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LeftSideCut (3776 KP) rated Jurassic World: Fallen Kingdom (2018) in Movies
Jun 21, 2019
Please stop now
Contains spoilers, click to show
Where to begin...
Fallen Kingdom is full to the brim with stupid.
It sort of imitates The Lost World - first half set on an island, second half set within human population - but it just falls on its face, especially in that second half.
We have a typical evil guy, with a ludicrous plan to use dinosaurs in modern war scenarios (again - for some absurd reason), we have a new "crazy" hybrid lab created dinosaur on the rampage (again!), And to top it all off, the writers decided to throw in a side plot about a little girl who actually a clone? What? Why?
There's also a bit with a velociraptor diving through a window, away from an explosion, like a dinosaur John McClane - we are so far away from the first movie now, is there any point in carrying on?
The first half of the film fairs slightly better, (the opening scene is a highlight for me) and the CGI is pretty solid throughout, but as soon as they leave the island, it's nosedives in spectacular fashion.
Bruce Dallas-Howard and Chris Pratt - again, both fine actors, bit here they are just there, not really adding or taking away from the whole experience.
And just like Jurassic World, it's full of silly plot points that I try not to think too hard about, bit in the end can't help myself such as:
Why is Claire not incarcerated for the events of the first film - she's definitely responsible for a lot of civilians being mailed by rampant dinosaurs.
How does the old guy have absolutely no idea that there is a massive lab/dinosaur prison below his house.
How did they get the T-Rex onto the boat into containment in the few minutes between the main characters jumping into the ocean to getting to the boat themselves?
Why does the Indoraptor happily eat everyone in sight, but then sneak up on the little girl... It's a kind of cool shit but still.
When the film reaches it's conclusion with dinosaurs roaming our everyday lives, you realise that most of the trailer is in the last minute of the film, and this was maybe all filler to reach the inevitable sequel, but to be honest, my interest is low at this point.
On a final note, I love Jeff Goldblum but what was the point of his appearance here? He literally says the name of the film out loud, and that's it. Jesus.
Fallen Kingdom is full to the brim with stupid.
It sort of imitates The Lost World - first half set on an island, second half set within human population - but it just falls on its face, especially in that second half.
We have a typical evil guy, with a ludicrous plan to use dinosaurs in modern war scenarios (again - for some absurd reason), we have a new "crazy" hybrid lab created dinosaur on the rampage (again!), And to top it all off, the writers decided to throw in a side plot about a little girl who actually a clone? What? Why?
There's also a bit with a velociraptor diving through a window, away from an explosion, like a dinosaur John McClane - we are so far away from the first movie now, is there any point in carrying on?
The first half of the film fairs slightly better, (the opening scene is a highlight for me) and the CGI is pretty solid throughout, but as soon as they leave the island, it's nosedives in spectacular fashion.
Bruce Dallas-Howard and Chris Pratt - again, both fine actors, bit here they are just there, not really adding or taking away from the whole experience.
And just like Jurassic World, it's full of silly plot points that I try not to think too hard about, bit in the end can't help myself such as:
Why is Claire not incarcerated for the events of the first film - she's definitely responsible for a lot of civilians being mailed by rampant dinosaurs.
How does the old guy have absolutely no idea that there is a massive lab/dinosaur prison below his house.
How did they get the T-Rex onto the boat into containment in the few minutes between the main characters jumping into the ocean to getting to the boat themselves?
Why does the Indoraptor happily eat everyone in sight, but then sneak up on the little girl... It's a kind of cool shit but still.
When the film reaches it's conclusion with dinosaurs roaming our everyday lives, you realise that most of the trailer is in the last minute of the film, and this was maybe all filler to reach the inevitable sequel, but to be honest, my interest is low at this point.
On a final note, I love Jeff Goldblum but what was the point of his appearance here? He literally says the name of the film out loud, and that's it. Jesus.
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RəX Regent (349 KP) rated Godzilla (1954) in Movies
Feb 25, 2019
The beginning was inspired...
