popularizing the basic concepts and causalities of messing around with our destinies. Meanwhile, its sequel continues to be the most widely referenced vision of our now passed future, as the annual deluge of hoverboard articles attests. The director knew how to expand his stone-cold Terminator into an awesome multiplex epic. Before that, he achieved the even more daunting feat of pulling a new sci-fi classic out of the shadow of an old one. Rather than try to replicate the glacial deep-space dread of a Ridley Scott movie arguably even better than Blade Runner , Aliens stomps on the gas, stranding an unfrozen Ripley tough-as-nails Sigourney Weaver on an outpost crawling with acid-bleeding creatures, alongside a platoon of over-armed but severely underprepared space marines.

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    Gilliam instead delivered a merrily bleak portrait of amoral dysfunction, mixing absurdist comedy with nightmarish imagery in truly unsettling ways. Nor does Brazil offer an escape by way of pure spectacle—while the conception of its alternate world is visually astonishing especially for its relatively low budget , Gilliam shrewdly challenges sci-fi orthodoxy by rooting extrapolations of the future in antiquated aspects of the past. Even the title, which refers to a popular romantic song written in , seems designed to foster cognitive dissonance. The result is a movie so recklessly singular that it came dangerously close to never being seen in its intended form.

    It seems to have something for everyone. The premise—reality as a simulation created by sinister machines—is versatile enough to fit any reading across the political spectrum, but the subtexts of identity and self-discovery are deeply personal. Every ambitious sci-fi film made since the s is, in some elementary way, about the genre itself.

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    The Matrix takes its possibilities—as gee-whiz effects spectacle, allegory, secular mind-blower, escapist fantasy—and fashions them into a worldview. At its best, science fiction is a mirror. It shows us not just other planets, other eras, and other species, but also ourselves, refracted through the smoke screen of impossible conceits and creative prognostication. Directed by impish French daydreamer Michel Gondry, from a brilliant script by the mad genius screenwriter Charlie Kaufman, Eternal Sunshine Of The Spotless Mind fulfills the full potential of the genre as a window into human experience, all while functioning as maybe the quintessentially funny-poignant love story of 21st-century cinema.

    Just the premise alone might have triggered all the synapses in Philip K. On the receiving end of an especially brutal breakup, introverted sadsack Joel a perfectly cast-against-type Jim Carrey pays a team of cerebral janitors to wipe away all mental traces of the dead relationship. But as memories disappear into the void, Joel has second thoughts about forgetting it all, and begins scrambling through his own subconscious, trying to hide extroverted ex Clementine Kate Winslet, in what essentially amounts to a plum dual role in the deepest folds and recesses of his brain.

    Gondry and Kaufman turn the Lacuna, Inc. Working its way to the beautifully bittersweet ending of the new millennium, Eternal Sunshine suggests that time, space, and oblivion are no more mysterious than our own complicated, sometimes contradictory desires. The A. Graphic: Jimmy Hasse.

    Dune Share This Story. Recommended Stories. Blade Runner translated Philip K. We close this column with Eternal Sunshine and its ending about endings. What's something from science-fiction that you wish really existed? The Concourse.

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