Dive Into the Special and Practical Effects of “Jurassic World Dominion” With the Blu-ray and 4K Ultra HD Home Release
Originally published on Elements of Madness.
In case you missed the theatrical release of Dominion, here’s a spoiler-free rundown: The movie picks up four years after the events of Fallen Kingdom. Isla Nublar, the site of both the original Jurassic Park and the new Jurassic World, has been destroyed. The genetically engineered dinosaurs have been set free to roam the Earth and walk among humans. While ordinary people are trying to figure out how to live their lives with dinosaurs walking around, others have jumped on the opportunity to turn a profit. A dinosaur black market has emerged, and Claire Dearing (Bryce Dallas Howard) and Owen Grady (Chris Pratt) are working to save as many dinos as possible from the criminal underworld. They’ve set up camp in a remote mountain cabin where they can protect Maisie Lockwood (Isabella Sermon), the first human clone, from the clutches of sinister scientists and money-hungry opportunists. Meanwhile, Lewis Dodgson (Campbell Scott) has begun collecting dinos to study at his biotech company, Biosyn. But that’s not all Biosyn is up to. Their latest attempts to disrupt the agricultural industry have attracted the attention of one Dr. Ellie Sattler (Laura Dern), who turns to her old pals Dr. Ian Malcolm (Jeff Goldblum) and Dr. Alan Grant (Sam Neill) for help. The paths of the original and new characters eventually collide, bringing everyone together for one last face-off against the ferocious and bloodthirsty dinosaurs.
When you settle into your reclining theater seat with your favorite movie snacks to watch the anticipated Black Panther: Wakanda Forever (preferably in an IMAX theater, which is definitely worth the extra dollars), you can expect a strong story brought to life by a dedicated cast. While the movie honors the late Chadwick Boseman and the character he brought to the screen in the first Black Panther movie (2018), Wakanda Forever isn’t stuck in the past. Nor is it a sluggish transitional sequel, as the second installments in film franchises often are. It’s an exciting, emotionally gripping, aurally immersive, and visually impressive Marvel movie that is, on every level, a modern-day epic. It follows the stylistic and aesthetic patterns set by its predecessor, keeping director Ryan Coogler’s vision for Wakanda alive. It also introduces a few new characters to the Marvel Cinematic Universe, including Namor (Tenoch Huerta Mejía), the ruler of a stunning underwater kingdom. But the glue that holds the colorful costumes, otherworldly sets, and epic fight scenes together is Shuri (Letitia Wright), princess of Wakanda and sister to the late King T’Challa. Her story and development are what make Wakanda Forever, the second longest movie in the MCU, worth every minute.
Taika Waititi’s Thor: Love and Thunder is far removed from Kenneth Branagh’s Shakespearian take on the comic book series in Thor (2011). The fourth Thor film in the MCU is even more wacky and bizarre than Thor: Ragnarok (2017), which was also directed by Waititi. Perhaps the difference is that this time, Waititi was also responsible for the story and co-wrote the script with Jennifer Kaytin Robinson. The good news is, Thor: Love and Thunder features the same cast and characters we’ve come to know and love over the last decade. Throughout the three directorial changes of the Thor films and the many stylistic shifts of the other MCU films featuring Thor, Chris Hemsworth (Thor) and Natalie Portman (Jane Foster) have remained consistent in their performances, developing characters that can stand the test of time. The question is, can those characters withstand yet another attack on the universe by a new, menacing villain? In Love and Thunder, Thor’s strength is tested once again as he faces Gorr the God Butcher (Christian Bale), a dark and devilish figure who’s hellbent on destroying all gods. King Valkyrie (Tessa Thompson) and Korg (voiced by Waititi) are there to help, but Thor is at a disadvantage because he can’t bring his trusty hammer, Mjolnir, into battle. This time, the legendary weapon has decided to lend its powers to a new warrior: Mighty Thor, aka, Dr. Jane Foster.
The Action-Packed Finale of the Jurassic World Trilogy, “Jurassic World Dominion,” Is Mostly a Tedious Gimmick
(From left) Dr. Ian Malcolm (Jeff Goldblum), Dr. Alan Grant (Sam Neill), Dr. Ellie Sattler (Laura Dern), Claire Dearing (Bryce Dallas Howard), Owen Grady (Chris Pratt), Maisie Lockwood (Isabella Sermon), and Kayla Watts (DeWanda Wise) in JURASSIC WORLD DOMINION, co-written and directed by Colin Trevorrow.
A strong-willed teen enters her mountain home in a huff, avoiding eye-contact with her over-protective mother. When the tough and rugged family patriarch returns home from a full day of horseback riding and animal herding, he greets his wife with a smooch as she tells him that he needs to talk with his daughter about her recklessness. Later, the family gathers around a campfire for dinner, comfy and cozy in their boots and flannel shirts. It’s not the beginning of a made-for-TV movie about a horse ranch – it’s the beginning of the latest installment in the Jurassic Park franchise: Jurassic World Dominion. Luckily, the movie gets a little better along the way, and it hits its stride during the action sequences. The wholesome, home-on-the-range dialogue gives way to suspenseful fights and chases, and the lead characters step aside to make room for the original Jurassic Park trio: Dr. Ellie Sattler (Laura Dern), Dr. Alan Grant (Sam Neill), and Dr. Ian Malcolm (Jeff Goldblum). Oh, and of course, Dr. Henry Wu (BD Wong) is involved, as per usual. But even with the return of these familiar faces, it’s clear that Dominion is a different beast than its predecessors. In a frantic attempt to please fans and bring closure to the Jurassic World trilogy, the creative team behind Dominion threw a bunch of self-referential jokes and half-hearted Spielberg nostalgia into the screenplay and hoped for the best.
