Argylle

Diamond Geezah!

Argylle
Directed by Matthew Vaughn
USA/UK
2024 Apple Films
UK Cinema Print

Now I loved Matthew Vaughn’s first Kingsman film (reviewed here) and, after seeing the trailer for Argylle, it looked like a movie tailor-made for me and very much in the same kind of ballpark. And then the warnings started coming in... I mean, really bad word of mouth about it. Indeed, it seems to be both a critical and financial bomb which is really not going to do the director any favours. Still, I soldiered on to the cinema because the trailer really had been enticing, in the hopes that I was out of step with other audience members... remembering that some of the best films made met with a similar lack of enthusiasm.

And, wow, all I can say is... the kinds of people who are not appreciating Argylle are obviously the same kinds of audiences who don’t appreciate films like Barbarella, Modesty Blaise, Our Man Flint and any other number of psychedelic masterpieces you could mention. This is seriously good cinema and I can only hope that, since it’s made by Apple, they see fit to give it a proper physical release because I want to grab the Blu Ray of this to show some people as soon as possible.

Now, a full on blow by blow of the plot would possibly spoil things for the slower thinkers in the audience but, I feel I can at least say as much as the trailer gives away, to give a flavour of the story. Secret agent Argylle, played by Henry Cavill, is the typical James Bond (more like a halfway house between Derek Flint and Matt Helm) who opens the film with a particualarly strong dance, shoot and chase scene.... before it’s revealed to the audience that he’s actually the lead character in the book series of successful writer Elly Conway, played by Bryce Dallas Howard. That’s the first twist. The second twist, also revealed in the trailer, is that she meets a guy played by Sam Rockwell on a train journey and he really is a secret agent, who is then trying to save her life as an evil agency wants what’s in her head. Oh... and she has a funny cat which she carries around in a satchel. And that’s all you’re getting in terms of plot from me. There are more twists and turns and I’m guessing most people will definitely see them all coming long before they happen... but that doesn’t stop this thing from being a very watchable movie.

The film turns into a funny, deadly, glamourous and certainly colourful action spy movie which, not for even one second (I’m glad to say), takes itself even remotely seriously. And perhaps that’s what turns some people off... the film loses contact with reality at some point and the tone shifts into an absolutely stylish mix of psychedelia and silliness... which is right up my street. I do apporeciate silly situations and even silly people when the right ones enter my life (Hi Katrin!) and, this movie has it in spades, it has to be said.

There’s a whole host of famous actors in this too, including Samuel L. Jackson, Bryan Cranston, John Cena and even the great Sofia Boutella... and they all do a good job here playing things as straight as they need to doing with this kind of coherent brand of ridiculous shenanigans. Howard and Rockwell are both especially good in this one, it has to be said.

Also great is Lorne Balfe’s quite beautiful and sweeping score which, I really wouldn’t have guessed was by this composer at all. Alas, the damn thing isn’t out in any kind of format to date (not even a proper CD) so I’m not going to be able to listen to this one as a stand alone experience anytime soon, I’m guessing. Which is a shame and, once again, shows the short sightedness of the people on these movies who make that kind of decision.

All in all, I’d have to say I had a very good time with Argylle. The tonal shift from ‘just about credible’ to full-on bonkers is probably going to put off many people (as I think is evidenced by the box office) but I loved the film, especially (and without trying to give too much away), the ‘Tommy Crown’ coloured smoke, dance assault scene and the ‘oil skating’ scene, both of which were big hits for me. I don’t understand why, as is already clear, some people aren’t able to embrace this kind of audacious cinematic spectacle but, there you have it, it’s getting bad reviews and doing poor business but... I don’t care. I loved it and I think people who are into 1960s ‘camp/spoof’ cinema especially will have a good time with it. 

Jurassic World Dominion

Dominion Reunion

Jurassic World Dominion
USA/China/Malta 2022
Directed by Colin Trevorrow
Universal

Warning: 65 million year old spoilers.

Okay, so I loved the original Jurassic Park trilogy, yes, even the third one, even though they got a little worse with each one. However, if you’ve been reading my reviews long enough, you’ll know that I am not exactly a fan of the modern Jurassic World sequels. That being said, the third part of the sequel trilogy is here, Jurassic World Dominion and, it’s actually not a bad film, certainly the best of the modern trilogy.

