THE CLOVERFIELD PARADOX

Article first published as Review: THE CLOVERFIELD PARADOX on Seat42F.

The following contains spoilers about The Cloverfield Paradox.

Surprise! Viewers of the Super Bowl were not expecting to learn that a new Cloverfield movie was on its way. But that’s exactly what happened when, with only a trailer played during the football game, Netflix dropped THE CLOVERFIELD PARADOX Sunday night.

THE CLOVERFIELD PARADOX is the third film in the loosely connected series produced by J.J. Abrams. The first, titled simply Cloverfield, was a found-footage monster movie that put the audience in the perspective of someone running from a Godzilla-like creature. 10 Cloverfield Lane was mostly a bottle suspense thriller set in an underground bunker after a post-apocalyptic event. The third film is set on a space station in the future, and their experiments to find an unlimited energy supply for mankind rip a whole in space-time that unleashes monsters and other strange things across multiple dimensions. So this movie is both a sequel and prequel to the others which are, presumably, set on different Earths.

Connecting them in this way is pretty smart for a franchise that doesn’t want to tell a linear story. We now have the origin of sorts for the very different monsters we see in all three films, an explanation as to why these things are happening, and endless possibilities for future installments. As a connecting thread, THE CLOVERFIELD PARADOX works very well. It’s even better that it comes so late in the series, letting the mystery linger for years before solving it.

However, THE CLOVERFIELD PARADOX is, by far, the weakest of the three installments.

THE CLOVERFIELD PARADOX suffers from being split into too many pieces that fail to form a cohesive narrative. Our international crew of astronauts, comprised of Hamilton (Gugu Mbatha-Raw, Belle), Kiel (David Oyelowo, Selma), Schmidt (Daniel Bruhl, Captain America: Civil War), Monk (John Ortiz, Kong: Skull Island), Mundy (Chris O’Dowd, Bridesmaids), Volkov (Aksel Hennie, The Martian), Tam (Ziyi Chang, Memoirs of a Geisha), and Jensen (Elizabeth Debicki, The Great Gatsby) start off in a somewhat straight-forward, save-the-Earth mission. This morphs into a cross between Alien and Apollo 13 as technology goes wrong and things (oddities, not monsters) haunt the ship. Eventually, as the cast is picked of one-by-one, it feels very familiar.

This in of itself should have been the movie, and it would have been OK if it had a few different elements to keep us guessing where it was going. While parts of it feel like remakes of other films, there’s enough originality to forge its own path, and an interesting story boosted by some terrific performances and spectacular special effects. But there are also very weird things, like an intelligent hand and arm, that just aren’t satisfyingly explained and make the whole thing uneven. There are also characters who act out of character or make ridiculous decisions no one in their right mind would make, sending the plot off course. Inconsistencies plague this work.

Add to this, THE CLOVERFIELD PARADOX forces the DNA of the previous two movies into this one by following Hamilton’s husband, Michael (Roger Davies, Family Affairs), back on Earth. Michael first finds himself in a city being actively destroyed by very big creatures, a la the original, and then takes shelter in a creepy bunker, as in the sequel. These comparisons feel forced and unnecessary, distracting and off-tone. It also spoils what could have been a twist ending otherwise.

There’s also a bit of exposition when an apparent conspiracy theory nut (Donal Logue, Gotham) warns a reporter (Suzanne Cryer, Silicon Valley) about what might happen with the space station. He ends up being right, but I couldn’t help but feel this was a bit more hand-holding that viewers needed. Unless Donal is a set up for another film, in which case, I like him enough to overlook this.

I think if the writers wanted to keep all the pieces they force in, THE CLOVERFIELD PARADOX would have worked better as a television miniseries or season. That way, it could take its time exploring each of the facets of the tale in a longer narrative arc. Hamilton could even visit herself on the other Earth, and really dig into what the multiple dimensions presented mean. It also would make more sense to keep Michael in it for a potential second season. In this way, nothing would need to be cut out, and it would almost guarantee more forthcoming story (J.J.’s name and a big budget making a two-season order on a streaming service likely). If they wanted to keep this as a movie, they really should have narrowed in on a few choices and ditched much of the material they went with.

I will say, I did enjoy the other J.J. references present. Keep your eyes peeled, and you’ll see homages to 2009’s Star Trek and the television show Alias, as well as hear some regular Abrams cast voices, such as Simon Pegg and Greg Grunberg.

Overall, I didn’t hate THE CLOVERFIELD PARADOX. Like I said, there are some really good elements, and in terms of defining the franchise, it does its intended job. However, there are enough plot holes and weaknesses to keep it from being a thoroughly enjoyable watch, and certainly makes it the low point of the series so far. The potential is strong enough that I want to see it developed further. But care must be taken to make sure the next installment doesn’t go off the rails like this one did, which would surely kill any future stories any time soon.

