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Darren Fisher (2465 KP) rated 13 Dolls In Darkness (2017) in Movies
Jul 24, 2022
I have been an obsessive fan of horror films since I was a kid in the 70's. Brought up on Hammer and Universal monster films it wasn't long before I delved into pre-cert exploitation films and that is where my preference has been ever since.
Over the last 20 years I have felt that the horror genre hasn't really offered it's fans anything new (bar a few exceptions). Having been left despondent, disappointed and bored senseless by the over-saturation of remakes, reboots and just plain dull horror fare, it comes with great surprise that a black and white silent film from Australia would be the breath of fresh air that the horror genre desperately needs.
The plot of 13 Dolls is pretty straightforward. Marjorie receives a letter from her ailing mother to return home after a 13 year absence. On her return home Marjorie realises that things are not what they seem...
Written and directed by the talented Zeda Müller, this is a film that demands your attention from the start. With its eerie score and moody camerawork it sets a very atmospheric and claustrophobic feel to proceedings. It's a great take on the 'old dark house' horrors of a bygone era, Robert Wiene and Tod Brownings early work springs to mind... yet draws on influences from the likes of Dario Argento, Mario Bava's gothic horrors, giallo and slasher films (there are some nicely placed references for the sharp-eyed viewer). The fact that this is a silent film (I'll get to the score in a bit) actually works in its favour. Gone are the usual mundane dialogue pieces that fill out most horror films these days and the viewer is reintroduced to dialogue cards when required to move the story along. This also means that the actors are given room to act through expression and emotion and they all do a sterling job.
The masterstroke of 13 Dolls though is the excellent use of camerawork and soundtrack. The soundtrack is interspliced with sound effects (church bells, howling wind, dripping taps etc) and moody piano/tension building synths, all used to full sensory effect. The footage and score intertwine brilliantly together and I found some scenes genuinely eerie and creepy (a rare feeling for me whilst watching a new film these days).
Overall 13 Dolls is a mesmerising experience, interspersed with some cleverly executed gore scenes, and at a scant 75 minutes long, it motors along at a cracking pace.
So, you have probably guessed that I liked this film a lot. I highly recommend checking it out, especially if you are looking for something different. It's a great film and I for one am looking forward to Zeda Müller & Co's next venture...!
Over the last 20 years I have felt that the horror genre hasn't really offered it's fans anything new (bar a few exceptions). Having been left despondent, disappointed and bored senseless by the over-saturation of remakes, reboots and just plain dull horror fare, it comes with great surprise that a black and white silent film from Australia would be the breath of fresh air that the horror genre desperately needs.
The plot of 13 Dolls is pretty straightforward. Marjorie receives a letter from her ailing mother to return home after a 13 year absence. On her return home Marjorie realises that things are not what they seem...
Written and directed by the talented Zeda Müller, this is a film that demands your attention from the start. With its eerie score and moody camerawork it sets a very atmospheric and claustrophobic feel to proceedings. It's a great take on the 'old dark house' horrors of a bygone era, Robert Wiene and Tod Brownings early work springs to mind... yet draws on influences from the likes of Dario Argento, Mario Bava's gothic horrors, giallo and slasher films (there are some nicely placed references for the sharp-eyed viewer). The fact that this is a silent film (I'll get to the score in a bit) actually works in its favour. Gone are the usual mundane dialogue pieces that fill out most horror films these days and the viewer is reintroduced to dialogue cards when required to move the story along. This also means that the actors are given room to act through expression and emotion and they all do a sterling job.
The masterstroke of 13 Dolls though is the excellent use of camerawork and soundtrack. The soundtrack is interspliced with sound effects (church bells, howling wind, dripping taps etc) and moody piano/tension building synths, all used to full sensory effect. The footage and score intertwine brilliantly together and I found some scenes genuinely eerie and creepy (a rare feeling for me whilst watching a new film these days).
Overall 13 Dolls is a mesmerising experience, interspersed with some cleverly executed gore scenes, and at a scant 75 minutes long, it motors along at a cracking pace.