And it also serves as something of a reunion because, while Chris Pratt and Bryce Dallas Howard are back from the previous two, along with the clone daughter of a brilliant scientist they escaped with in the last film (which I’d completely forgotten, since I’d only been able to stomach watching that one the once), played here pretty well by Isabella Sermon... it also reunites the three original protagonists from the very first Jurassic Park movie... played once again by Sam Neil, Laura Dern and Jeff Goldblum, who are all given a lot more to do in this one and form half of the narrative, with both sets of protagonists meeting up for the last half an hour or so.

So, yeah, plotwise we have the film opening strongly with a newsreel, reminding people that the dinos are on the loose since the previous installment and that mankind is trying to live with the dinosaurs sharing our planet. But the clone daughter from the previous movie, along with velociraptor Blue’s young offspring Beta, are kidnapped and taken by an evil company called BioSyn. So Pratt and Howard need to get them back. Meanwhile, swarms of giant locusts who will be responsible for everyone’s extinction on the planet due to the way they are eating various targeted crops, are the concern of Neil, Dern and Goldblum, as they infiltrate Biosyn to get the evidence that these locusts are engineered to control the food chain by the company. And, as I said, the film finds the two sets of protagonists working together at the end as they all go through action set piece after set piece.

And, yeah, it’s really not bad. Especially the first half of the movie, where we get more of a glimpse of how mankind is both living with... and exploiting... their cohabitation with dinosaurs. And, honestly, the dialogue in this one seems a lot better too, with even Chris Pratt coming across as a more interesting version of his recurring character, for once.

There are also lots of nods to the original movie, of course. Dr. Wu is back, played once again by BD Wong but, also, we have a character returning from the original Jurassic Park, the nefarious Dogson (who wanted Nedrys to steal samples and put them in his fake shaving foam can, remember?) but, they’ve gone with a different actor this time (apparently, the original actor is now a convicted sex offender so, yeah, I was wondering why they’d not asked him back). There are also a lot of character beats and references back to the original such as Sam Neil giving a blood thirsty speech about how dinosaurs can kill a person, Laura Dern’s delight and enthusiasm about certain dinosaurs and, in a scene where I thought he really wasn’t going to make it this time, Jeff Goldblum’s character once again using something fiery to distract a huge dinosaur to divert attention from his friends.

Probably my favourite sequence, surprisingly, is one involving Pratt and Howard and a new character played by DeWanda Wise, as the team come together in a brilliant set piece set around an underground dinosaur exploitation meet up (dinosaur fights bet on, dinosaur meat for sale etc) leading to a double chase through the streets as various factions try to survive both bad guys and new dinosaurs trained to go after specific laser tagged individuals (yeah, guess who gets tagged by the villains to be dinosaur food?).

The film mostly tends to work but it is the longest of the franchise  (two and a half hours) and it does kinda drag towards the end... I think the last third really loses a little of its appeal where a lot of old clichés are rolled out, such as humans being saved from attacking dinosaurs by other attacking dinosaurs etc. Michael Giacchino’s music is on hand to keep the glue going although, like his previous Jurassic World scores, I really think he needed to put more of John William’s original themes in this, rather than just the odd, passing reference at key points. The score was serviceable but it isn’t great and I suspect the stand alone listening experience on this one might well be a similar story (but at least it’s getting a CD release so, I guess I’ll soon know).

And, yeah, that’s me pretty much done on Jurassic World Dominion... while it’s not as good as, pretty much any of the films in the original Jurassic Park trilogy, it certainly beats the other two Jurassic World movies hands down and so, if you are into those two, you should certainly have a good time with this one. It does kind of redeem the new trilogy a little by not absolutely sucking (which I think is not a quality that the previous two could claim) and so I’m also happy to recommend this to fans of the original trilogy too. Worth a watch if dinosaur movies are your thing.

The Book Of Boba Fett

Duel Of The Fetts

The Book Of Boba Fett
Airdate: 29th Dec 2021 - 9th Feb 2022
Lucasfilm

Warning: Spoilers in this one.