THE CLOVERFIELD PARADOX is available now on Netlfix.

RAKE "Killer" New Character on FOX

Article first published as RAKE Review on Seat42F.

FOX’s latest drama is RAKE. The series title actually does not refer to a person’s name, but rather the old-fashioned term for a man who often acts in an immoral manner and causes all sorts of trouble. In the original Australian version, which this new series is based on, the main guy is named Rake. Credit this series for a bit of subtlety for not following in those ill-begotten footsteps.

Greg Kinnear (Little Miss Sunshine) is the lead, playing Keegan Deane, a defense attorney deeply in debt and who keeps digging his hole deeper. Forced to crash with his friends, former roomie Ben (John Ortiz, Luck), his wife, prosecutor Scarlet (Necar Zadegan, 24), and their three children, Keegan can’t even keep his driver’s license current of his car in his possession.

Things go from bad to worse very early in the pilot, “Serial Killer.” Playing poker in the hopes that he can use his winnings to pay off a bookie whose henchman, Roy (Omar J. Dorsey, Django Unchained), is pressuring him to fork over fifteen grand or else, Deane is rewarded with a loser case and a giant tuna fish that rates a ‘2,’ for those who know of such things. Toss in an ex-wife, Maddy (Miranda Otto, Cashmere Mafia), and a crooked cop (guest star Bill Smitrovich, The Practice), and Keegan has his hands full.

“Serial Killer” is hilarious. Every time you expect Keegan to get a break, just a toehold on getting by, he fails to do so. He is the world’s unluckiest man, and his behavior does not help, painting himself as his own worst enemy. The comedy of errors may be something difficult to keep up week after week, but for the first hour, it roars along as a brisk pace, getting wilder and more entertaining as it goes.

Kinnear is fantastic, as one would expect. A seasoned actor, he’s already earned his chops numerous times over. RAKE is a well-deserved showcase of his talent, giving him plenty of meaty material to devour in a part that could easily be very unlikeable if not delicately handled. He mines the pathos of the cad, and even when Keegan is making mistakes, which is often, one feels really bad for him.

Part of the reason viewers can be sympathetic to Keegan is the loyalty of his put-upon assistant, Leanne (Tara Summers, Boston Legal). He’s way overdue in paying her, too, but she sticks by him. She seems like a kind, decent woman who is not in love with him, so if she can find something noble and good in Keegan, it’s got to be there, buried deep, right? Plus, Ben, Scarlet, and their family keep forgiving him, so…

RAKE seems to be following the proud tradition of House and other, lesser dramas that bank on one character. The supporting players, while fine, are only there because they relate to the main guy, mainly in how he uses them for his own purposes. But like Hugh Laurie, Greg Kinnear has the ability to carry the show, and hopefully be a compelling character study in his own right, interesting because of, not despite, his flaws.

I do worry that RAKE will be a traditional procedural. There’s likely some element of that in the long-term plan, with Keegan finishing off his initial case by the end of “Serial Killer.” Luckily, there’s a lot more development for Keegan than his client here, which makes the episode better than the typical formulaic drama. We’ll have to see what kind of balance is struck, whether most weeks will rely more heavily on a fleeting story or long-term plot, before it can be determined if this is a show to watch.

Whether RAKE becomes a hit of a forgotten footnote, the first episode is very enjoyable, and that’s enough for now. I definitely recommend checking it out when it premieres this Thursday at 9 p.m. EST on FOX.

The Luck has run out

"Episode 9" is this week's episode of HBO's Luck. Michael (Michael Gambon, Harry Potter) sends a hit man after Ace (Dustin Hoffman). This worries Ace more than usual, because his grandson, Brent (Jake Hoffman, Dustin's actual son) is in town. Thankfully, Gus (Dennis Farina) is able to dispatch with the killer, allowing them to enjoy the Derby. Ace's, er, Gus's horse wins, but as it does, Michael looks on, plotting his next move.

This is a bittersweet victory. Ace stays safe, and manages to keep Brent from harm, too. Ace's plans for the horse track are on course, he has cut business ties with Michael, and his steed, whom he cares dearly about, wins a major race. But the threat of Michael, sinisterly sneering down, literally, does dampen the mood. As does the discovery of Israel's (Patrick J. Adams, Suits) body in the ocean.

Ace feels responsible for Israel's death, but is he really? Ace does send Israel to Michael, but is not intending or expecting bloodshed to result. Ace clearly doesn't think Michael will harm Israel, at least not badly. Israel is a simply a business go-between. The tragedy of his murder upsets Ace. Michael is a bad man, Ace knows that, but apparently Ace hopes that Michael's business side will control his temper. Not so.

