Review of The Cloverfield Paradox (2018) by Ageeknamedbob — 04 Feb 2018

Just over ten years ago, the Matt Reeve's directed, Drew Goddard-written, and J.J. Abram's produced (of the three, his name is the one often linked) CLOVERFIELD presented a new take on the semi-dormant Kaiju genre.

There are many detractors, but I'm not one of them. I unapologeticly love the found-footage, viewed-from-the-ground monster flick. Eight years later, 10 CLOVERFIELD LANE (directed by Dan Trachtenberg) proved to be one of the most tense experiences I've ever had in the theater, and remained to be my favorite horror film of 2016.

Like the second entry, THE CLOVERFIELD PARADOX can stand on its own although being familiar with the 2008 film helps. THE CLOVERFIELD PARADOX, previously titled THE GOD PARTICLE was originally set for release this past weekend on February 2nd.

A few weeks back, it vanished from the schedule to tentatively appear in April with some rumblings of a possible Netflix pick-up. This was confirmed with an ad during the Super Bowl. Due to rumors, the Netflix deal wasn't a big surprise: but it's release date was.

Tonight. February 4th, immediately after the game finished. So of course, I jumped at the chance to watch it after the Eagles win. Judging from my facebook feed, many of my friends did so too. The story this time is one of my favorite set-ups: hell unleashed upon a space ship.

ALIEN (coming this May to Tacoma's Friday Night Frights), EVENT HORIZON (literally), and SUNSHINE (criminally underrated) among others. This one concerns a space-station attempting to create a Higgs-Bosun and use that to create unlimited energy to end a crisis on earth.

This happens before the first CLOVERFIELD, so apparently that world was much more advanced and on the edge of crisis than the 20somethings let on. But then again, they're more concerned for the party than world-building before it all goes to **** so that's cool.

Being a sci-fi/horror film, this doesn't go well when the experiment finally succeeds. It's been two years, and three previous attempts, so personal tensions are already running high before things go sideways.

With this set-up, one can predict many of the plot points that are expected to occur. This is true to a certain degree - there are some welcome unexpected changes, but director Julius Onah keeps the tensions high with well chosen and framed shots.

We have paranoia, system malfunctions, possible sabotage and some wonderful moments of body horror. However, some parts of the horror aren't really followed up on, existing only for a "ooh, what's this" moment like a possibility of a space ghost - not the absurdist talk show version, but the opening doors and moving stuff around type.

But they all work in the moment, both in increasing the mystery and in providing shocks. It helps the script by Oren Uziel and Doug Jung presents likeable and written-well-enough characters. Some are given more to do and more backstory than others but everyone gives enough life (hey, that's the name of a space-station horror film from 2017!--that one starts strong and fizzles as it goes) to make them both memorable and not-interchangeable.

The cast is a selection of international actors led by Gugu Mbatha-Raw. As Hamilton, she gives a solid emotional anchor to the chaos erupting around her. Also on board are David Oyelowo (SELMA), DANIEL BRUH (CAPTAIN AMERICA: CIVIL WAR), ZIYI ZHANG (who should have been a star after CROUCHING TIGER, HIDDEN DRAGON), Elizabeth Debicki (GUARDIANS OF THE GALAXY VOL 2), John Ortiz, and Aksel Hennie.

Let's not forget Chris O'Down providing comic relief. The viewer cares for each and are taken in as they are forced to face down the horror of their situation. The portion that doesn't quite work is cutting away to Earth, where Hamilton's husband attempts to survive is own ordeal.

While it reminds us of Hamilton's struggle, it often undercuts the drama in space. I applaud NETFLIX for approaching the release of the film in the way they did. Usually the combination of critically unscreened film, delayed from a theatrical release with little to no advertisement all add up to something to avoid.

But that's not the case. NETFLIX is showing the power of word of mouth and just simply knowing they have a great product on their hands. Of course, putting an ad during the Super Bowl possibly informs more people than a standard marketing blitz, but it still shows faith in the film.

Do what just about everyone else is doing, go in blind and be swept along.