After two seasons of The Mandalorian (reviewed here and here), some of which was enjoyable and some of which dragged considerably, I was pretty sure Disney has managed to dilute the Star Wars brand which they’d bought from George Lucas so much that, they really couldn't even get a halfway decent TV show out of it. I still believe that and I think the franchise stopped being special somewhere around the release of the first season of The Mandalorian and the cinematic release of Star Wars Episode VIII - The Last Jedi (my review of that 'not so special' movie can be found here). However, I have to say that their latest series, The Book Of Boba Fett almost changed my mind on that... almost.

This one opened really strongly for the first four episodes and then... well it felt like it suddenly changed its brief somewhat and only regained some of what made those four episodes so good around about the seventh and final installment. One of the strengths of those first four is that they take place in two separate time zones... the first takes place not long after the sail barge battle in Star Wars Episode VI - Return Of The Jedi (reviewed here) and once again stars Temuera Morrison as Boba Fett. Which is a nice bit of symmetry as, in addition to making the role his own in his guest appearances in series two of The Mandalorian, he also of course, played Boba’s father, Djanga Fett, way back in Star Wars Episode II - Attack Of The Clones (reviewed by me here).

This finally shows us how Boba stopped himself from being digested by the Sarlac in Return Of The Jedi, how he gets taken prisoner by a tribe of Tusken Raiders and then earns their trust, respect and over time, becomes the honourary human member of the tribe, negotiating for their rights on Tatooine before seeing them slaughtered. He then goes searching for his armour (which we don't see him finding as, I think it was already a told part of the tale in The Mandalorian?). The other time sequence, crosscut with these flashbacks via Boba’s dreams as he floats in a Bacta tank in numerous sessions, recovering from his wounds, follows on directly from the post credits sequence from the last series of The Mandalorian, where he kills Bib Fortuna and takes over Jabba The Hutt’s palace. However, with the city of Mos Espa under his protection for their tributes, this inadvertently brings war from those who would use the city for running spice. So it’s down to Boba to try and hire some muscle to get some ‘back up’ for the final showdown.

And it’s all great... except, in episode five, The Return Of The Mandalorian, it all stops dead and we just get a continuation of that show and, yeah, that episode really drags. And it’s pretty much the same for episode six, where The Mandalorian (played again by Pedro Pascale) goes off to visit Grogu and Luke Skywalker before going back to Tatooine to help Fett in his private war. So, yeah, we get to see Grogu again, the far from convincing ‘younged up’ version of Mark Hamil’s Luke Skywalker and also Rosario Dawson returning as ‘that other Jedi’ but, yeah, it’s all a bit saccharine and full of myth building, which really doesn’t seem all that important and, honestly, pretty dull. We all agreed in this household that we could really have done without those two episodes.

When we finally get to the finale, the characters we grew to know, including Ming-Na Wen (from Agents Of S.H.I.E.L.D, reviewed by me here) continuing on from her time in The Mandalorian as Boba’s personal bodyguard, are all back in it again properly and it’s an hour of shoot outs and giant beast punch ups (Boba has trained a new Rancor to replace the one Luke Skywalker killed in Jabba’s palace in Return Of The Jedi... it even gets its own King Kong moment) which are mostly satisfying and gives a nice dramatic ending to the series, although it does get a bit Mandalorian-centric in specific deus ex machina moments you just know are going to happen.

Overall, apart from those two clunkier episodes I talked about, it was pretty great. I especially thought the various Tusken Raider scenes were something special and, frankly, if it had been seven episodes of just Boba among the sand people, I would have been much happier. There are lots of famous guest directors and a fair few guest actors too such as Robert Rodriguez, Danny Trejo and Bryce Dallas Howard but, there are also a few guest spots for legacy characters too, including one from The Clone Wars cartoon show which I haven’t seen (and don’t know if I’ll ever bother to getting around to).

