With the two potentially important things in hand, Darrin, Ben, and Reid are ready to head out to Area 51. It’s at this point that the “found-footage” angle is reinforced.…
Area 51 The Revealing Truth of Ufos, Secret Aircraft, Cover-Ups & Conspiracies
In no time at all, and late at night, Jelena, Reid, and Darren are set to penetrate Area 51’s perimeter security and make their way onto the base and then deep underground. It’s all due much to the concern and worry of Ben, who hangs back and sees nothing but major trouble looming on the horizon. They should have listened to him. I won’t give away the means by which the three actually manage to successfully make it onto the base. It’s all very unlikely but is presented in such an entertaining and alternative fashion that it allows you to suspend belief. Just about.
Upon reaching the base, the trio uses the aforementioned ID card and fingerprint to make their way through the many secure doors that dominate the base, and in no time, they’re heading not just underground but way underground.
The below surface world is very different from anything topside: the group finds evidence of groundbreaking antigravity technology and associated research, and they even stumble upon an honest-to-goodness flying saucer. Ours or theirs? Who knows? The deeper they go, however, the more disturbing things become. They eventually come across a series of claustrophobic underground tunnels and caves. We get the sense that, just perhaps, this entire area is out of bounds to the regular workers. Indeed, one almost gets the feeling that it’s the domain of aliens and a definitive “no-go area” for everyone else.
We see bundles of clothes on the floor and a large number of toys and dolls strewn around the tunnels and caves. We even see what appear—at first glance —to be aliens. In reality, however, they are rubber fabrications. In my mind, this made me think that we were being given two possibilities: maybe real aliens are at Area 51, or perhaps, someone wants us to think that’s the case, possibly someone who wants to hide something of a far more down-to-earth nature—but no less threatening and highly advanced—but we also get a very brief glimpse of what appears to be a real E.T., so it’s a case of “maybe, maybe not” when it comes to what’s actually afoot. I won’t reveal what happens next or how Area 51 ends, but I will say that it concludes in a good, solid “found-footage” fashion.
Street Eyes is a UFO-driven movie that was written and directed by Oliver Marshall. As for the theme of the movie, you can get at least some of that from the back-cover blurb on the DVD version: “The Dead Guy roams the streets of Los Angeles possessed by an Alien. He is the key to exposing the secrets of the Reptilian underworld and their plans to turn mankind into mind controlled slaves.” Well, that’s quite an opening salvo of words. While Street Eyes doesn’t have a huge budget and the actors are largely unknown, that doesn’t take away the fact that the movie is both intriguing and thought provoking. It’s highly entertaining, too—which is always a good thing when you’re watching a movie, of course.
The primary character in the movie is Stanley. He is a UFO researcher with a fair degree of paranoia—which, as we soon come to see, is pretty much warranted. It’s fair to say that the story encompasses numerous aspects of modern-day ufology. The movie begins in moody, atmospheric fashion out in the Nevada desert. Area 51, and a confrontation with gun-toting soldiers, firmly set the scene for what quickly follows—namely, an adventure of the ufological kind that takes some very dark and unforeseen twists.
Actress Chrissy Randall (50 Ways to Kill Your Lover and 9 Full Moons) plays Stanley’s girlfriend, Natalie, who is pregnant, and it’s her pregnancy that drives much of the theme of Street Eyes, most of which is set in Los Angeles.
The pregnancy angle is just one of many threads that weave their way through the film and keep the viewer on their toes, so to speak. As for those same threads, well, they include none other than the mysterious Men in Black or, rather, a Man in Black. As an interesting aside, the MIB is played by none other than UFO researcher Steve Bassett. As the story progresses, we get to see just why Natalie’s baby is so important to the story. We are also introduced to one of the more controversial aspects of present-day ufology—namely, the issue of so-called “alien implants.” We are also introduced to a cast of characters who range from the benevolent to the downright hostile.
They include “The Observer” and “The Dead Guy.” To begin with, we’re not sure who are the bad guys and who are the good guys, only that Stanley and Natalie are in deep trouble. They are way over their heads and pawns in an unfolding saga that threatens not just them but the freedom of the entire human race. Add to that the phenomenon of what are known as the Reptilians as well as black-eyed entities, multidimensional beings, and the “Super Soldiers.” That’s a hell of a lot of angles to cover in a movie that runs to just under one and a half hours, but Marshall and his cast and crew skillfully manage to ensure that the movie doesn’t become over-complicated.
It’s important, too, to note that the cast performs well, taking on their respective characters and making them believable, and that much of Street Eyes takes place at night, which adds to the atmosphere and the growing threat to the primary characters of Stanley and Natalie. The movie has a good, solid ending and, who knows, maybe Marshall will one day treat us to a sequel. Until or whether that happens, though, check out Street Eyes, which has been put together by a team that was clearly enthusiastic about getting their production made and providing people with something not just to enjoy but—in terms of the overall dark story—to ponder on, too.