The Cloverfield Paradox

All right, I'll round those three and a half stars up. The Cloverfield Paradox is, in my opinion, a deliberate tribute to the B sci-fi films of the 1950s, when the spaceship failed to keep itself in space without strings or wire and where the worst paid member of the staff was sweating in every giant rubber monster. But the trashy plot didn't bother me at all, and the actors I think acted exactly how they were supposed to. It's too bad that the serious situation game didn't last all the time and that it had to be interrupted primarily by unfunny escapades around one amputated but still alive hand (“Will it grow back?" belongs more to Monty Python or the Simpsons, not here), because otherwise I was quite satisfied. I liked the ending (aside from the last shot) very much and would say I won't have a problem watching the film again. (01/06/2019)

The Americans decided to turn the original found footage Cloverfield movie into their cash cow, so they keep shooting one flick from this universe after another. In film in particular, you have to ask yourself what the Monster has to do with a space ship flying somewhere through space. There’s really no logic in this connection. But it’s still a b-movie with the most stellar cast in the last thirty years or so. So technically it looks fine, the cast is good, but you still cannot shake the feeling that you’re watching a terrible bullshit that makes no sense. This movie is a prime example of the thin line separating good sci-fi movies with a message from pieces of horrible crap. (04/28/2020)

Did I really see it, or just dreamed it? The Cloverfield Paradox is the space version of The Room that flies with its silliness to somewhere beyond the boundaries of tastelessness, where it shakes hands with Robot Monster, Turkish Star Wars before heading to infinity. Julius Onah, along with the writers, is the new Tommy Wiseau. I believe that in a few years this will be a stellar addition to The Shockproof Film Festival, and with the help of alcohol it could be an interesting group experience, like when the audience of The Room bombards the screen with plastic spoons during midnight screenings. Hell, yeah! (03/26/2018)

It was passable. Although it has almost nothing in common with the previous episodes and is clearly the weakest, it's still watchable. Story-wise, it's a rip-off of all the better known sci-fi properties, but the kills are pretty good. Visually it's OK, and the crew is also passable, there's always something going on, so there's no boredom either, so an average three stars without a problem. 55% (02/27/2018)

It’s good, but far from excellent. I was actually expecting a lot worse, which may have lowered the bar. Imperfect for sure, and the logic is also quite flawed... (where did O'Dowd's hand get the information about the gyroscope, for example, well?), but it is nice to look at. It’s visually stunning and the cast led by Brühl and Elizabeth Debicki is fine too. Actually, only Gugu is pretty bland and he’s the lead! The talked-about connection with Cloverfield was very strong, but fortunately not so much that it was distracting. The plot had a much higher potential, but it turned out to be like a Stargate Atlantis episode of Daedalus squared, with better effects and a few extra scares. Onah should work on the themes and leave the direction to someone who can do it better. (02/19/2023)