The Cloverfield Paradox is an apt title for the third entry in this marketing experiment that masquerades as a franchise of coherently linked films; as the franchise itself stands at somewhat of a paradox. On one hand, it manages to be one of Hollywood’s more intriguing properties in terms of marketing, release, and the anthology-like
Let me start by affirming something: I LOVE a good coming-of-age story. I also LOVE well-written dialogue. And complex female characters. And a score by Jon Brion. And, from what I’ve seen of her on-screen persona, Greta Gerwig, always a joy to watch and seemingly impossible to dislike. Another thing: I don’t normally like to
I was recently asked to describe myself using one word. It was during one of those atrocious team building exercises strategically devised for maximum discomfort, filled with vacuous buzz-words peppered throughout every other sentence like ‘Synergy,’ ‘Coaction,’ ‘Bonding,’ and the worst of all, ‘opening your flappy mouth hole and speaking with people you work with.’