So, you have probably guessed that I liked this film a lot. I highly recommend checking it out, especially if you are looking for something different. It's a great film and I for one am looking forward to Zeda Müller & Co's next venture...!
Ross (3284 KP) rated Good Omens in Books
Jun 12, 2019
Fun, charming romp towards the end of the world
Good Omens is a strange one. If you're a fan of Pratchett's Discworld, I can see you not being overly keen on this book (while his trademark humour is there and his funny Billy Connolly-esque tangents are in the footnotes, there is less of the fantastic about it). And likewise Gaiman fans might be missing his usual gothic flair and be somewhat alarmed at the amount of silliness in the book.
This is probably what put me off reading this until now. I seem to recall trying to read it about 20 years ago, but for some reason I gave up inside a couple of pages. That was 17 year old me as a Pratchett fan, and I must have opted for the 20+ Discworld books I still had yet to read instead, and had no idea who Neil Gaiman was.
Sadly, that makes me your common or garden bandwagon-jumper as I have only now read this for the first time with the TV series on my to-be-watched list.
I cannot say why I never returned to the book. I love Pratchett, had the honour of meeting him at signings a few times in the 90s, and he got me into Robert Rankin, Douglas Adams, Tom Holt and Tom Sharpe. This book is so in line with the flavour of the books I have enjoyed most in my life that it beggars belief I never gave it another thought.
I am so glad I eventually did, and did so before watching the TV series.
While there are epic expectations of the quality of the book, from the hype and cult status, I always read with an open mind.
The story underlying the book is a Fawlty Towers-esque attempt at the end of days, where one bumbling fool's error in the early stages completely changes the plans for the end of the human race.
I won't go into the plot in detail, and will only say that the read is a thoroughly enjoyable ride. It isn't laugh-out-loud funny, it is smirk-I-know-what-you-mean funny. This may not appeal to non-British readers as much as it is written with a very British sense of humour. It is very silly quite a lot of the time, but there is a good, deep story in there if you take a moment to think about it.
My only criticism would be that there was a little too much silliness and while enjoyable this may have distracted from the book at times. But you know you'll get that with Pratchett, he takes his little tangents and he adds in nonsense dialogues for sheer entertainment value - he very much sees that not every word has to be vital to the overall story, you can have a little fun along the way.
Now, to get into the TV series ....
This is probably what put me off reading this until now. I seem to recall trying to read it about 20 years ago, but for some reason I gave up inside a couple of pages. That was 17 year old me as a Pratchett fan, and I must have opted for the 20+ Discworld books I still had yet to read instead, and had no idea who Neil Gaiman was.
Sadly, that makes me your common or garden bandwagon-jumper as I have only now read this for the first time with the TV series on my to-be-watched list.
I cannot say why I never returned to the book. I love Pratchett, had the honour of meeting him at signings a few times in the 90s, and he got me into Robert Rankin, Douglas Adams, Tom Holt and Tom Sharpe. This book is so in line with the flavour of the books I have enjoyed most in my life that it beggars belief I never gave it another thought.
I am so glad I eventually did, and did so before watching the TV series.
While there are epic expectations of the quality of the book, from the hype and cult status, I always read with an open mind.
The story underlying the book is a Fawlty Towers-esque attempt at the end of days, where one bumbling fool's error in the early stages completely changes the plans for the end of the human race.
I won't go into the plot in detail, and will only say that the read is a thoroughly enjoyable ride. It isn't laugh-out-loud funny, it is smirk-I-know-what-you-mean funny. This may not appeal to non-British readers as much as it is written with a very British sense of humour. It is very silly quite a lot of the time, but there is a good, deep story in there if you take a moment to think about it.
My only criticism would be that there was a little too much silliness and while enjoyable this may have distracted from the book at times. But you know you'll get that with Pratchett, he takes his little tangents and he adds in nonsense dialogues for sheer entertainment value - he very much sees that not every word has to be vital to the overall story, you can have a little fun along the way.
Now, to get into the TV series ....