The music is not so great in terms of fitting in with the Star Wars movies... although I did like the primitive opening theme tune. The shout backs to The Force Theme (well, Ben’s Theme in actual fact... let's get it right) and Yoda’s Theme felt a little out of place within the rest of the musical sound scape, to tell the truth... like they were plugged in rather than feeling like themes that could have grown from the whole... which I think says something about the style of the music being used. Star Wars has always been about trying to sound like John Williams and, while I understand the absolute necessity of getting away from that to keep the future of the franchise ticking over, I think abandoning that sound in the way they have here and in The Mandalorian... just further dilutes the brand, as far as I’m concerned anyway.

All in all, though, I quite liked The Book Of Boba Fett, much to my surprise and, yeah, I’d much rather see a second series of this one rather than going on another trip with The Mandalorian but, I don’t know what the plans are at the moment... everything seems to be in a state of flux over at Disney, at least on the public facing side, where the Star Wars franchise is concerned. But count me in for another series of this one, for sure.

Jurassic World - Fallen Kingdom

Amber-ling Entertainment

Jurassic World - Fallen Kingdom
2018 USA Directed by J.A. Bayona
UK cinema release print.

Warning: Very minor spoilers.

Hmm... yeah. Okay this is not that great people. In fact... it’s far from good. I gave the previous entry of the five Jurassic Park films, Jurassic World, an okayish review (just here) but you can tell I was trying to be really kind to it and I said it was my fourth favourite of the bunch. This one... well, it’s not exactly terrible but, yeah, I guess this is my fifth favourite and it seems to be one of those franchises like Transformers or, to an extent, Pirates Of The Caribbean, which gets just a little bit worse each time around.

It’s pretty hard, I would have thought, to screw up a movie where giant dinosaurs run around eating people and, to be fair, this still holds true for this movie... kinda. Except there must be some real problems, it seems to me, when I find myself struggling to stop myself from looking at my watch during the movie.

Okay... so let me focus on the stuff they got right for a minute...

Well, the performances from returning actors Chris Pratt and Bryce Dallas Howard are top notch and, even when they haven’t got great dialogue... and this is a film of a lot of scenes which don’t have great dialogue... they do an admirable performance in their roles here. As do co-stars Rafe Spall, Daniella Pineda and Justice Smith. Jeff Goldblum is, of course, always watchable but, as I suspected when I saw the trailer, he’s only in it for a couple of minutes at the start and a couple of minutes at the end so... not a great return for his character Ian Malcolm, to be honest. I was quite pleased when Toby Jones turns up as a nasty business man because the first thought you have is.. this guy is just here to get eaten. That’s almost his sole purpose in this movie... so that was another box ticked off.

Another positive is that the director seems to be making a concerted effort to design some nicely composed shots some of the time. There are cool examples of emphasising things by shifting focus and using sections at the edges of the screen in a few instances. So some nice, cinematic moments scattered throughout.

Okay so... that’s pretty much all the good stuff there.

Frankly, this film dragged quite a bit... even though it was full of action. Well, I say that... nothing much happens for the first twenty minutes or so but, once we get to the island, things go wrong for the main protagonists very quickly and heroes and villains are speedily identified. Everything is clearly marked but even the main characters seem to be acting like they have labels rather than names. Like many films, each character has their function but this movie makes it seem so obvious as to what role the characters are supposed to fulfil that you might as well just label them up... ‘velociraptor whisperer’, ‘high heel in peril girl’, ‘vet girl’, ‘button gal’, ‘computer guy’ etc. Everything slotted into place so obviously that there was nothing much to surprise you except... oh yeah... that one thing.

There’s a sleeper of a twist reveal which you kinda know is coming for the little girl played by Isabella Sermon as they keep dropping visual hints but... and this is a problem with a lot of things throughout the whole film... nobody, including the audience, really gets time to digest it when the big reveal is finally... um... revealed. And that’s a typical thing happening with this movie because, once the movie ramps up about 20 minutes or more in, there aren’t really that many pauses or time for reflection and suspense to build up before the next bus load of dino madness is upon us. So there’s no real weight or sense of terror lurking in the background and the suspense sequences feel just a little bit samey and anemic. Not something which has bothered me before when I see these things but it is a big problem here because this story really doesn’t have too much going for it. It really can’t afford to rollercoaster over those few good dramatic beats here and there in the way it does.