Contains spoilers, click to show
I was first introduced to Godzilla in cartoon form in the 1980′s as a child, but it wasn't until 1998, with Roland Emmerich's blockbuster reboot that I had seen the infamous beast on the pearl screen. I had also seem bits and bobs of the many original sequels as a child and they had made absolutely no impact on me what so ever! But I became aware of the significance of this, the original, only recently and it was due to this discovery that I hunted down the best copy available.
I ended up with the 2005 Region 1 release, which also includes the U.S. reworking from 1956, Godzilla: King Of The Monsters!. I could not have imagined that a the 1954 version of Godzilla, or more literally, Gojira, could have been so mature, so sombre, or so tempered with its sledgehammer philosophising. Produced just nine years after the devastating nuclear bombings of Hiroshima and Nagasaki, which effectively ended the Second World War, Gojira takes up the mantle on doing what Science Fiction does best, and created the cypher in the form of Godzilla, to represent the devastation left over from the nuking of these cities.
Godzilla is a nuclear beast, affected by U.S. nuclear tests and is now toxically radioactive and upon landfall on Tokyo, rains down, literally, nuclear destruction up on the city, in a manner not dissimilar too that levied upon either of the cities, Hiroshima or Nagasaki. But its not just about that. It about the creation of the next WMD which would ultimately be used against Godzilla but poses and moral dilemma that Robert Oppenheimer himself would appreciate, as to whether such a creation should be allowed to be developed. It also looks quite seriously into establishing the potential evolution of a creature such as Godzilla and uses plausible palaeontological arguments to justify his existence.
The pacing was good and though Godzilla strikes from almost the opening frame, there is a sense of an ongoing crisis rather than an impending apocalypse, with news outlets reporting throughout as plans, both military and civilian are sited.
All in all, this is not just the birth of the massive and largely corny and cheap Godzilla series, it is a striking, intelligent, moving and incredibly well judged masterpiece of 50′s cinema. But I should have known. Most rubbish franchises began with an inspired first movie, something to break the mould and this does the job perfectly.
But it isn't without its flaws. The special effects, though not all bad, are below par even for the time, but effective as for telling the story, some were very good with ALL being well conceived and ambitious. Some were very poor though, such as the model ships, which were unnecessarily below the standards and look like bath toys. But the cinematography was wonderful, with Honda shooting this in a classically manner. Tension was built brilliantly and the action rose to several crescendos and the excellent score by Akira Ifukube was not overused but brought to perfect effect when needed.
The acting was first-rate as well, proving Japanese cinemas reputation. But this was my first real foray into Japanese cinema, and what a treat it was. Many would look at this and see a cheap old film and others will see a film that whist let down by some less that brilliant visual effects and the fact that a lot of people, certainly in the U.K. find subtitles difficult, as a masterpiece not only of Eastern cinema but of cinema full stop. Truly realising its narrative and spirit, its cause and message. This was about a county in mourning not only for the hundreds of thousands lost by Fat Man and Little Boy, but for the war full stop. The 1950′s were a time of great political fear and reconstruction after WW2, and this is a film which taps into the brewing Cold War and fear of annihilation from human behemoths which once released can never be returned.
HIGHLY recommended but not for children as they will bore, miss the point, get put off by the subtitles, black and white and quite frankly its a mature and bleak film and not the 1998 remake. And thank God or Godzilla for that!
I ended up with the 2005 Region 1 release, which also includes the U.S. reworking from 1956, Godzilla: King Of The Monsters!. I could not have imagined that a the 1954 version of Godzilla, or more literally, Gojira, could have been so mature, so sombre, or so tempered with its sledgehammer philosophising. Produced just nine years after the devastating nuclear bombings of Hiroshima and Nagasaki, which effectively ended the Second World War, Gojira takes up the mantle on doing what Science Fiction does best, and created the cypher in the form of Godzilla, to represent the devastation left over from the nuking of these cities.