Heather Cranmer (2721 KP) rated The Broken Girls in Books
Jan 17, 2019
A Spooky Ghost Story and Mystery in One!
When I first read the synopsis for The Broken Girls by Simone St. James, I knew it was a book I had to read. I was going to wait for it to come down in price, but the more I thought about the book, the more I knew I had to read it as soon as possible. Luckily, it was such a fantastic read!
The Broken Girls has such an interesting plot with everything I love such as a creepy boarding school, a scary ghost, and very big mystery. It felt like I was reading two different stories at the same time whilst reading this book, but it worked very well. Two mysteries at different time frames within the same book made for a great read. I loved reading about the mystery of Deb, the main character's sister, as well as Mary Hand, the ghost that haunts Idlewild Hall. I enjoyed how the two desperate stories came together brilliantly. Nothing felt rushed. It just flowed together so well. I also loved the little bit of true life history in the book. I had never heard of Ravensbruck prior to reading The Broken Girls. That tidbit was interesting. Although there were a few plot twists, I found them to be easily predictable. Saying that, this didn't take away my enjoyment from the book.
The characters in The Broken Girls were written fantastically! Almost every single character was fleshed out perfectly. I felt as if I was reading about real life people instead of fictional characters. The character that felt the most real to me was Sonia. My heart went out to her the most after all she had endured at such a young age. I admired Katie's leadership qualities. I also admired Fiona's thirst for the truth throughout everything. Mary Hand made such an excellent ghost! I enjoyed her backstory as well. She was so spooky to read about and what she could make people see was even more scary! The only character I would have loved to read a little more about was Rose Albert. I felt as if she could have had a very interesting back story as well.
The pacing for The Broken Girls was done very well. Nothing ever felt rushed nor was the pacing too slow where reading the book felt tedious and like it had to be done. Everything flowed so well.
Trigger warnings in The Broken Girls include violence, murder, attempted murder, ghosts, profanities, and drinking alcohol.
All in all, The Broken Girls was such a thrilling read that held my attention throughout. I loved the Gothic feel as well as just how beautifully written this book was. I would definitely recommend The Broken Girls by Simone St. James to those aged 16+ who enjoy a fantastically written mystery with a bit of the paranormal. This is one book that won't disappoint!
The Broken Girls has such an interesting plot with everything I love such as a creepy boarding school, a scary ghost, and very big mystery. It felt like I was reading two different stories at the same time whilst reading this book, but it worked very well. Two mysteries at different time frames within the same book made for a great read. I loved reading about the mystery of Deb, the main character's sister, as well as Mary Hand, the ghost that haunts Idlewild Hall. I enjoyed how the two desperate stories came together brilliantly. Nothing felt rushed. It just flowed together so well. I also loved the little bit of true life history in the book. I had never heard of Ravensbruck prior to reading The Broken Girls. That tidbit was interesting. Although there were a few plot twists, I found them to be easily predictable. Saying that, this didn't take away my enjoyment from the book.
The characters in The Broken Girls were written fantastically! Almost every single character was fleshed out perfectly. I felt as if I was reading about real life people instead of fictional characters. The character that felt the most real to me was Sonia. My heart went out to her the most after all she had endured at such a young age. I admired Katie's leadership qualities. I also admired Fiona's thirst for the truth throughout everything. Mary Hand made such an excellent ghost! I enjoyed her backstory as well. She was so spooky to read about and what she could make people see was even more scary! The only character I would have loved to read a little more about was Rose Albert. I felt as if she could have had a very interesting back story as well.
The pacing for The Broken Girls was done very well. Nothing ever felt rushed nor was the pacing too slow where reading the book felt tedious and like it had to be done. Everything flowed so well.
Trigger warnings in The Broken Girls include violence, murder, attempted murder, ghosts, profanities, and drinking alcohol.
All in all, The Broken Girls was such a thrilling read that held my attention throughout. I loved the Gothic feel as well as just how beautifully written this book was. I would definitely recommend The Broken Girls by Simone St. James to those aged 16+ who enjoy a fantastically written mystery with a bit of the paranormal. This is one book that won't disappoint!