“Chip ‘n Dale: Rescue Rangers” Has Its Chipmunk Cheeks Stuffed With Nostalgic References to Classic Cartoons
In 1943, Disney introduced the world to a pair of chipmunks, Chip and Dale, in the cartoon short, “Private Pluto.” The delightful duo made appearances in a number of other shorts over the years, and in 1988 they finally landed their own show. But what happened to Chip and Dale after that show ended in 1990? After three decades out of the spotlight, the classic cartoon characters have returned in an all-new movie, Chip ‘n Dale: Rescue Rangers. Even though the new film seeks to introduce the beloved characters to a new generation, it’s just as much for the parents in the audience as it is for the kids. Chip ‘n Dale: Rescue Rangers is a hilarious feature-length running joke about the evolution of animation, and it’s got its chipmunk cheeks packed full of references to nostalgic cartoon characters.
Batman’s Back, and He’s Showing Up in Style: Experience the Thrills of “The Batman” in Theaters Starting Friday, March 4 (Spoiler-Free Review)
Things are looking grim in Gotham City. As per usual, there's plenty of crookedness afoot — and the city’s elected officials can’t be trusted to stop the criminals of Gotham. On Halloween night, just days before the mayoral election, one of the most important men in the city is brutally murdered in his home. Commissioner Gordon (Jeffrey Wright) is on the case right away, and he brings a certain Caped Crusader (Robert Pattinson) along to help. Batman’s quick thinking comes in handy when investigators discover a riddle left behind by the murderer. Unfortunately, the answer to that riddle doesn’t give Gotham City police much information. It won’t be long before the sneaky Riddler (Paul Dano) strikes again, and Batman must act fast to stop him.
Mothers, Hide Your Children: Another Cinematic Adaptation of "The Legend of La Llorona" Hits Select Theatres Friday, January 7, 2022
In the trailer for The Legend of La Llorona, a distraught mother (Autumn Reeser) asks, “What is ‘a llorona’ and what does it want with my son?” Clearly, this mother isn’t a fan of low-budget horror. If she was, she’d probably recognize the Mexican folktale of La Llorona, or “the weeping woman,” which has served as the inspiration for a number of forgettable spooky flicks over the years. In 2019, the legend was brought to life in two film adaptations that proved to be somewhat more popular than their predecessors — Michael Chaves’ The Curse of La Llorona (the sixth feature installment in The Conjuring Universe) and Jayro Bustamante’s La Llorona.
Discover New Life in “All the Moons (Todas las Lunas),” an Enchanting and Bittersweet Vampire Fantasy [Fantasia International Film Festival]
Originally published on Elements of Madness.
No country’s literature or filmography is short of romance stories. If a writer tells you they’re working on a piece about love, you’ll probably assume they’re talking about romantic love. We live in a culture that prioritizes romance and marriage, and it’s easy to forget that other types of love can be just as fulfilling. When Igor Legarreta and Jon Sagalá wrote a screenplay about a girl searching for love in her doomed existence as an immortal vampire, they decided not to turn their bloodsucker story into a romance. In All the Moons, which screened at the Fantasia International Film Festival in August, the young heroine discovers meaning in her wretched existence not from a romantic relationship, but from the love of a lonely man who becomes the parent she never had. Legarreta and Sagalá undertook a great challenge in choosing to write a vampire movie (at this point, what hasn’t already been done with vampires?), however, they made the most of this fantasy/horror sub-genre by exploring parent/child relationships and the question of consent in matters of life and death. The final product, directed by Legarreta, is an enchanting fantasy that wraps the joy, wonder, and melancholy of an entire lifetime into a single feature-length film.
Experience the Wacky Psychedelic Love Child of "Mad Max: Fury Road" and "Kung Fu Hustle": Watch "Prisoners of the Ghostland" on AMC+ and Shudder
There’s just no other way to put it: Sion Sono’s Prisoners of the Ghostland is just downright bizarre. But is it a bizarre work of genius, a bizarre flop, or something in between? This absurd dystopian action flick scores so highly in some categories and so poorly in others that it’s difficult to rate the film overall. The production design is outrageously fun, the cinematography is breathtaking, and Joseph Trapanese’s score is bursting at the seams with memorable motifs that work perfectly in a genre-driven movie. But the script? Let’s just say it’s a good thing Nicolas Cage has so much experience pushing bad dialogue to its limits. Thanks to Cage’s performance, Prisoners of the Ghostland falls into the “it’s so bad, it’s good” category. If you can accept the movie for what it is — a wacky celebration of genre created by an experienced director who has earned the right to do whatever he wants with his movies — you might not hate Prisoners of the Ghostland too much.
At the beginning of the 2021, Chloé Zhao became the second woman in history to win the Oscar for best director. She now rounds out the year by joining the ranks of filmmakers who have made their mark on the Marvel Cinematic Universe. Zhao makes her Marvel debut directing Eternals, a fast-paced, action-packed, big-budget, CGI-infused Hollywood spectacular that’s vastly different from the slow-burning film for which she won the Oscar, Nomadland. We can catch glimpses of Zhao’s directorial expertise, respect for nature, and reverence for human connection in Eternals — but in the end, the movie is still characterized by the same distinctive style, themes, and humor that define all films in the MCU (how many jokes can you make about non-human beings trying to figure out human technology?). After Avengers: Endgame, Eternals feels a bit like an all-or-nothing attempt to get a new superhero group together as quickly as possible. Fans should buckle up, because there’s a lot going on in this latest addition to the MCU.
"Our embodied spectator, possibly perverse in her fantasies and diverse in her experience, possesses agency...finally, she must now be held accountable for it."