Godzilla is a nuclear beast, affected by U.S. nuclear tests and is now toxically radioactive and upon landfall on Tokyo, rains down, literally, nuclear destruction up on the city, in a manner not dissimilar too that levied upon either of the cities, Hiroshima or Nagasaki. But its not just about that. It about the creation of the next WMD which would ultimately be used against Godzilla but poses and moral dilemma that Robert Oppenheimer himself would appreciate, as to whether such a creation should be allowed to be developed. It also looks quite seriously into establishing the potential evolution of a creature such as Godzilla and uses plausible palaeontological arguments to justify his existence.
The pacing was good and though Godzilla strikes from almost the opening frame, there is a sense of an ongoing crisis rather than an impending apocalypse, with news outlets reporting throughout as plans, both military and civilian are sited.
All in all, this is not just the birth of the massive and largely corny and cheap Godzilla series, it is a striking, intelligent, moving and incredibly well judged masterpiece of 50′s cinema. But I should have known. Most rubbish franchises began with an inspired first movie, something to break the mould and this does the job perfectly.
But it isn't without its flaws. The special effects, though not all bad, are below par even for the time, but effective as for telling the story, some were very good with ALL being well conceived and ambitious. Some were very poor though, such as the model ships, which were unnecessarily below the standards and look like bath toys. But the cinematography was wonderful, with Honda shooting this in a classically manner. Tension was built brilliantly and the action rose to several crescendos and the excellent score by Akira Ifukube was not overused but brought to perfect effect when needed.
The acting was first-rate as well, proving Japanese cinemas reputation. But this was my first real foray into Japanese cinema, and what a treat it was. Many would look at this and see a cheap old film and others will see a film that whist let down by some less that brilliant visual effects and the fact that a lot of people, certainly in the U.K. find subtitles difficult, as a masterpiece not only of Eastern cinema but of cinema full stop. Truly realising its narrative and spirit, its cause and message. This was about a county in mourning not only for the hundreds of thousands lost by Fat Man and Little Boy, but for the war full stop. The 1950′s were a time of great political fear and reconstruction after WW2, and this is a film which taps into the brewing Cold War and fear of annihilation from human behemoths which once released can never be returned.
HIGHLY recommended but not for children as they will bore, miss the point, get put off by the subtitles, black and white and quite frankly its a mature and bleak film and not the 1998 remake. And thank God or Godzilla for that!
Hazel (1853 KP) rated The Good Luck of Right Now in Books
May 28, 2017
Inspirational
This eBook was provided by the publisher via NetGalley in exchange for an honest review
From the New York Times bestselling author of The Silver Linings Play Book comes an inspirational tale about a thirty nine year old man who has lived with his mother his whole life. The Good Luck of Right Now is about how Bartholomew Neil copes with life after the death of his mother. Bartholomew is a very awkward man who has no idea how to cope on his own and so is assigned a grief counselor, Wendy, to help him come to terms with his new situation. Due to his mother’s movie obsessions, this story is told through pretend letters written to famous Hollywood actor, Richard Gere, who is also someone Bartholomew admires greatly.
Matthew Quick’s novel entertains the reader through the mishmash of characters from a cat-obsessed man who is convinced aliens exist, to Bartholomew’s obscure friendship with a bipolar priest. As well as being entertaining this novel explores the rhythm of the universe leaving the reader questioning the credibility of fate and wondering about religion and philosophy.
The way in which Bartholomew views the world and his reasons for writing unsent letters to Richard Gere during this difficult period of his life suggest that he his somewhere on the autism scale. Quick explores mental health issues as well as this beginning with the priest with bipolar and again later in the book when Bartholomew becomes friends with a pair of siblings, Max and Elizabeth.
At times humorous and at others thoughtful, The Good Luck of Right Now is a really interesting novel to read. It is easy to understand Bartholomew’s thought processes and he is a very lovable character. One part of the story I personally did not like, however, was the amount of swearing the character Max does. Although this emphasizes Max’s mental state and is not intended to be an insult, it did get a bit tiresome reading a swear word within every sentence he spoke.
Overall this book is definitely worth the read, especially if you enjoyed The Silver Linings Play Book. In fact, The Good Luck of Right Now may even be the better book!
