In these dire times for movies, one has to be thankful for the mere existence of Tenet, a big-budget, big-screen experience in the age of direct-to-streaming. Though released well over a month ago, it remains in multiplexes simply due to the lack of any theatrical output to replace it.
If nothing else, The Cloverfield Paradox is an interesting – if dubiously effective – experiment in advertising. Informing the masses of its existence via a short Super Bowl ad, it attracted a fair 750,000 viewers later that night. The series itself remains something of a novelty in the age of producers endlessly mining the same vein to diminishing returns: a loose series of movies that share the same name and universe, but are hugely unalike in terms of tone, scale, and genre. Cloverfield was a found-footage kaiju movie, 10 Cloverfield Lane was a claustrophobic thriller, and now we have The Cloverfield Paradox, a…space movie? Continue reading →