"Episode 9," the season one finale, is billed on HBO's website as the series finale of Luck, although one episode of season two was filmed before production shut down permanently, due to on-set animal deaths. As to whether that single episode will ever see the light of day, well, that's still up in the air. As a season finale, "Episode 9" serves it's purpose quite well. As a series finale, it leaves much to be desired.

The battle of wills between Michael and Ace is just getting started in "Episode 9," which makes it a shame that there will be no more to the story. These are two titanic actors, who can both perform circles around most people in the industry. Pitting them against each other in this story makes their struggle seem larger than life, as their characters are. The disappointment at their conflict going unresolved is heavy.

Worse, it's hard to know who would have won, and at what cost. Michael might have the upper hand, as it stands, because he is ruthless and willing to go further than Ace. Ace is soft, whether because of love or prison, and seeks peace in his life, not war. There is little doubt that Ace could defeat Michael, because of the threat Hoffman allows to simmer in the role, but at what cost? Would he have to sacrifice the soul he is cultivating?

At the crux of this question is, what kind of man was Ace before his stint in jail? Would a slip into darkness be a return for him? Or was he always more of a caring, loyal individual, as he is now, but is he turning dark because of Michael's betrayal? This isn't answered in Luck.

Ace's win in the horse race means that Walter (Nick Nolte) loses. He takes it well, and why not? Second place isn't horrible. Victory only draws more attention to the horse, whom a snotty young man is trying to take from him. Plus, Walter respects Escalante (John Ortiz). They both work towards the same goals, and Walter isn't bitter enough to deny a fellow trainer, whom is an honorable man, his due congratulations.

Walter would be more upset if he knew the truth about his jockey, Ronnie (Gary Stevens). Ronnie is the real loser. Walter gives him back his spot because Ronnie cleans up his act. But viewers see that Ronnie is back off the wagon almost immediately, snorting coke. Did Ronnie's impaired condition have anything to do with the loss? Either way, Ronnie is heading for a big melt down, which will not be good for anyone.

Really, Walter's mount should have gone to Rosie (Kerry Condon, Rome). She works very hard to shape that horse into a victor, and then loses her position due to inexperience. Rosie does get to ride in an earlier race on Derby Day, though. Which might be what she actually deserves, considering she is still young and relatively new in the industry. And she wins that handily. Still, there is some regret that she doesn't ride for Walter, even if the two remain on good terms.

Rosie's win is lucky for the Foray Stables. Marcus (Kevin Dunn), Lonnie (Ian Hart), Renzo (Ritchie Coster), and Jerry (Jason Gedrick) have a heck of a year, buying a winning horse, and betting smartly. A couple of them even find a possibility of love. Chance is on their side, and they all end the year in better shape than they started. Which is gratifying, as each of them have shown that, despite flaws, they are good men at heart, who deserve a happy life. Their luck may not always hold out, but it certainly does through "Episode 9."

Sadly, Escalante's luck isn't so good in "Episode 9." He wins two races, to be sure, but Jo (Jill Hennessy) loses their baby. Escalante is a little scary as the series begins, his thick accent not helping matters any. But as the weeks pass, he is revealed to be a man who cares deeply about his job and those that get past his walls. Jo's pregnancy affects him a lot, and as he stands by her through the loss, he will surely take it to heart. It shows the strong fiber this man is made of. He may be the best character, and that's saying something.


And that's the end for Luck, sadly. It is an excellent show, and delivered a great season, full of complex, interesting characters in a fully developed world. But circumstances can't always be controlled, and the show did not have the best luck in that regard. Thank you to all involved for creating such a memorable run.

If you like my reviews, please follow me on Twitter. Article first published as TV Review: Luck - "Episode 9" on Blogcritics.

HBO has all the Luck

The pilot episode of HBO's Luck, a new horse racing series, introduces a lot of characters, and isn't always clear on their role in the story. Most central may be Ace (Dustin Hoffman, I Heart Huckabees, Tootsie), who is released from a three year prison stint, in which he took the fall for an entire organization. Whether Ace is on the up and up with his old colleague (Alan Rosenberg, The Guardian, Cybill) is unknown, but Ace is definitely not keeping his activities legal, pursuing the secret purchase of a racetrack, and using his assistant/pal Gus, a.k.a. The Greek (Dennis Farina, Law & Order, Snatch), as a front to buy a horse. Ace also seems angry.

Hoffman has never starred in a television series before, and it's amazing to get someone with his level of talent on the small screen every week. Ace is a fuzzy character, a man of few words, but Hoffman conveys much with a glance or a tone. He's a tortured character whose motivations are incredibly murky to the audience, and thus, should be a rich, rewarding, role for Hoffman to play. With Rosenberg and Farina on board, too, both of whom are great with finding the comedy in dramatic moments, this is probably going to be the most central storyline, and a good one at that. It also, after just the first episode, draws one in quite completely.