Shadows and Reflections by Marc Almond
Album Watch
‘Shadows And Reflections’ features sumptuous arrangements of iconic torch songs and 60’s...
pop
A film with dodgy voices.
Catching up here with a review of a film I saw a couple of weeks ago.
What a great film “Get Out” was. Jordan Peele’s classic which unpeeled (sic) race relations in a wholly novel and horrifying way. Yes, the story was a bit ‘out there’ and unbelievable, but he pulled it off with great chutzpah.
With his follow-up film – “Us”…. sorry but, for me, it just didn’t work.
From great beginnings
It all starts so promisingly. Young Adelaide Wilson (a fine debut performance by Madison Curry) is on a seaside holiday with her mother and careless father when she wanders onto the deserted Santa Cruz beach at night. There sits, like some gothic horror ghost train, the Hall of Mirrors. “Find Yourself” it taunts. She makes the mistake of entering and changes her life forever.
Spin forwards 30 years and Adelaide, now a married mother of two, is back in Santa Cruz with a terrifying feeling that things are about to go pear-shaped. And of course they do!
Why oh why oh why those voices?
This film had me gripped until a particular point. Having people stand still and silent at the end of your drive is an incredibly spooky thing to show. But then, for me, the wheels came off big time. The “reveal” of who these people were I could take. But the manner of their behaviour and – particularly – how they talked was horrifying; and not in a good way. When “Red” started speaking I couldn’t believe my ears: Joe Pasquale after swallowing Donald Duck.
From there, the film became farcical for me, descending in progressive stages to a tunnel-based apocalypse: a plot element that was just so paper thin it bore no scrutiny at all.
This was, no doubt, an attempt at a satirical dig at the class structure of America (“We are Americans” adding a double meaning to the name of the film). If it had been played as a deliberate comedy farce it might have worked. But otherwise no.
Flashes of Peele brilliance
This is not to say that there are not positives in the film. The excellent Lupita Nyong’o gives the whacky material her all, and the other adult female lead – Elisabeth Moss (from TV’s “The Handmaid’s Tale”) – is good value as Kitty Tyler: a diabolical incarnation in either form!
Peele also delivers flashes of directorial brilliance. The “hands across America”, disappearing into the sea, is a sight that stays with you. I also liked the twist at the end, although in retrospect it’s difficult to relate it to the rest of the story and strikes of desperation in the storytelling.
Overall, a big disappointment
I know there are some who really like this movie. Each to their own, but I was not one of them. After “Get Out” I was hoping for something much better. I hope that was just Jordan Peele’s “difficult second album”.
What a great film “Get Out” was. Jordan Peele’s classic which unpeeled (sic) race relations in a wholly novel and horrifying way. Yes, the story was a bit ‘out there’ and unbelievable, but he pulled it off with great chutzpah.
With his follow-up film – “Us”…. sorry but, for me, it just didn’t work.
From great beginnings
It all starts so promisingly. Young Adelaide Wilson (a fine debut performance by Madison Curry) is on a seaside holiday with her mother and careless father when she wanders onto the deserted Santa Cruz beach at night. There sits, like some gothic horror ghost train, the Hall of Mirrors. “Find Yourself” it taunts. She makes the mistake of entering and changes her life forever.
Spin forwards 30 years and Adelaide, now a married mother of two, is back in Santa Cruz with a terrifying feeling that things are about to go pear-shaped. And of course they do!
Why oh why oh why those voices?
This film had me gripped until a particular point. Having people stand still and silent at the end of your drive is an incredibly spooky thing to show. But then, for me, the wheels came off big time. The “reveal” of who these people were I could take. But the manner of their behaviour and – particularly – how they talked was horrifying; and not in a good way. When “Red” started speaking I couldn’t believe my ears: Joe Pasquale after swallowing Donald Duck.
From there, the film became farcical for me, descending in progressive stages to a tunnel-based apocalypse: a plot element that was just so paper thin it bore no scrutiny at all.