It’s interesting because this movie is much more graphic in its depiction of violence compared to the other Jurassic Park movies... it seems to me. Bearing in mind it’s a 12A rating in the UK, there’s a scene where half a guys arm gets pulled off while a dinosaur ‘toys with its food’ and another scene where you see a man ripped in half, Darth Maul style, between two dinosaur’s mouths. Now I’m not specifically blaming the director for what I’m about to say here but... you never really feel the violence and it shows just how beautifully crafted Steven Spielberg’s first two films in the franchise were because, with a minimum level of on screen goriness, you somehow feel the grizzly nature of violent death more in the way those are shot, edited and scored. Here, you see more but feel way less. Maybe a good demonstration of that old cliché ‘less is more’ in reverse here, it seems to me.

And talking of scoring. I love the majority of Michael Giacchino’s film music... heck, I even went to his birthday concert last year... but the music in this really is an unstoppable force and has a heck of a time trying to compete with the sound effects on this one. It seems simplistic and overpowering and, given the composers knack for weaving in other composers styles and melodies, the John Williams source material is barely referenced. In fact, there was probably more of it in the trailers than you got here and that’s just crazy because there are some real moments where the audience could benefit from the identification of those Williams themes to lift the emotions and, it just doesn’t really happen.

My one big, unforgivable mistake on this whole movie, however, happens within the first ten minutes or so and I was so angry about this that I could barely watch the next scene because my outrage was  persistent. In the early scenes they use a lot of BBC ‘newscast’ footage to recap the audience on what happened at certain points in the last movie as well as bring them up to speed as to what has happened in the couple of years chronologically between the two films. There were even scenes of people watching these broadcasts with their naked eyes and no special glasses... you know what’s coming don’t you? How in the heck are we supposed to believe that the BBC or whoever is broadcasting in 3D? Seriously, the TV footage stuff was all in 3D too and there’s absolutely no way that would happen. Popped me straight out of the movie. Just completely dumb. How is this stuff allowed to happen? I don’t even have the words to express my anger as to how a flat screen is suddenly able to magically broadcast in 3D. What were they thinking?

Also, while I’m at it... is it even possible for amber to break, let alone shatter from such a small distance? I think not, somehow.

So, yeah, I’ll just try and calm down now and say that... if you like the other Jurassic Park films then Jurassic World - Falllen Kingdom is probably going to hit some of the right buttons although, honestly, I’m getting really fed up with these now. There’s a post credit sequence which just underlines what you already know, which is that the producers obviously have a clear goal for the next movie in the series but, honestly, I’m just not sure I care what happens after this. A bit of a misfire but the kid inside you might like it. Or not. Who can tell? Give it a go and see what you think.

Lady In The Water

Nymph or Mania?

Lady In The Water
USA 2006 Directed by M. Night Shyamalan
Warner Brothers Blue Ray Zone B

Wow. This is a pretty cool movie.

Regular readers of my blog will know that I have an ongoing and strange reaction to the films of M. Night Shyamalan. I try to see them because I always loved Unbreakable but, for the most part, I have found most of his films to be very obvious, unsurprising and disappointing. However, I almost always like the musical scores James Newton Howard composes for Shyamalan... a director who seems to bring out the absolute best in this composer. So I try to see these when I can.

Due to various issues with my life back in 2006, it wasn’t always easy to get to see the latest movies when they hit the cinema and, consequently, Lady In The Water was pretty much the only film by this director which I missed on the big screen. Because it got fairly bad word of mouth and was pretty much a box office failure, I could never really muster up the effort to get around to seeing this one. However, about a year ago I spotted a Blu Ray of the movie going for around £3 and figured I might as well finally get to it. After all, I really like the lead actor Paul Giamatti and, you know, there was that James Newton Howard score to hear within the context of the movie.

I was a little surprised, therefore, when... after a brief narration scene involving cartoon stick figures, giving us a potted background history of the fantasy creatures that are to be found in this tale... I found that the film has a charm and warmth far surpassing my expectations. Right from the outset, when we are introduced to the caretaker of a building, Cleveland Heep, played by Giamatti and the strange water nymph he finds in that building’s swimming pool... ‘Story’, played by Dallas Bryce Howard... I was hooked and wanting to find out just what was going to happen to these people.

