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The Cloverfield Paradox is a 2018 American science fiction horror film directed by Julius Onah and written by Oren Uziel, from a story by Uziel and Doug Jung, and produced by J. J. Abrams and Lindsey Weber. It is the third film in the Cloverfield franchise, following Cloverfield (2008) and 10 Cloverfield Lane (2016).
Cloverfield is an American science fiction anthology film series [1] and media franchise created and produced by J. J. Abrams consisting of three films, viral marketing websites linking the films together, and a tie-in manga to the first film titled Cloverfield/Kishin (2008), all set in a shared fictional universe referred to as the "Cloververse".
After several postponements of the film's release date, it was released as a Netflix Original on February 4, 2018, under the new title The Cloverfield Paradox. In The Cloverfield Paradox, Donal Logue cameos as Mark Stambler, a conspiracy theorist discussing the "Cloverfield Paradox"; reviewers observed that the character shares the same surname ...
The Cloverfield Paradox is directed by Julius Onah (The Girl is in Trouble), with stars Gugu Mbatha-Raw (Belle, Beyond the Lights, A Wrinkle in Time) and David Oyelowo (Selma, Queen of Katwe ...
Oren Uziel (born June 28, 1974) is an American film screenwriter, director, and producer best known for his work on Mortal Kombat: Rebirth (2010), 22 Jump Street (2014), The Cloverfield Paradox (2018), and The Lost City (2022).
Bad Robot is an American film and television production company founded on May 27, 1999, and led by Katie McGrath and J.J. Abrams as Co-CEO. Under its Bad Robot Productions division, the company is responsible for the television series Alias, Lost, Fringe, Person of Interest, Revolution, and Westworld alongside the feature-length films Cloverfield, Star Trek, Super 8, Star Trek Into Darkness ...
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Bear McCreary, who previously composed 10 Cloverfield Lane returned to score music for Paradox. [1] McCreary produced modern soundscape for the score which enhanced with the propulsion of synths and orchestra. [2] [3] Like the predecessor, the film's score was thematically driven with the main theme and Ava's theme laying the foundation for the ...
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