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The Cloverfield Paradox (Cloverfield 3) - out now on Netflix


Jay

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When I saw the first film, I was hung over and sitting quite close to the cinema screen. As a consequence, I got extremely nauseous due to the constantly moving, handheld cameras and had to run out a couple of times (thankfully, I managed to "keep it down"). So not the best experience. But when I rewatched it on the small screen, I finally enjoyed it. It's a good movie.

 

So is the second film, which is a whole other beast (no pun intended). Not as immense as the first, but with its own sense of claustrophobic tension.

 

So yeah -- I'm looking forward to the third. Wondering what 'setting' trick they've got up their sleeve this time, or if it will be a more straightforward creature feature. Thanks for alerting me to the Netflix distribution. I'll delve into it asap, maybe tonight!

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13 hours ago, Richard Penna said:

My initial thought is that they're trying pretty desperately to tie this into the Cloverfield universe while the plot doesn't seem to have any connection.

 

My feeling after 10 Cloverfield Lane is that "Cloverfield" was now just an umbrella for JJ Abrams-produced horror.  But apparently based on the preview, this will tie into the original Cloverfield, so who knows.  I look forward to watching this, maybe next weekend.

 

5 hours ago, Alexcremers said:

Another straight to Netflix movie?! What is happening?

 

Direct-to-video doesn't mean the same thing it used to, as most people skip the theaters now and watch movies at home.  Netflix has been home to Adam Sandler's dumb comedies for the last few years, and there was a (dumb looking) Will Smith blockbuster that just came out as well.  This is the new paradigm!

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Any thoughts on the Bear McCreary score? Haven't watched it yet (and not sure if I will based on the dismal reviews). I enjoyed his work on 10 Cloverfield Lane.

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1 hour ago, mstrox said:

Direct-to-video doesn't mean the same thing it used to, as most people skip the theaters now and watch movies at home.  Netflix has been home to Adam Sandler's dumb comedies for the last few years, and there was a (dumb looking) Will Smith blockbuster that just came out as well.  This is the new paradigm!

 

I'm not sure if that is a good thing. 

 

- "We need more money to shoot it properly, sir."

- "Who cares! It's only a TV movie!"

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It was shot with normal cameras intended to be a normal theatrical release, the Netflix deal came late in the process.  Netflix wasn't behind its conception or funding anything, just bought it after the fact.

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I was speaking in general. So far most straight-to-Netflix movies were intended for the theatre but how long before they skip that intention altogether?

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Okay, I watch The Cloverfield Paradox and I now know what "straight to Netflix" means. It means that it's too bad for a theatrical release. I no longer have high hopes for Garland's Annihilation or Bowie's Mute

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The film is not bad. It's fairly mediocre. But it completely lacks the ingenuity of the first two movies.

McCreary's music was THERE, but it failed to impress me much.

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On 5-2-2018 at 9:22 AM, Alexcremers said:

Another straight to Netflix movie?! What is happening?

 

Didnt you read the news? Netflix is investing loads of money into their own films now. Don't they have something like 80 movies in the pipeline?

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But Jay said this isn't one of those Netflix movies. It was a regular movie, made for theatre, but somebody decided not to release it theatrically and sell it to Netflix. A wise decision, BTW. Had I seen it in theatres I would not have been happy.

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The score was fantastic - a true flashback to real science fiction music from the era of Young's Species and Goldenthal's Sphere. The ignition scene early on uses that ostinato Bear introduces in the opening titles to great effect. I was a bit disappointed that the opening titles were not even more dynamic. At first, I thought it may be that they only had budget for a string orchestra, though this was clearly not the case. All I can think of is a somewhat displaced Psycho/Herrmann situation then.

But yeah, the rest of the score is astonishing. The breakdown scene makes great use of ostinatos that discount the silly Zimmer mould for a much more refined Williams approach, and that scene with the unbalanced wheel is pure Horner, from its percussion to the way it uses strings as rhythmic devices (think of Clear and Present Danger).

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22 hours ago, Jay said:

It was shot with normal cameras intended to be a normal theatrical release, the Netflix deal came late in the process.  Netflix wasn't behind its conception or funding anything, just bought it after the fact.

 

Define "normal" cameras. They seem pretty interchangeable when it comes to industrial grade digital photography these days.

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Watched the film last night.

 

Hooo boy, it ain't good.  It's basically just a generic, cliched sci-fi space survival yarn - one of those movies where a bunch of characters are on a ship in space, something bad happens, freaky things occur, they start getting killed one by one, a final girl escapes.  It's just Alien/Event Horizon/Life/Passengers all smashed together.