Shyamalan’s almost invisible directing style provides us with a window on the many characters who inhabit Heep’s building, gradually introducing a truly amazing cast including Bob Balaban, Freddy Rodriguez, Jeffrey Wright and, of course, Shyamalan himself... who at this point in his career seemed to be writing himself bigger roles with every film he directed. As it happens, he’s pretty amazing in this too so... I can live with that.

Lady In The Water is based on a story M. Night Shyamalan made up to tell his children at bedtime and, as such, this film is a little more whimsical than you might expect from him... dealing, as it does, with water nymphs, their quest to ‘awaken’ a specific person in the world of man, the ferocious grass creatures who seek to stop this and kill said water nymphs and... other story elements which pull together as the film progresses. I don’t want to spoil this one for you so I’ll stop there with the plot details, suffice it to say that the film is about Heep and his quest to identify and slowly gather the necessary people from the tale so he can help Story fulfil her mission and return to her home while, at the same time, trying to protect her from her enemy. And it’s just great, in all honesty.

I’m not quite sure why this got such a bad reaction from people as it’s easily either my favourite or, perhaps, second favourite of this director’s works (although the score is Howard’s least interesting for Shyamalan, it has to be said). Maybe it’s because people are less able to buy into what amounts to almost a fairy tale of a story with adults fulfilling their specific purpose to make the laws of the fantasy world come to life. Or maybe it was just badly publicised by Warner Brothers... who knows? What I do know, though, is that I wish Shyamalan was still making films like this instead of some of the other territory he’s been moving into recently.

The really nice thing about this movie is that Bob Balaban’s character is a film and book critic. Therefore he knows everything about stories and Shyamalan is able to use this element he wrote into the character to slyly stick his tongue into his cheek by simultaneously having this guy deconstruct the elements of the film as they are playing out. It’s almost like he’s poking his tongue out at his critics (but not as a sign of affection in this case, as it might be considered by lovers) and saying to them, “Yeah, this movie is obvious and I know character A is bound to do this and character B will always do this but, actually, that’s not going to stop me from having my cake and eating it by having these characters do these things to move the story forward while I highlight that this is what they are doing anyway.” So it’s kind of cool and I think the last movie before this that I can remember pulling off such a level of self awareness while still using the clichéd elements of its genre rules to play out those very same things was the Stephen Sommers reboot of The Mummy series for Universal back in 1999. Lady In The Water has exactly the same kind of  level of reflexivity in it but it’s even more blatant and spelled out for the audience... and it still manages to get away with it.

Another thing I liked about this one is that there is no expectation of any kind of a twist ending like a great many of this director’s film have. That meant I could feel more relaxed watching it and, although the ending was pretty much a shoe in for the obvious conclusion, I really didn’t mind it and wasn’t in any way disappointed with the film’s denouement either. Which was nice.

All in all, I’d have to heftily recommend Lady In The Water to any of my friends who have a warm heart and like adult fairy tales. It is in no way deserving, in my opinion, of the rating it has on the famous Rotten Tomatoes website and I really don’t know why people are calling it contrived when it’s not something that the writer/director is really trying to hide about this work. So, if you’ve never seen an M. Night Shyamalan film and want to see a good one, check out this one because it’s an unquestionably warm and emotional movie. There aren’t that many of those being made these days, it would seem.

Jurassic World

Dinos ‘R’ Us

Jurassic World
2015  USA/China
Directed by Colin Trevorrow
UK cinema release print.

I remember absolutely loving the first Jurassic Park film when I saw it in 1993 (reviewed by me here). That was definitely the year of the dinosaur with every conceivable merchandise item you can think of, officially or not, being turned into some kind of prehistoric monster. It also tapped into a long forgotten and never properly developed passion for paleontology I had as a kid, which kinda kicked off with a knack I seemed to have for finding prehistoric fossils in even the most unlikeliest of places (I once even stumbled on a small ammonite in a stone which had been chopped up for gravel in a car park... something which still blows my mind today). Alas, like the dinosaurs that we all know and love, my enthusiasm for looking at, cleaning and dating bits of animal/vegetable impressed or incarcerating rocks soon became extinct... although I still have a soft spot for movies which feature dinosaurs and such.