From the New York Times bestselling author of The Silver Linings Play Book comes an inspirational tale about a thirty nine year old man who has lived with his mother his whole life. The Good Luck of Right Now is about how Bartholomew Neil copes with life after the death of his mother. Bartholomew is a very awkward man who has no idea how to cope on his own and so is assigned a grief counselor, Wendy, to help him come to terms with his new situation. Due to his mother’s movie obsessions, this story is told through pretend letters written to famous Hollywood actor, Richard Gere, who is also someone Bartholomew admires greatly.
Matthew Quick’s novel entertains the reader through the mishmash of characters from a cat-obsessed man who is convinced aliens exist, to Bartholomew’s obscure friendship with a bipolar priest. As well as being entertaining this novel explores the rhythm of the universe leaving the reader questioning the credibility of fate and wondering about religion and philosophy.
The way in which Bartholomew views the world and his reasons for writing unsent letters to Richard Gere during this difficult period of his life suggest that he his somewhere on the autism scale. Quick explores mental health issues as well as this beginning with the priest with bipolar and again later in the book when Bartholomew becomes friends with a pair of siblings, Max and Elizabeth.
At times humorous and at others thoughtful, The Good Luck of Right Now is a really interesting novel to read. It is easy to understand Bartholomew’s thought processes and he is a very lovable character. One part of the story I personally did not like, however, was the amount of swearing the character Max does. Although this emphasizes Max’s mental state and is not intended to be an insult, it did get a bit tiresome reading a swear word within every sentence he spoke.
Overall this book is definitely worth the read, especially if you enjoyed The Silver Linings Play Book. In fact, The Good Luck of Right Now may even be the better book!
Phillip McSween (751 KP) rated Toy Story 3 (2010) in Movies
Feb 2, 2018
Just Plain Awesome
The gang is back in full form for Toy Story 3 as Andy heads off to college and they head to daycare. If you didn't know, this won't be the last installment. Yes, they are making a Toy Story 4. I used to think that was preposterous. Then it hit me that this franchise is probably one of the best trilogies done. Ever. Of all time. I can imagine the creative minds of Pixar sitting in a room and one of them pulls a Danny Ocean: "You think we need one more? You think we need one more. Alright...we'll get one more."
I can't think of many negatives around the film but I sure can praise it to kingdom come. The creativity that goes into this franchise is amazing and the third installment is no exception. One of my favorite scenes includes a private hideaway in the top of a snack machine where some of the toys are playing poker. These moments of great imagination are not only clever but also evoked my emotions as a viewer. Some moments were funny, others heartwrenching. Meanwhile that scene were the 3-year-olds demolish the toy room for the first time was just plain terrifying.
Toy Story 3 grabs your attention immediately as it gets off to an exciting start. A strong part of what keeps the film interesting is the emotional connection between kids and toys. When we're toddlers, we destroy everything in our paths toys included. As we get older, not only do we learn to appreciate those toys and what they do for us, we start to treat them more intimately, almost if they were friends. Eventually that love fades to mere memories and it's not long before toys are once again seen as mere objects. It's touching to watch the trouble the toys go through in the beginning to regain Andy's attention. Andy's moved on, but the toys can't accept it.
There is a scene where Woody is escaping from a bathroom. Right before he reaches up to grab the toilet seat, he puts some tissue down. It's the small touches like these that propel this movie to greatness. I give Toy Story 3 a 97.
I can't think of many negatives around the film but I sure can praise it to kingdom come. The creativity that goes into this franchise is amazing and the third installment is no exception. One of my favorite scenes includes a private hideaway in the top of a snack machine where some of the toys are playing poker. These moments of great imagination are not only clever but also evoked my emotions as a viewer. Some moments were funny, others heartwrenching. Meanwhile that scene were the 3-year-olds demolish the toy room for the first time was just plain terrifying.
Toy Story 3 grabs your attention immediately as it gets off to an exciting start. A strong part of what keeps the film interesting is the emotional connection between kids and toys. When we're toddlers, we destroy everything in our paths toys included. As we get older, not only do we learn to appreciate those toys and what they do for us, we start to treat them more intimately, almost if they were friends. Eventually that love fades to mere memories and it's not long before toys are once again seen as mere objects. It's touching to watch the trouble the toys go through in the beginning to regain Andy's attention. Andy's moved on, but the toys can't accept it.