The connection to the previous Cloverfield movies is COMPLETELY tacked on and pointless.  It's not some big twisty surprise that you wouldn't want spoiled or that explains anything specific about the previous movies, its just a lame "we opened a hole in spacetime so now monsters can appear on earth at any time" kind of thing.

 

I'm not sure what it was about this script (when it was a purely original one) that JJ saw and made him want to not only spend Paramount's money to make, but connect it to Cloverfield, there's no interesting ideas or spark of ingenuity here, its all cliches.  And yea, I think when the film was finishing post production they realized it couldn't be saved, and probably were happy to accept Netflix's money to give them rights, so as not to receive extremely low Rotten Tomato reviews for a theatrical release and have potential bomb; With Netflix, they get paid up front, regardless of how many people watch it!


The score by Bear was good, though!  Nothing ground breaking, but made the film better as best it could.  Should be decent to listen to on its own, but probably not as good as 10 Cloverfield Lane I reckon.

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14 hours ago, Jay said:

Yea, watched it tonight and the end credits said a score album was available by Sparks and Shadows

 

What's Sparks and Shadows?

 

McCreary has been posting some behind the scenes stuff about the score on Twitter.

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That's Bear's record label.  He used to be covered pretty well by La La Land, until he formed S&S - now he usually releases his stuff himself, and gives LLL a handful of autograph copies to sell on their site.

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10 minutes ago, Marian Schedenig said:

Ah oh. Didn't know about that. Does that also mean no more physical releases?

 

I don't understand what you mean.  Some of his scores get physical CDs, some don't.  10CL just got a physical CD, etc

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10CL also has Amazon MP3s and an iTunes release, both linked on that site. You're right though, the Amazon link obviously also has an option for the physical CD. I didn't realise at first that he's already self-released so many of his albums, including several on CD.

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On 6-2-2018 at 3:55 PM, Jay said:

 

 

I'm not sure what it was about this script (when it was a purely original one) that JJ saw and made him want to not only spend Paramount's money to make, but connect it to Cloverfield, there's no interesting ideas or spark of ingenuity here, its all cliches.  And yea, I think when the film was finishing post production they realized it couldn't be saved, and probably were happy to accept Netflix's money to give them rights, so as not to receive extremely low Rotten Tomato reviews for a theatrical release and have potential bomb; With Netflix, they get paid up front, regardless of how many people watch it!

 

 

Netflix paid over 50 million Dollars for the movie.

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Watched about 30 minutes of it last night. It was dumb and boring. The music was ok though. Not as good as the previous one but infinitely better than most recent bigger scores. I hope it gets a CD release.

 

Karol

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We watched it during our snow day yesterday. I thought the movie was serviceable, and a fun afternoon matinee type of watch.  Not an all-time great, not revolutionary, but had enough fun ideas (guy full of worms, guy whose arm gets stuck in the wall and then comes to life, missing spaceship part found in cadaver, etc) to keep it entertaining, but definitely "least" of the three Cloverfield movies thus far.

 

I don't think it necessarily needed the earth-based portion/tie-in to the first Cloverfield.  The idea that the Cloverfield Paradox unleashed havoc on Earth across many dimensions is enough of a tie-in, in my mind.

 

Didn't even really notice the score, although I liked the main titles piece.  Glad to see that there WAS a main titles piece.  They seem so old fashioned these days.

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Guys, Spacewalk.

 

This will be one of those tracks that people reference as top tracks of the year. It pays affectionate homage to Apllo 13 but does its entirely own thing with what sounds like a huge frigging orchestra. The best thing to take from this is the orchestrations. Spacewalk: listen to the main violin motif that drives the piece and then note how it is complemented by an entirely different bed of strings doing a countermelody. The lushness of sound is phenomenal, especially in this era of singlistic sounds by simple sources.

 

Of course, the brass counterpoint is fantastic. Very Goldsmith in parts in fact with the syncopated hits. This is real music.

 

If Abrams etc have any sense, they will hire McCreary for any of the subsequent episodes. The talent here is phenomenal.

 

McCreary is of course known for his instrumental work on Battlestar Galactica and Outlander. The frigging showcase of All Along the Watchtower from Battlestar makes him not only a composer but co-creator.

 

McCreary for Star Wars.

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53 minutes ago, mstrox said:

 

A sentient disembodied arm!!!!!  Even in the world's dumbest movie, that's fun!

 

It's not enough to like the movie. The bad outweighs the 'good'.

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