Here’s Why Some People Think A Quiet Place is a Secret Cloverfield Movie - Dread Central
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Here’s Why Some People Think A Quiet Place is a Secret Cloverfield Movie



Warning: While everything discussed below is pure speculation, there are spoilers for The Cloverfield Paradox (not to mention Cloverfield and 10 Cloverfield Lane). If this theory proves true, though, it’s a huge spoiler for A Quiet Place. Keep this in mind and proceed as you see fit.

We’re barely ankle-deep into 2018 and Cloverfield has already made a huge impression. I’m not just talking about The Cloverfield Paradox, which made a surprise debut on Netflix immediately following the Super Bowl. While fans are still unpacking Easter gggs and deciphering Paradox’s riddles, we’re being told to expect Cloverfield 4 (aka Overlord), directed by Julius Avery, on October 26th. That’s right: two Cloverfield movies in one year!

But there’s more: A 5th Cloverfield movie has also wrapped! Currently going under the title Kolma, the film from J.J. Abrams’ Bad Robot Productions is directed by Marielle Heller and stars Star Wars‘ Daisy Ridley as the titular Tamara Kolma. Details are slim, but IMDb provides a short synopsis:

“A young couple gets in a car accident that fatally injures the man. Decades later, the woman, now on her deathbed, must choose whether to reunite with her long-lost love in the afterlife or to regain her youth by returning to the day of the accident.”

While there’s no release date for Kolma, the surprise arrival of The Cloverfield Paradox proves it could show up anytime, without warning.

As if two new Cloverfield movies on the horizon isn’t exciting enough, there’s a fan theory gaining momentum in various horror forums, one that suggests there’s yet another impending installment hiding in plain sight. Some people believe A Quiet Place, slated to hit theaters on April 6, is a secret chapter of the Cloverfield franchise.

Before we jump down this rabbit hole, give the trailer and synopsis for A Quiet Place a look-see:

Official Synopsis: A family lives an isolated existence in utter silence, for fear of an unknown threat that follows and attacks at any sound.

The theory took off after YouTuber TheCookFilms uploaded a video titled Could A Quiet Place be the Next Cloverfield Movie? on January 8. The video has since been deleted for unknown reasons, but I was able to take some notes before it disappeared.

I’m not hip to the personal lives of actors and filmmakers, but it’s been reported that Cloverfield mastermind and chief architect J.J. Abrams and John Krasinski (star, director, and co-writer of A Quiet Place) are friends. While this alone means nothing, Internet sleuths point out that Krasinski was originally cast in The Cloverfield Paradox (back when we were all still calling it God Particle) but left the project early on for reasons unknown.

This got people thinking that Krasinski quit Paradox after he and Abrams decided to turn A Quiet Place into a secret Cloverfield movie. Naysayers point out that A Quiet Place isn’t a Bad Robot film, making the Cloverfield connection unlikely. But proponents argue it’s all part of the ruse; that since any film produced by Bad Robot is automatically assumed to be a Cloverfield movie, it’s become necessary to hide the studio’s involvement.

My Dread Central colleague Mike Sprague recently published an article demonstrating the diversity of the Cloverfield franchise: Films That Could Exist Within the Cloverfield Universe. It points out how movies like The Mist, Super 8, and Colossal could all (with minor tweaks) fit beneath the Cloverfield umbrella. Though Mike’s article ran before the release of The Cloverfield Paradox, that film’s introduction of multiple dimensions across various time periods only bolsters his original thesis.

A Quiet Place’s premise of a family living in the aftermath of a global catastrophe, hunted by a creature (or creatures) absolutely fits into the Cloverfield formula, but is there a way to prove a canonical connection? The most intriguing clues point to potentially concrete connections with 10 Cloverfield Lane.

Go back to the trailer for A Quiet Place; at 0:29, we see some huge claw-marks on the wall going up the staircase. This damage looks like the work of the biomechanical, tentacled spaceship that tried to eat Michelle at the end of 10 Cloverfield Lane.