This was, no doubt, an attempt at a satirical dig at the class structure of America (“We are Americans” adding a double meaning to the name of the film). If it had been played as a deliberate comedy farce it might have worked. But otherwise no.
Flashes of Peele brilliance
This is not to say that there are not positives in the film. The excellent Lupita Nyong’o gives the whacky material her all, and the other adult female lead – Elisabeth Moss (from TV’s “The Handmaid’s Tale”) – is good value as Kitty Tyler: a diabolical incarnation in either form!
Peele also delivers flashes of directorial brilliance. The “hands across America”, disappearing into the sea, is a sight that stays with you. I also liked the twist at the end, although in retrospect it’s difficult to relate it to the rest of the story and strikes of desperation in the storytelling.
Overall, a big disappointment
I know there are some who really like this movie. Each to their own, but I was not one of them. After “Get Out” I was hoping for something much better. I hope that was just Jordan Peele’s “difficult second album”.
Movie Metropolis (309 KP) rated Jurassic World: Fallen Kingdom (2018) in Movies
Jun 10, 2019
A bold new era
“We’re not on an island anymore” barks Chris Pratt’s Owen Grady towards the finale of Jurassic World: Fallen Kingdom. And he’s not wrong, the fifth film in the Jurassic franchise says goodbye to Isla Nublar in rip-roaring fashion, transforming itself into a a family friendly gothic horror film in its last hour.
Ok, ok, let’s start from the beginning. The Jurassic franchise has often been criticised for relying too heavily on the same story points to make a film. 2015’s Jurassic World, whilst becoming one of the highest-grossing films of all time, was lambasted for being a modern-day reimagining of 1993’s classic, Jurassic Park. And while some of that criticism was justified, it was still pure sugary, popcorn entertainment.
Now, three years later, director J.A. Bayona (The Impossible, A Monster Calls) takes over from Colin Trevorrow to bring us a film that starts out like we expect, but ends on a note that will transform the series beyond recognition. The question is, does it actually work?
Three years after the destruction of the Jurassic World theme park, Owen Grady (Pratt) and Claire Dearing (Bryce Dallas Howard) return to the island of Isla Nublar to save the remaining dinosaurs from a volcano that’s about to erupt. They soon encounter terrifying new breeds of gigantic dinos while uncovering a conspiracy that threatens the entire planet and our own existence.
Fallen Kingdom begins with a pre-title card sequence situated in the lagoon of Isla Nublar that is up there with the best in the series. J.A. Bayona masterfully uses light and shadow to create a really compelling opening that is sure to be one of the summer’s best action scenes. And that is a trait that is brought to the rest of the film. Fallen Kingdom is absolutely beautiful.
The cinematography is exquisite and much better than the staid filming style of Bayona’s predecessor. There are scenes throughout this film that feel like they could be pulled straight from the screen and hung in your living room: it’s gorgeous.
Despite Bayona’s inexperience at creating a juggernaut film like this, his previous films are felt throughout. There’s a deep, earthy colour palatte that is the polar opposite of what we saw in Jurassic World. Where that was clinical and far too blue, Bayona’s colourings feel real, raw and grounded in reality.
The cast is also an incredibly strong part of the film. Pratt and Bryce Dallas Howard both sizzle with on-screen chemistry and there’s a cheeky nod to the backlash Howard faced after wearing high-heels for much of Jurassic World’s runtime. Newcomers Justice Smith and Daniella Pineda are terrific as a jumpy IT wiz and veterinary surgeon respectively. James Cromwell is nicely ret-conned into the story as John Hammond’s business partner, Benjamin, and adds a touch of class to proceedings.
Rafe Spall is excellent as the slimy assistant of Benjami, Eli and Toby Jones hams up the screen as an auctioneer. So far, so good then?
The first half of the film, situated on Isla Nublar as it pops into life is astounding and features some of the best destruction ever put to film. The CGI is leaps and bounds ahead of its predecessor and the dinosaurs feel absolutely real throughout. What I didn’t expect however, is poignancy. There are moments in Fallen Kingdom that have real emotional whack, especially as the rescue operation leaves the island. A lone Brachiosaur standing at the dock is heart-breaking and beautifully done.