That’s why, even though this movie isn’t a shadow of the original Spielberg opus, I still found it to be an entertaining film, to a certain point, although it really does seem a little unnecessary when you compare it to previous installments. As I said, I loved the original movie and even liked the sequel, The Lost World: Jurassic Park, which I remember coming in as a bit of a disappointment for a lot of people, although it was in some ways a partial remake using the old King Kong formula... even to the point of composer John Williams kind of referencing just a little of Max Steiner’s original 1933 score in one section. For the record, by the way, I love King Kong movies too... and a lot of the bizarre rip offs that followed in the giant ape’s footsteps over the decades. By the time that Jurassic Park III was upon us, I’d lost a lot of interest in the films and Spielberg was no longer in the director’s seat for this third installment. Still, it was entertaining enough because, even if there was no longer anything really new to show the audience, you really can’t go wrong with a dose of giant dinosaur action and it was still quite watchable.

I think the one thing you can accuse the movies of is that they’re definitely following a standard formula of throwing dinosaurs and humans together into the mix, to paraphrase Jeff Goldblum’s character from the first movie, and seeing who the heck is going to come out better off. The various films all pretty much deal with either kids or teenagers in peril, needing some kind of rescue, thus placing everyone in danger and fair prey to big, scary beasts with ferocious looking teeth. They’re usually a lot of fun with such a simple and robust formula and this latest incarnation, Jurassic World, also follows the same mix of ingredients, reataining that fun factor. It’s definitely a switch your brain’s higher functions off and sit back for the ride kinda movie but, there’s nothing really wrong with that, I think.

It does have it’s problems though.

The main problem with this one is, I’m afraid, that we’ve seen it all before and, really, nothing much has changed... it’s just got bigger and, arguably in some points, better rendered. This kind of gives it a bit of an uninspired feel and I find it interesting that the writers of the movie seem to have identified their own problem and made it a plot point, while still suffering from a lack of coherent solution to the issue. By this I mean that the plot involves a new “super dinosaur predator” which has been cross-bred and genetically enhanced by the only character/actor in the film from any of the original movies (B D Wong as Dr. Henry Wu, from Jurassic Park) because the audience for the theme park requires bigger and better dinosaurs to hold the interest for repeat visits. This, of course, follows the same mentality of a movie which feels it needs a bigger and better dinosaur to gain box office this time around and one wonders if this wasn’t a laconic in-joke snuck in by the writers to the point that it got past the producers of the movie. The thing is, the new dinosaur isn’t really that special in terms of look and so... it’s just really a bit bigger. Chris Pratt’s “velociraptor-whisperer” character Owen comments, “They’re dinosaurs. Wow, enough.” but, alas, my own reaction to these usually terrifying beasts in this movie was more... “They’re dinosaurs. Meh! Enough.”

Actually, although the acting and stereotypical characters by the likes of Chris Pratt and Bryce Dallas Howard have been fairly heavily criticised (it seems to me), I had absolutely no problems with this reverting to stereotypes business. It’s not any more or less offensive, I feel, than a profusion of violence , for instance... something I can’t condone in real life but am more than happy to enjoy at the level of being entertained by it in the movies. Actually, I thought Howard’s character Claire is actually a stronger person than people are giving her credit for but... I’ll let everybody else make their own judgements on that and am happy to leave my comments on her in the shadows. She did the job just fine, as did Pratt, and I was entertained by them probably more so than the dinosaurs... if truth be told. The two “kids in peril” figures, Gray and Zach, were also brilliantly played by Ty Simpkins and Nick Robinson so, really, no problem with the performances at all. Or even the script in terms of the dialogue to a large extent. Mostly it’s the story direction and lack of scares from the dinosaurs which was a little disappointing for me this time around. I remember the first time I saw Jurassic Park in 1993 there was a moment where I kicked the back of the seat in front of me inadvertently because my brain was kicking a velociraptor away... this time around that visceral vibe really wasn’t a factor in this, I’m afraid.