Now skip ahead to 0:50: When a child accidentally sets off an electronic toy, Krasinski’s character draws attention away from his family by running. He’s chased by something almost undetectable in the forest; a black creature that and runs on all fours. It definitely resembles the “Jaguar” alien from 10 Cloverfield Lane. Finally, at 1:46 we see a hand or an organic tendril that also could have come from the 10 Cloverfield Lane spaceship.

Another potential connection to the franchise could be the character Molly from The Cloverfield Paradox. Her inclusion in the film means she must be important, and the fact that the young actress’s name is Clover Nee has people speculating she’s a major Easter ggg. Perhaps the family in A Quiet Place is Molly’s and they were separated when The Shepard launched on the Cloverfield Station. How amazing would it be to see Michael and Molly from Paradox show up at the end of A Quiet Place?

If this admittedly wild theory is true, then it also stands to reason A Quiet Place is actually a fake name, a tactic employed in 2016 when Adam Wingard directed Blair Witch under the phony title The Woods. If Krasinski’s film does take place in the same universe as the second Cloverfield movie, it’s possible that the house in A Quiet Place is just a hop and a skip down the way from Howard Stambler’s bunker. 11 Cloverfield Lane has a nice ring to it, don’t you think?

Even though A Quiet Place doesn’t hit theaters until April 6, the film will kick off the SXSW film festival in Austin on March 9, so we’ll know for sure soon enough (unless those lucky enough to see it are forced to sign NDAs). To be honest, I presented this theory because it’s fun to think about, not because I’m thoroughly convinced. After all, what are the chances we’d get three Cloverfield movies in a single year?

Of course, if A Quiet Place is revealed to be a secret Cloverfield movie, then I never doubted it!

What are your thoughts?




Exclusive: Talking Movie Theater Subscription Plans With Sinemia Founder Rifat Oguz



Have you heard of a monthly theatrical subscription service called MoviePass? More than likely by this point you have.

But what about Sinemia?

Via their official site, Sinemia is “a private movie club that provides discounted movie ticket subscription plans. Through a combination of easy to use technology and pre-paid debit cards, Sinemia has created an innovative solution for the movie-going experience.”

After announcing its U.S. launch, the high-end movie ticket subscription service was welcomed to the country with a lawsuit from competitor MoviePass.

Recently we had the opportunity to sit down and chat with Sinemia’s founder Rifat Oguz, and we talked about the services, the lawsuit, and our favorite movies in general.

Give the interview a look-see below and then let us know what you think!

Dread Central: First off, can you tell us a bit about how Sinemia works and what you offer?

Rifat Oguz: Sinemia offers different plans according to your movie watching frequency. The most popular one is 2 times in a month for $8.99. It’s free 2D or 3D tickets in any theater, for any movie, and includes features like reserved seating, the IMAX-4DX-XD-ScreenX-DBox experience, private screenings and more for one low monthly fee; support for advance ticket purchases and support for third-party ticket processors like Fandango.

DC: Where did the idea for Sinemia begin?

RO: I’ve always been passionate about movies. When I realized there were so many empty seats in movie theaters throughout the world, I decided to change that by developing an idea for a “movie ticket subscription” system.

DC: Sinemia is already leading the market in the United Kingdom, Canada, Turkey, and Australia. Can you talk a bit more about this?

RO: We don’t have any competitors, globally. Our only competitor is in the US. We are trying to create a global system for all the moviegoers on the planet.

DC: Why the move to the U.S.?

RO: Because the heart of the movie market is in the U.S.

DC: How does Sinemia differ from other services such as MoviePass?

RO: Firstly, we don’t track our subscribers or sell their personal data because we don’t need to earn money from data. We have a sustainable financial model. Our subscribers are our clients, not our product. As previously stated, Sinemia offers different plans according to your movie watching frequency.

DC: Speaking of MoviePass, the “rival” company recently filed a lawsuit Sinemia for “using its patented electronic payment technology without authorization.” Care to comment?

RO: MoviePass tries to block us because our sustainable and less restrictive model promises much more to customers and the overall movie market. The reason for their effort is to block serious, true competition.

DC: Where do you see Sinemia in 5 years?

RO: We believe that we’ll be giving service in all 5 continents to millions of movie lovers.