J.A. Bayona utilises his horror roots beautifully and there is no denying it is the best-looking film in the series
Unfortunately, Fallen Kingdom’s biggest selling point is also its biggest downfall. In trying to do something new, the film stalls as we head to a gothic-esque mansion for the final hour. The confines of the house slow the pacing right down and despite the constant onslaught of action, it really does lag. The special effects and animatronics remain flawless and the action is thrilling, but the script lets them down.
Speaking of the script, this was Jurassic World’s biggest weakness and the same can be said here. Colin Trevorrow and Derek Connelly should be applauded for bringing this franchise back from the edge of extinction, but my god, they cannot write dialogue to save their lives. The characters often converse in what feels like speech bubbles and this can really bring you out of the moment.
There’s also a laughably poor plot twist that feels like it was written by a five-year-old to add some wow factor to the film’s final third. It fails miserably. Then there’s the film’s ‘villain’, the Indoraptor. This genetically modified beast is a sorely underdeveloped entity throughout the film. Sure, she’s menacing enough, but it feels shoehorned in. Trevorrow has stated that Fallen Kingdom will be the last Jurassic movie to feature hybrid dinosaurs: this is absolutely the right decision.
Trevorrow has said that his Jurassic vision is a new trilogy, but the ending of Fallen Kingdom feels like it simply can’t be fixed in one more film. It’s Planet of the Apes-esque in scale.
When we take a look at the score, it’s a story of two halves. Michael Giacchino is one of the greatest composers working today and his music for Jurassic World was absolutely sublime. Here, however, the music is unrecognisable as Jurassic in its construction. John Williams’ iconic theme is rendered to a few bars here and there and that’s a real shame. It’s a good score most definitely, but it could have been so much better.
Finally, we have to circle back around to the cast and the elephant in the room: Jeff Goldblum. His return as Dr Ian Malcolm in this film adds a nice bookend, beginning and end, but you have seen all but two or three lines of his dialogue in the trailer. A horrifically underused presence, but a nice cameo nonetheless.
Overall, Jurassic World: Fallen Kingdom is a solid addition to the ever-expanding series. J.A. Bayona utilises his horror roots beautifully and there is no denying it is the best-looking film in the series with superb set pieces, well-choreographed action and gorgeous cinematography. However, once again the film is let down by poor scriptwriting from Trevorrow and Connelly and a second half that struggles to keep pace with the stunning first.
Is it better than Jurassic World? Well that’s for you to decide, but comparing them is almost impossible.
https://moviemetropolis.net/2018/06/07/jurassic-world-fallen-kingdom-review-a-bold-new-era/
Ok, ok, let’s start from the beginning. The Jurassic franchise has often been criticised for relying too heavily on the same story points to make a film. 2015’s Jurassic World, whilst becoming one of the highest-grossing films of all time, was lambasted for being a modern-day reimagining of 1993’s classic, Jurassic Park. And while some of that criticism was justified, it was still pure sugary, popcorn entertainment.
Now, three years later, director J.A. Bayona (The Impossible, A Monster Calls) takes over from Colin Trevorrow to bring us a film that starts out like we expect, but ends on a note that will transform the series beyond recognition. The question is, does it actually work?
Three years after the destruction of the Jurassic World theme park, Owen Grady (Pratt) and Claire Dearing (Bryce Dallas Howard) return to the island of Isla Nublar to save the remaining dinosaurs from a volcano that’s about to erupt. They soon encounter terrifying new breeds of gigantic dinos while uncovering a conspiracy that threatens the entire planet and our own existence.
Fallen Kingdom begins with a pre-title card sequence situated in the lagoon of Isla Nublar that is up there with the best in the series. J.A. Bayona masterfully uses light and shadow to create a really compelling opening that is sure to be one of the summer’s best action scenes. And that is a trait that is brought to the rest of the film. Fallen Kingdom is absolutely beautiful.