Ace's, or rather, the Greek's, horse is trained by Escalante (John Ortiz, The Job, American Gangster), who is definitely not a nice man. Unlike Ace, Escalante wears his temper on his sleeve. He is well respected as a trainer, so perhaps his ability to do a great job is what draws people to work with him; it's certainly not a sunny disposition. But then again, it's entirely possible, given the circumstances around which his anger occurs, that perhaps Escalante isn't a bad guy. He could just be driven, and take his job very seriously. It's hard to tell. Though, going by gut, the first impression of him, as a world class jerk, will probably pan out.

The subject of Escalante's rage in the pilot of Luck is a jockey named Leon (Tom Payne, Waterloo Road), who somehow stays cheery despite getting it from both sides. The other side being the stereotypical, foul-mouthed, bully of an agent named Joey (Richard Kind, Spin City, Burn Notice). Joey and Leon are polar opposites in their outlook on life and how they treat others. As challenges arise, it will be interesting to see if either ones' outlook rubs off on the other or if they can continue to work together despite such a major personality clash.

Also competing in the racing arena is an old horse owner named Walter (Nick Nolte, Warrior, The Thin Red Line) who thinks he has found himself a new prize winner. While the animal is not yet ready to race, Walter has high hopes. What is Walter's story? Not many clues are present in the episode. He is shown talking to horses and employees, indicating a long history at the track which lends viewers to trust that he probably knows the game quite well. But that's about it. Will his steed be a rival for Ace's horse? Or will Walter's story progress in a different direction?

Finally, there is also a group of gamblers who take a long-shot and win big in the pilot. The ringleader of the gang seems to be Marcus (Kevin Dunn, Transformers, Samantha Who?), though the luck and genius brain that chooses said victors is all Jerry (Jason Gedrick, Desperate Housewives, Backdraft). The other two, Lonnie (Ian Hart, Dirt, Finding Neverland) and Renzo (Ritchie Coster, The Dark Knight) have less obvious roles so far in Luck. But it seems like their story hasn't even started yet, as the four don't cash in their winnings by the end of the hour.  Likely, the point of these guys is to dwell on what good luck and instant wealth does to people, and so they are not yet well defined or predictable.

Luck has a lot of things going for it. For one, it's on HBO, so it will be allowed a lot of freedom to do what it wants. If past series are any indication, Luck will be big and showy, but have plenty of nuance, and unexpected happenings. Secondly, the cast is terrific. Looking at the credits of just those listed above, plus all of the smaller parts that cannot be covered in a reasonable length review, means a lot of interesting, deep characters. Surely, their skills will be put to good use, and the tools are here for a lot of rich stories.

The world of Luck is also very vivid. It is painted with detail, all of it seemingly authentic. Even without experience in the world of horse racing, it's easy to see that a lot of care and research goes into the setting and roles. It's definitely very tuned into a specific place and time, with the actors easily inhabiting the world like they've always been there. Which makes it seem that the realism level is high, a big draw.

However, this last plus is also a weakness, at least in the pilot. It is nice that Luck trusts viewers to think on their own, but a little more exposition would be nice. Instead, the story begins with everyone and everything already in place, and spends little time walking potential fans through it all. It's very confusing, taking at least a half hour to even begin to grasp what is going on. The lingo is a mystery, and the rules of the race track and the betting that goes on there are not obvious. The characters understand everything so well that they have no need to explain it to each other, and by extension, the audience. Luck presents a nut very hard to crack into.

This could excite viewers. HBO has an intelligent group of subscribers who expect a lot from their programming. The Luck pilot could be a gamble that will pay off, if enough people are motivated to give the show the effort needed to get into it. As there are so many high quality aspects of the production, there is motivation to give it a chance. Repeat viewings and further episodes will probably make things quite a bit clearer. So despite a confusing start, Luck will be a winner, if viewers choose to turn into fans.

Any review of the Luck "Pilot" would be remiss without taking a moment to dwell on the animals so central to the story. In the first episode, Leon's steed breaks his leg and must be put down. The camera lingers on the horse's eye, allowing viewers a peek into his soul. Perhaps the audience won't have the personal connection the character of Leon has with the death, but the director's choices bring them pretty darn close. It's incredibly moving.

This could actually hurt Luck because that sequence calls into question the morality of horse racing as a sport. With fans caring about the horses so early and so deeply, will they be able to watch them pushed to their limits week after week? The scene above certainly makes this reviewer want to campaign for banning the entire industry on the grounds that it seems like cruel torture. Will Luck be about characters that must be despised? Or will the other side be presented?


Overall, the series is off to a great start, and gets better the more one dwells upon the episode. New installments will first run Sundays at 9 p.m. ET on HBO and the show has already been renewed for a second season.

If you like my reviews, please follow me on Twitter!

Article first published as TV Review: Luck - "Pilot" on Blogcritics.