DC: I always end with this question: What’s your favorite scary movie?

RO: The Shining is a classic. But if you’re asking for a more recent movie, I think The Conjuring is my favorite.


Thanks for chatting with us today, Rifat!

For more info on Sinemia, visit the official site RIGHT HERE.


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Brennan Went To Film School

Brennan Went to Film School: These Aren’t Your Daddy’s Strangers



“Brennan Went to Film School” is a column that proves that horror has just as much to say about the world as your average Oscar nominee. Probably more, if we’re being honest.


If you’re a die hard horror fan, you were probably pleasantly surprised when you sat down to watch The Strangers: Prey at Night, the decade-later sequel to Bryan Bertino’s potent little 2008 shocker, and discovered that it was a full-barreled homage to John Carpenter and synth-drizzled 80’s cinema. But once you scratch past the surface, it makes perfect sense why digs up the horror tropes of yesteryear.

You see, the movie is inherently about the war between two generations that has been playing out in the media over the past couple years. You’re probably familiar with the cavalcade of articles about millennials killing everything from the napkin industry to the lottery to Applebee’s. It always happens this way: older generations are frightened by the shifting tastes and perspectives of new generations, and the way a world shaped by them is going to look. It happened with the introduction of video games, rock ‘n roll, and even novels way back in the day.

Now the Internet age has made things especially frightening and unrecognizable. Kids and teens now have access to the broadest spectrum of information in human history, and their attempts to carve out their own identities alongside this rapid increase in social and political awareness have received a lot of pushback from the parents and authority figures in their lives.

The Strangers: Prey at Night is essentially about transposing that generational battle onto a grand, bloody canvas. On the micro scale, there’s the literal reason our family foursome is facing the evil trio of murders: their young daughter Kinsey has “behavioral issues” that frighten her parents, who just don’t understand, so they are sending her off to a boarding school. The trailer park where they’re staying on the way to drop her off becomes the site of their own gruesome demise. “Out of sight, out of mind” is the idea, but what they end up with is “out of time,” as the Strangers rip and slash their way through their faux domestic tranquility.

Which brings us to the macro side of things: The Strangers, along with being a literal dredging up of the past (these particular villains haven’t been onscreen for ten years – time sure flies, doesn’t it?), bring a whole horde of classic horror tropes and stylistic elements with them, from Adrian Johnston’s glorious synthwave score to the neon-splashed coloring to the Texas Chainsaw infused finale. In fact, the lead Baghead villain finds it impossible to kill without an 80’s track blaring on his truck’s stereo. He’s basically Baby Driver’s evil twin. All these elements of older horror films are the exact things being used to torture and terrify the teens in this trailer park.

In two entirely different contexts, the older generation is seeking to hold these kids back and prevent them from being independent, especially Kinsey, who finds herself a particular target for their torment.

But just as past generations always eventually surrender and give way to the new, the siblings in Prey at Night triumph over their attackers. The senseless, random violence that claimed the lives of the victims in the original Strangers is no match for this duo of smarter, more capable protagonists. They are able to unmask, unsettle, and eventually destroy the Strangers without the help of any adult.

It’s no coincidence that Kinsey uses the very symbol of her teen rebellion (a cigarette lighter she uses as a performative way to show just how punk she is) to escape certain death, by igniting a puddle of gasoline under the lead Stranger. The knife-wielding antagonists eventually go the way of Applebee’s thanks to two kids who strove to be more than their now-dead parents and succeeded, though certainly not in a manner any of them could have ever predicted.

Also, if you think about it, The Strangers: Prey at Night is in and of itself a child. It was born from the original film, but it feels completely different from its predecessor. It sees the plot and tone of that film and strikes off in its own new direction. Thus, the generational war plays out on the biggest scale possible for this universe: the very existence of the movie itself.

This constant battle between old and new has an inevitable conclusion, and the people who made The Strangers know it. This is a film for a new generation about a new generation, and the infinitely more connected kids we’re seeing these days are capable of a previously unimaginable strength and solidarity. That’s reflected in the less downbeat ending here, which shows that the new generation has a chance in battling the senseless violence and grim patterns of their parents.

