“I Don’t Know What To Believe Anymore…”
Dropping out of nowhere and onto Netflix in a remarkably abnormal and somewhat anarchic fashion, The Cloverfield Paradox, the second sequel to Matt Reeves’ 2008 shaky-cammed monster marathon Cloverfield after 2016’s claustrophobic, 10 Cloverfield Lane, bears it teeth without any sign of meaningful marketing or propaganda-esque pushing aside from a thirty second trailer proceeding its’ release only hours before its’ availability worldwide on everyone’s favourite streaming service. Whilst such a decision is undoubtedly refreshing and boundlessly groovy, the question remains whether the film itself is worthy addition to a franchise which deserves plaudits for its’ adventurous attempts at building a somewhat Twilight Zone infused shared universe, and with a cast list featuring the likes of Gugu Mbatha-Raw (Miss Sloane), Daniel Brühl (Rush) and David Oyelowo (Selma), and a ideas-based narrative which attempts to solve the ambiguities of its’ predecessors, The Cloverfield Paradox, on paper, has success stamped all over it. Unfortunately however, Netflix’s latest high profile release is a ludicrous mess of a movie, one which begins in absorbing fashion with acres of room to flex its’ muscles but then descends into a shark-jumping bore-fest which not only veers the franchise off course, but could potentially endanger it completely.
Attempting to gel together the mystery at the heart of the franchise in regards to the origin of the destructive beast from the first entry, The Cloverfield Paradox, directed by big-time debutante, Julius Onah, follows Mbatha-Raw’s Ava Hamilton as she crews up with her expeditious space team aboard the Cloverfield Station in order to test the particle accelerator by the name of “Shephard” which has been designed in order to combat the life-threatening global energy crisis on Earth. Mixing in elements of Interstellar, Event Horizon and in regards to its’ dealings with augmented reality splits, the rather excellent, if little seen, Coherence, Onah’s movie suffers from having too much to say without any real follow-through, and with a wildly inconsistent tone which rakes in awfully timed comedy amidst perils of catastrophic possibilities, The Cloverfield Paradox is undoubtedly a missed opportunity and hands down the worst entry of the franchise thus far. With Chris O’Dowd being the glaring error of casting, with his supposedly intellectual character undoubtedly the most cringe-worthy performance of the year so far, and elements of slapstick-laden body horror amidst dialogue which can only be described as the cinematic equivalent of a paint by numbers book, Netflix’s latest big budget cornerstone is really quite poor, and even when the ideas on the surface are interesting enough to warrant some form of applause for trying, the execution is badly managed and ultimately, a sobering disappointment.
Overall Score: 4/10
“You Don’t Have To Make Us Feel Safe, Because You’ve Made Us Feel Brave…”
Tim Burton is back with his latest project, Miss Peregrine’s Home For Peculiar Children, based on the novel of the same name by author Ransom Riggs, and whilst Mr. Burton hasn’t exactly hit the high notes of what he can accomplish in recent years, a mediocre Burton film is at least better than most things released in the calendar year of film. With Miss Peregrine’s, the typical tropes and traits of what makes Burton’s films his own are unashamedly there to see from the offset and whilst we are treated to a two hour plus marathon of sub-gothic horror, all with a teenage friendly 12A rating, which includes invisible monsters, Alice In Wonderland type parallel time zones and the removal of a hell lot of eyes, Burton’s latest is an undeniable snooze-fest, one that has the baseline of a good idea but one that is orchestrated in a tedious and rather unconvincing fashion, concluding with a final act which can only be regarded as the physical definition of anticlimax.
As we follow Jacob (Asa Butterfield) into the titular home, ruled over by the strict, yet caring, Miss Peregrine, portrayed in an overtly scene-chewingly fashion by Eva Green, the film begins in a compelling air of mystery, particularly when we are introduced to the notion of the Hollows, their origins and the plans of the evil Dr. Barron (Samuel L. Jackson). Unfortunately for the film, as soon as we are swayed away from the charming introductions to the residents of the titular home and into the bigger picture involving the Jack Skellington-esque Hollows, the film totally collapses under the weight of attempting to get as much plot in its’ two-hour runtime, resulting in a messy narrative which doesn’t allow the concluding act to have the impact and sense of closure it of course is meant to have. Although the film boasts some good performance from the likes of its’ younger cast, with Ella Purnell arguably being the standout, Miss Peregrine’s is a poor attempt for Burton to get back on form and therefore can only be regarded as a undeniable let down.