The cinematography is exquisite and much better than the staid filming style of Bayona’s predecessor. There are scenes throughout this film that feel like they could be pulled straight from the screen and hung in your living room: it’s gorgeous.
Despite Bayona’s inexperience at creating a juggernaut film like this, his previous films are felt throughout. There’s a deep, earthy colour palatte that is the polar opposite of what we saw in Jurassic World. Where that was clinical and far too blue, Bayona’s colourings feel real, raw and grounded in reality.
The cast is also an incredibly strong part of the film. Pratt and Bryce Dallas Howard both sizzle with on-screen chemistry and there’s a cheeky nod to the backlash Howard faced after wearing high-heels for much of Jurassic World’s runtime. Newcomers Justice Smith and Daniella Pineda are terrific as a jumpy IT wiz and veterinary surgeon respectively. James Cromwell is nicely ret-conned into the story as John Hammond’s business partner, Benjamin, and adds a touch of class to proceedings.
Rafe Spall is excellent as the slimy assistant of Benjami, Eli and Toby Jones hams up the screen as an auctioneer. So far, so good then?
The first half of the film, situated on Isla Nublar as it pops into life is astounding and features some of the best destruction ever put to film. The CGI is leaps and bounds ahead of its predecessor and the dinosaurs feel absolutely real throughout. What I didn’t expect however, is poignancy. There are moments in Fallen Kingdom that have real emotional whack, especially as the rescue operation leaves the island. A lone Brachiosaur standing at the dock is heart-breaking and beautifully done.
J.A. Bayona utilises his horror roots beautifully and there is no denying it is the best-looking film in the series
Unfortunately, Fallen Kingdom’s biggest selling point is also its biggest downfall. In trying to do something new, the film stalls as we head to a gothic-esque mansion for the final hour. The confines of the house slow the pacing right down and despite the constant onslaught of action, it really does lag. The special effects and animatronics remain flawless and the action is thrilling, but the script lets them down.
Speaking of the script, this was Jurassic World’s biggest weakness and the same can be said here. Colin Trevorrow and Derek Connelly should be applauded for bringing this franchise back from the edge of extinction, but my god, they cannot write dialogue to save their lives. The characters often converse in what feels like speech bubbles and this can really bring you out of the moment.
There’s also a laughably poor plot twist that feels like it was written by a five-year-old to add some wow factor to the film’s final third. It fails miserably. Then there’s the film’s ‘villain’, the Indoraptor. This genetically modified beast is a sorely underdeveloped entity throughout the film. Sure, she’s menacing enough, but it feels shoehorned in. Trevorrow has stated that Fallen Kingdom will be the last Jurassic movie to feature hybrid dinosaurs: this is absolutely the right decision.
Trevorrow has said that his Jurassic vision is a new trilogy, but the ending of Fallen Kingdom feels like it simply can’t be fixed in one more film. It’s Planet of the Apes-esque in scale.
When we take a look at the score, it’s a story of two halves. Michael Giacchino is one of the greatest composers working today and his music for Jurassic World was absolutely sublime. Here, however, the music is unrecognisable as Jurassic in its construction. John Williams’ iconic theme is rendered to a few bars here and there and that’s a real shame. It’s a good score most definitely, but it could have been so much better.
Finally, we have to circle back around to the cast and the elephant in the room: Jeff Goldblum. His return as Dr Ian Malcolm in this film adds a nice bookend, beginning and end, but you have seen all but two or three lines of his dialogue in the trailer. A horrifically underused presence, but a nice cameo nonetheless.
Overall, Jurassic World: Fallen Kingdom is a solid addition to the ever-expanding series. J.A. Bayona utilises his horror roots beautifully and there is no denying it is the best-looking film in the series with superb set pieces, well-choreographed action and gorgeous cinematography. However, once again the film is let down by poor scriptwriting from Trevorrow and Connelly and a second half that struggles to keep pace with the stunning first.
Is it better than Jurassic World? Well that’s for you to decide, but comparing them is almost impossible.
https://moviemetropolis.net/2018/06/07/jurassic-world-fallen-kingdom-review-a-bold-new-era/