With more understanding and self-actualization, they’re going to create a brand new world that would be unrecognizable to previous generations, though hopefully one that hasn’t forgotten just how awesome Carpenterian synthwave music is.

Brennan Klein is a writer and podcaster who talks horror movies every chance he gets. And when you’re talking to him about something else, he’s probably thinking about horror movies. On his blog, Popcorn Culture, he is running through reviews of every slasher film of the 1980’s, and on his podcast, Scream 101, he and a non-horror nerd co-host tackle horror reviews with a new sub-genre every month!


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The Conjuring 2’s Elvis Scene Should Be Seen By Every Aspiring Filmmaker



What makes a horror movie actually scary? Is it the villains who threaten the lives of the protagonists? Is it the knowledge that anyone could meet his/her demise at any second? Is it the gore and viscera that sprays across the screen? Or is it something else, something deeper?

For me, horror only affects me deeply when I can empathize with what I’m seeing. As an example, it’s the reason that Dr. Gordon’s racking sobs towards the end of Saw caused tears to spring in my own eyes. The fact that we know that his family is safe only amplifies the anguish of the climax. I was begging for him to find some way of finding out what had happened so that he could find some semblance of peace. When he finally grabs the saw, my horror is met in equal measure with a terrifying understanding. This man thinks his family is being killed, so how can I fault him for doing what he’s doing? I can’t blame him or mock his decision, like I can in so many other horror situations. His love for his family, the guilt that encompasses him, it all spills over in a flood of fear, terror, and desperation. To this day, I still find the 3rd act of Saw emotionally difficult to sit through.

So what does this have to do with The Conjuring 2? Well, everything! What director James Wan has done with both films is he’s created a world where we spend time with the characters in ways that build up who they are rather than the situation they’re in. By taking the time to make me care about the characters, I care about what actually happens to them. And no scene in The Conjuring 2 enforces that point more than when Ed spots a guitar and plays Elvis Presley’s “Can’t Help Falling in Love.”

Here’s the scene I’m talking about:

I’m the kind of person who gets really uncomfortable with “cringe” videos and stories. If a comedy bases its humor on making fun of people rather than situations, I usually will hate it with every fiber of my being. I will pull my hood over my head and cover my eyes while putting my hands on my ears. I’ll do whatever I can to avoid the awkward uncomfortableness of the scene because it makes me feel like my entire body is crawling.

When Ed asks for the guitar, I originally thought, “Oh no, please don’t do this.” I was ready to curl up in the middle of the theater and suffer for the next few minutes. But what happened during that scene was quite possibly the most important part of the entire movie. After seeing the Hodgsons suffer without help and recognizing that each of them was basically at a breaking point, this interlude was a momentary, yet precious reprieve from seemingly unending fear. As an audience member, seeing those children smile and sing along with Ed Warren was, and still is, perhaps the best example of “heartwarming” I can think of.

But what’s more is what else is happening while Ed plays. It’s the sidelong glance he gives Lorraine that is full of love, a look reciprocated by her as we, the audience, see the love that these two have for each other only grow stronger. Because the film takes those few seconds to establish such a strong relationship, the later events are all the more dramatic. When Ed goes into the basement and the door locks behind him, the separation between him and Lorraine is heart-wrenching. Watching her pound on the door while crying his name between tears feels real because the story made it so.

It’s also seeing Peggy Hodgson as she sits behind her children, a huge smile on her face while she watches them sing along with Ed, brushing tears of happiness from her eyes occasionally. For all the struggles and horrors that they’ve endured, her love for her children has never waned and her want for them to have a wonderful, safe life is clearly apparent.

By building such strong relationships between the characters and, in turn, between the characters and the audience, any danger that they encounter feels all the more dramatic and threatening. Were I to not care about these characters, as I don’t in pretty much any Friday the 13th film or Amityville sequel*, then I would never be scared by the film. It’s because of my attachment to those on the screen that I feel terror.

To every aspiring filmmaker, I offer you my one piece of advice that I feel is the most important lesson of all: If you can make me care about your characters, you’ll make me care about your film.

*Not trying to bash these films. Just saying that they are definitely lacking when it comes to character development.


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