There is a scene where Woody is escaping from a bathroom. Right before he reaches up to grab the toilet seat, he puts some tissue down. It's the small touches like these that propel this movie to greatness. I give Toy Story 3 a 97.
Listen Again: A Momentary History of Pop Music
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Arguing that pop music turns on moments rather than movements, the essays in Listen Again pinpoint...
DaveySmithy (107 KP) rated Ghostbusters: Frozen Empire (2024) in Movies
Dec 4, 2024 (Updated Dec 4, 2024)
Fun moments
I went into Ghostbusters: Frozen Empire (2024) hoping it would build on the promise of Ghostbusters: Afterlife while carving out its own icy identity. Unfortunately, while the film has its moments of charm and spectacle, it left me feeling cold overall—pun intended.
The premise is intriguing: a mysterious, apocalyptic winter descending on New York City, with the Ghostbusters tasked to save the day. The visuals are striking—snow-covered cityscapes and frost-bitten ghosts make for some memorable scenes. The effects team clearly had a blast imagining what a frozen supernatural invasion would look like, and the frosty atmosphere feels like a fresh twist for the franchise.
The returning cast, especially Paul Rudd and Carrie Coon, are as likable as ever, but they’re not given much to do beyond reacting to the chaos. The younger characters, led by Mckenna Grace, are still charming, but the novelty of their “kid Ghostbusters” dynamic is starting to wear thin. The humor is hit-or-miss; while there are a few clever lines and fun moments, some of the jokes feel too forced, as though the film is trying too hard to mimic the original’s effortless wit.
One of the biggest disappointments for me was the pacing. The first half of the movie drags, spending too much time on exposition and setup without giving us the action or scares we came for. When the ghost-busting finally ramps up, it’s exciting, but it feels rushed and formulaic. The climactic battle is visually impressive but lacks emotional weight, relying more on spectacle than storytelling.
I also couldn’t help but feel that Frozen Empire leans too heavily on nostalgia. The callbacks to the original movies are fun at first, but they start to feel like a crutch, reminding us of the franchise’s glory days instead of moving it forward in a meaningful way.
Overall, Ghostbusters: Frozen Empire is a decent popcorn flick with some cool visuals and a few laughs, but it doesn’t live up to the potential of its concept or its legacy. It’s a 6/10 for me—fun in the moment, but not particularly memorable.
The premise is intriguing: a mysterious, apocalyptic winter descending on New York City, with the Ghostbusters tasked to save the day. The visuals are striking—snow-covered cityscapes and frost-bitten ghosts make for some memorable scenes. The effects team clearly had a blast imagining what a frozen supernatural invasion would look like, and the frosty atmosphere feels like a fresh twist for the franchise.
The returning cast, especially Paul Rudd and Carrie Coon, are as likable as ever, but they’re not given much to do beyond reacting to the chaos. The younger characters, led by Mckenna Grace, are still charming, but the novelty of their “kid Ghostbusters” dynamic is starting to wear thin. The humor is hit-or-miss; while there are a few clever lines and fun moments, some of the jokes feel too forced, as though the film is trying too hard to mimic the original’s effortless wit.
One of the biggest disappointments for me was the pacing. The first half of the movie drags, spending too much time on exposition and setup without giving us the action or scares we came for. When the ghost-busting finally ramps up, it’s exciting, but it feels rushed and formulaic. The climactic battle is visually impressive but lacks emotional weight, relying more on spectacle than storytelling.
I also couldn’t help but feel that Frozen Empire leans too heavily on nostalgia. The callbacks to the original movies are fun at first, but they start to feel like a crutch, reminding us of the franchise’s glory days instead of moving it forward in a meaningful way.
Overall, Ghostbusters: Frozen Empire is a decent popcorn flick with some cool visuals and a few laughs, but it doesn’t live up to the potential of its concept or its legacy. It’s a 6/10 for me—fun in the moment, but not particularly memorable.
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Anand Wilder recommended O Lucky Man! by Alan Price in Music (curated)
