Gugu Mbatha-Raw

The Cloverfield Paradox


J J Abram’s Cloverfield franchise has always wielded an element of surprise as part of its arsenal. The first film, a compelling ‘found-footage’ creature feature, directed by Matt Reeves, was sneak-released to cinemas in 2008, and was, in this reviewer’s opinion, a low budget masterpiece.  Its 2016 successor, 10 Cloverfield Lane was a tense, claustrophobic thriller that initially appeared to have nothing whatever in common with its predecessor; until, that is, you reached the film’s final third and everything went completely (and satisfyingly) berserk.

And now, here’s The Cloverfield Paradox, directed by Julius Onah and somehow released direct to Netflix with hardly anyone (including the cast!) aware that this was going to happen. As a means of grabbing attention, it works a treat – but there have already been many voices on social media branding the new release as a complete dud – and news that a fourth instalment, with a Second World War setting, is already in the can have led many to believe that Abrams has, quite literally, lost the plot.

The opening of Paradox certainly grabs the attention, playing like a lost episode of Black Mirror. It’s the year 2028, the earth’s energy supplies are rapidly dwindling and the world teeters on the brink of nuclear war. Ava Hamilton (Gugu Mbatha Raw) is poised to leave her partner, Kiel (David Oyelowo) to go on a mission into outer space. She and the rest of her crew intend to use ‘The Shepard’ – a particle accelerator – to provide the earth with an artificial power supply – but they are warned from the very beginning that in so doing, they risk inadvertently opening portals that will allow alternative realities into existence. Well, they can’t say they weren’t warned.

The story now leaps forward to the mission itself, where Ava and her companions are trying to initiate the ‘Shepard.’ At first, they appear to have been successful – but then some very strange things start to happen… for a start, they can’t seem to find any trace of the earth. Then, they find a woman, Jensen (Elizabeth Debicki) trapped behind the walls of the spacecraft. She claims to be a trusted member of the crew, but they have never set eyes on her before. Meanwhile, engineer Volkov (Aksel Hennie) starts having some very nasty digestive problems and as for Mundy (Chris O’ Dowd)… what exactly has happened to his left arm? Meanwhile, back on earth, Kiel is having some pretty intense problems of his own…

And that’s pretty much it. The film cuts back and forth between its two locations throughout. It’s nicely shot and for the most part, it galumphs along engagingly enough, even though it soon becomes apparent that this is not so much a Cloverfield film as something else that has been slyly retrofitted to slot into that cinematic universe. Indeed, apart from a couple of subtle visual references, you’ll have to wait until the film’s closing moments to make any real connection with those illustrious predecessors.

Perhaps unsurprisingly, in an age where film fans are more polarised than ever before, some viewers have excoriated Paradox, blasting levels of vitriol in its general direction that seem somewhat excessive. It really isn’t that bad – just a bit mediocre and nowhere near as good as its progenitors. And of course, the convenient thing about Netflix is, if you don’t like what you’re watching, you can always reach for the ‘off’ switch.

3.2 stars

Philip Caveney

Free State of Jones



Free State of Jones tells the almost unbelievable true story of the lengths the Confederates went to in order to protect their interest during the American Civil War.

Confederate army nurse Newton Knight (Matthew McConaughey) realises he is a pawn in a rich man’s game and, after his nephew (Jacob Lofland) is killed in battle, he deserts. “It’s not my fight,” he says, noting that he has more in common with the black slaves than he does with the white elite. And so, he bands together a group of runaway slaves, fellow deserters and poor white women and, from their base deep in the swamps, leads a rebellion against the plantation owners, asserting their right to reap the crops they sow and live their lives as free humans, eventually establishing Jones County as a free state and seceding from the Confederacy.

It’s an undeniably important story, highlighting the the vile racism at the heart of American history, and showing how this echoes through the ages with sequences that flash-forward eighty-five years, where Knight’s descendent, Davis (Brian Lee Franklin), is put on trial and eventually jailed for failing to disclose, when marrying, that his great-great-great-grandmother – Newt Knight’s second wife, Rachel (Gugu Mbatha-Raw) – was black.

There’s plenty to admire in this film: it’s a story that needs telling; we need reminding that the Black Lives Matter movement has deep roots, and that racism is firmly embedded in American society. The rich still work hard to protect their own interests, turning the poor against each other to deflect attention from their own excess. And it’s beautifully acted, creating a clear sense of the times; it’s unflinching in its portrayal of the brutality of war and the harsh conditions endured by all.

A shame then that the narrative lacks pace. There’s no clear story arc, no real climactic moment, no drive propelling us to the end. It’s almost dull at times: a series of ponderous moments that don’t quite engage, that keep us at arm’s length. Terrible things happen but I’m never emotionally involved; my reactions are all intellectual.

It’s a good movie and worth seeing, but it’s hard to escape the notion that it could easily have been so much more.

3.9 stars

Susan Singfield