One of the reasons for this, I suspect, is the fact that we don’t, in this one, have an opening like the other three... which all begin with quite ferocious dinosaur attacks and which deliberately shock/warn the viewer to be really wary because these things are dangerous. The most successful of these openings, of course, being the Velociraptor attack at the start of the original Jurassic Park. Now I can totally understand the film makers choice not to go with this kind of set up again... especially after doing something similar in each film... but I think they’ve failed to take into account that it’s been 14 years since the majority of their audience have seen one of these things on the big screen and, in the case of some of their potential viewers, this is their first experience of one of these at a cinema... on a giant window into their fantasy land with a soundtrack dominating the experience over all the normal household sounds which can mar any home viewing. I really think the filmmakers missed a trick not giving us a truly terrifying opening to set up just how dangerous these things can be on this one and, for the record, a quite badly CGI’d crow does not provide the kinds of scares you’re looking for... nor does it serve a purpose unless you are going to bring crows back later on in the story. Any inherent metaphor is lost by the time you get to flying reptiles in this one. It just doesn’t really work other than for the laugh factor the director was presumably going for.

Another thing which really doesn’t help this particular film is that the trailers showed so much from it that you can completely piece together what’s going to happen before you even see the movie and... they really didn’t hold anything good back to save for just the main viewing experience, to give it the “wow factor” that the people running the island in the film are so obviously looking for, too. A bigger dinosaur doesn’t really cut it and, though they do tease what it looks like for a little while in the film, when you do see it it’s just... well... it’s just a big dinosaur. What’s next? So I think my personal experience of the movie would have been a little better if they’d have just stuck to more teasery trailers and not given us everything there is in one hit. Not a very smart move, I would have to say.

That being said, though, there are some nice things in it. The references to the first film such as it being set on the original island and a pretty big, not quite logical, reference to that first movie involving the teens that I won’t spoil here, are nice little touches. As is Michael Giacchino’s score which, given his past credentials and services to sequels over the years, I wouldn’t expect to be any less than excellent and that’s exactly what it is... riffing on John Williams’ original themes when required and hitting key points in the film. The score is a definite purchase from me but, honestly, I’m not sure if I’ll be bothering to pick up a home viewing version of the film on Blu Ray for a repeat watch anytime soon.

One of the things the director here has to be applauded for, although I don’t think it’s done all that successfully, is trying to capture some of the "little details leading onto larger revelations" mentality  that Spielberg utilised in his original two movies. In Jurassic Park, for example, we had that lovely moment, pretty much stolen from the scene when the tanks invade in The Unbearable Lightness Of Being, where the vibrations caused by the footsteps of the Tyrannosaurus Rex make visible ripples in a glass of water. Or the lovely moment where the canvass diorama illustration of a velociraptor turns into the visible presence of a real one when you least expect it, heralded by one of the characters shaking in fright so much the jelly on her spoon is wobbling. In The Lost World, we had two nice moments, one involving slowly cracking glass and another of velociraptor’s trails through tall grass. Those sequences really elevated the film from being just another dinosaur movie for this audience member. Jurassic World tries to use the same kind of visual philosophy, most notable when droplets of blood start dripping onto a throwaway character’s hand. Also, it highlights objects in the visual plane, such as a misplaced firearm, to ramp up the suspense and let the audience know, in a shorthand way, that the characters are in more danger than they at first maybe had realised. I actually don’t think any of these things are done that successfully, or with the flair that Spielberg achieved using similar techniques in the first two movies, but a big thank you and well done to Colin Trevorrow here for at least trying to hit the same kind of beats... even if they arent always effective on an adult audience (I’m sure it terrifies the kids though so... that’s two thirds of the job done, surely?).

At the end of the day, Jurassic World is a fairly entertaining movie and a guaranteed okay time at the cinema. It’s not a great movie and I think either something a lot more clever or, possibly, a lot more ‘over the top’ in terms of execution might well have lifted it above the status of being... just another fun watch. However, that being said, since I’m pretty sure that being a fun watch was probably the largest concern of all those behind the camera, I think it certainly succeeds in that. My fourth favourite of the four movies but certainly something which I think will be regularly showing on television screens for the next twenty years or so and, since it’s had a really big opening weekend, I don’t think this will be the last one in the series. If you like big dino movies, then you’re not going to go too far wrong by seeing this one, that’s for sure.