A Big Hit at the Superbowl but a Misfire for the Movie
by Nile Fortner
What made the first Cloverfield so fascinating was that they took something we’ve seen before like a giant monster in the city and they found a way to give it a new a new perspective. The 2008 Cloverfield film gave a new perspective that allowed audiences to see the death and the destruction of a monster in the city in the form of a found footage film. Even 2016’s surprise sequel and spin-off, 10 Cloverfield Lane, was a bold new take on a familiar story setup, and I actually loved this film, and would consider it an improvement over the first movie.
The trailer for The Cloverfield Paradox dropped at Superbowl 52 (Go Eagles). After the trailer was over, it said the movie was now showing on Netflix. After the Superbowl was over, I knew I was definitely going to check it out. I dusted the Dorito’s off my gut, almost spilled my beer, telling people at the Superbowl After-Party, “Move, I have to get home to see that new Cloverfield!”
While the Western Genre will never see the likes of Sergio Leone or John Ford again, there have been enough great modern Westerns to satisfy the fans, from critically acclaimed pieces like The Revenant and The Assassination of Jesse James to more genre focused flicks such as Bone Tomahawk and 3:10 To Yuma. The Ballad Of Lefty Brown fits more into the latter – there’s definitely an appreciation for the genre and for those more familiar with Westerns a strong execution keeps some of the more familiar elements from feeling stale.