The “Cloverfield Lane Paradox” movie streamed via Netflix after the big footbal game. I handn’t heard of this until right before the end. It was the end. It was another bad movie. I shut it off after 15 minutes I couldn’t take the stupid camera shake anymore. Couldn’t take the bad acting. The bad script. The bad direction, producing, and again, the camera work was awful and where was John Goodman? The photographers and producers that think in cultish belief that camera shake helps a movie must be looking through a distorted lens that was warped by the heat of the sun when their space ships carried it there and back “to get a better perspective” of that bright thingy they keep seeing over their heads. Filmmakers: Stop doing this. The great part about the script was that they didn’t do what we expect to happen, accidently they didn’t destroy Earth, as we see in so many films about either protecting it or some alien breaking it into pieces, no, here in this film it was the Earthlings in space that screwed up with all it’s quest for technology to be used to save it, and they made it disappear. They LOST EARTH completely when they got their particle accellerator to work. Was it there and they couldn’t see it or was it destroyed or was it placed in another dimension, or were they placed in one? Their quest was about producing a way to supply the world unlimited energy (as if it doesn’t already have it). The problem for me watching it was when they got to the noise behind one of the panels, the whole crew came up to the panel to discuss the situation. Some wanted to open the panel, others said no as it could be an alien. The writing here was afful and the acting the same. Behind it was a woman in agony wrapped in and through with electrical wires. I doubt they would have done this with a family pet, yet somehow it’s ok to write this part in with humans. I shut it off there. So they lost Earth, it simiply disappeared not just from the radar screen, they looked out all their windows and it was gone. It disappeared. That was a moment which could have been in the aftermath a series of takes that would have been replayed over and over again by film goers, written about with all sorts of fun comments, it was lame. It could have been a classic. Instead it was rather boring and unbelievable. This is what film making has come to? The only thing that held my attention about was the very subject that they couldn’t find Earth, I mean like it was there a minute ago, and now it’s not, like magic. So too was great scripts and no camera shake, where did they go? Another planet? And what was with this “parody” label. 10 Cloverfield lane was all inside, underground. I guess being in space is the opposite? Parodies are usually funny, was anything presented in the film funny? I didn’t see anything at all amusing. Paradox? Oh, not parody, paradox! Another thing that happened after the particle accelerator was engaged and Earth disappeared is their gyroscope too disappeared. Why didn’t they disappear? The premise is stupid. Is this a statement on how we depend too much on navigation systems? What about navigation systems to make movies that make sense? Should I watch the rest of it to see if it reedems itself? Ok, I turned it back on at 1 hour and 11 minutes and off a minute later. The scene is somber, the woman is looking down at someone who died, then it switches to a man waking up from a dream in sleep who obviously is her husband on Earth (clue-Earth not destroyed-aw-shucks that kinda removes all intrigue on that) and this whole time in this very somber state we have to deal with friggin camera shake. This is NOT THE TIME for camera shake. We need to ZERO IN on their faces to see their expressions, we don’t need to feel drunk, we don’t need to feel the excitement during explosions, we need to be right there with them. Film makers post BW don’t seem to understand these basic and important principles of great film making. The shake takes away from our being right there with that person, I mean in the sense that we feel their emotions almost as if we were there. Camera shake makes it feel like we are watching a stupid You Tube video made by someone who is showing themselves picking their nose. Ok let’s watch more. The guy is still waking up in bed, hearing car alarms, hearing explosions, the whole time the stupid camera is shaking. Awful, just awful. He looks through the mini blinds outside, it’s pitch dark mostly, he sees a great special effect of an explosion and his expression, and again the camera is shaking. We want to see his expression. The shake makes it again appear like this is a home movie. Oddly though after that scene completes we see ourselves with the crew on the space ship again, the camera is perfectly still as they are discussing navigation without the gyroscope though the camera is rotating to give the impression of how the space craft is rotating in space. This works somewhat but really is not necessary. Imagine watching the Star Trek crew like this. Most all scenes there were still. The camera would shake only minimally at times when there was an explosion. So here we see the camera level off (still this is ok) and start zooming in at level, and it’s nice and still. I guess the technique is to “create confusion” and then a sense of calm, but the shake makes it worse really. Next we see a shot up close of foosball players on the table game which is located elsewhere on the ship. They are still. Then suddenly start spinning. Is this something to laugh at or is this serious? I guess it’s got something to do with energy going haywire but it’s kinda dumb. We then have another nice still shot of one of the crew looking at the computer panels and discovering something. So the cinematographer DOES understand how to keep it still. A latter scene shows the guy on earth with a little girl he found in a shelter. The camera shake is there again and it makes it look like an amature film (44 min left). When the ship connector tube explodes they go out to disconnect the connecting ring in order to save themselves (although they already saw on their screens a video of Earth reporting the ship crashing to Earth). During this scene of disconnect the use of shake at times was just right, other times it again was unnecessary. There were times of perfect stillness other than the rotation effect when looking at the scene from space. With all the space junk from the ship in pieces floating around in circles there though it seems they would all be hit by it. As they start clearing debris in the tube on the other side, there must have been a Shipquake because now the camera if shaking violently. This again is bad to use this technique here. The special effects showing the metal grinding on the metal that was compromised was good and the shake was minimal because we NEED TO SEE WHAT IS THERE. The ring flies off into space and we see the whole ship rotating in space but no camera shake? Why not here too????? Because we need to see what’s there. So many of the times shake is used we need to see the scene, not an added sense of action. We know there’s action. This is called camera shake paradox. In the ending sequences after Ava gets control of the ship she sends a message to Earth saying she is them, to remove the power cell from homes, rely on the accelerator. Seems to be a call to not rely on home power cells. Then as the pod is heading back to earth the husband of Ava tells ground control to tell them not to come back yelling it many times and we see the pod lowering down through the clouds, and a monster like in an old B movie stick it’s head above the clouds. Apparently there’s monsters instead of home batteries. That clearly where the paradox lies. Or is it where the one character who while on the ship was trying to take the particle accellerator to the future where it would be able to bring Earth back to the time prior to the error. She is willing to kill the three members of the crew left who were selfishly going to go back to Earth not knowing what disasters they had just created were real or not or if Earth even still existed. What a paradox indeed.

Written by Ken Wegorowski. Copyright 2018. All rights reserved.