Jurassic World Dominion (2022)

I had heard a variety of opinions on Jurassic World Dominion before I finally got around to seeing it, which meant I was perhaps better prepared for it than I otherwise might have been. I heard that Chris Pratt tries to defuse every dinosaur encounter by doing that hand gesture he does (true). I heard that some of the connective tissue to the first film was very tenuous (also true). I heard that there was a disappointing lack of actual dinosaurs, with them being pushed aside in favour of a plot about dangerous bugs (tosh and piffle).

Claire (Bryce Dallas Howard) and Owen (Chris Pratt) live in a cabin in the woods, being parental figures to Maisie Lockwood (Isabella Sermon). They try to stress to Isabella how important it is that she stays hidden away, due to the value of her DNA, but that doesn’t work. In a double-whammy of villainy, both Maisie and a new baby raptor (Blue’s baby, no less) are kidnapped and taken away to the main villain of the piece. I won’t name them, but it is obvious from the very start. Meanwhile, Ellie Sattler (Laura Dern) is investigating the source of some dangerous new species of locust, which leads to her dragging Alan Grant (Sam Neill) along to the HQ of a company called Biosyn, headed up by Lewis Dodgson (Campbell Scott). Ian Malcolm (Jeff Goldblum) works at Biosyn, but he would like someone to get proof of what he suspects are misdeeds. 

With director Colin Trevorrow returning to direct this instalment of the franchise, continuing the story he worked out with Derek Connolly, shaped into a finalised screenplay by himself and Emily Carmichael, this feels like exactly what it is, a film that is part standard blockbuster spectacle and part celebration of an enduring modern franchise. I wasn’t too impressed by the first Jurassic World movie, and I initially felt the same about Jurassic World: Fallen Kingdom (a film I have subsequently viewed in a more favourable light), but maybe I have been too harsh, perhaps because I have always been hoping to experience the thrill of that Spielberg original all over again.

This is a really solid slice of dino-filled action. It may have a lengthy runtime, but it doesn’t feel overlong. Set-pieces and exciting moments are sprinkled throughout, with the sequence set in Malts being one of the most entertaining blockbuster moments I have seen in some time, the locust sub-plot adds some more tension (and, more importantly, provides a good reason for everyone ending up together in the same place), and there’s a feeling of plausibility in this world that now has dinosaurs free to roam certain areas of our planet. 

Dern, Neill, and Goldblum are very welcome in their reprised roles, all three settling into a comfortable rapport with one another, and also working well when they eventually encounter the new characters. Pratt and Howard are just fine, although they have never been as good in the lead roles as other options we could have had, and Scott has fun as the typical rich guy who wants to play god in ways that might have unforeseen consequences. There are also enjoyable performances from DeWanda Wise (playing Kayla, a pilot who ends up helping our main characters) and Mamoudou Athie (as Ramsay, the nervous young man tasked with showing Sattler and Grant around Biosyn). The one sour note is, unfortunately, Sermon. As decent as she was in the last film, she feels completely out of place and unconvincing here. Perhaps the writing also works against her, or maybe her performance just feels more full of affectation now she is a bit older and a bit more self-conscious.

The other main performances come from the dinosaurs, of course, and they are as good as ever. You get another enjoyable variety of creatures, with some of them being VERY cute (baby triceratops WILL make you go “awwwwww”), and the blending of animatronics and CGI is pretty flawless throughout.

What more could you want? The score brings in the obvious cues when expected, there are some fun lines of dialogue that work on a meta level without stopping everything to wink at the audience, and it once again allows our old pal, the t-rex, to steal a couple of scenes and remind everyone of how much we all love to gape at a t-rex. 

8/10

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Netflix And Chill: The Exorcism Of Emily Rose (2005)

I like director Scott Derrikson. Even though he gave us the appalling remake of The Day The Earth Stood Still (which at least had Keanu Reeves in it, if nothing else). His first feature film remains one of the best of the many Hellraiser sequels (Hellraiser: Inferno) and he has since delivered some fine entertainment in both the horror world (this film and Sinister spring to mind) and the Marvel Cinematic Universe (where he was chosen to helm the kaleidoscopic Doctor Strange movie, and may currently be working on the next one). But I remember this film being the one that seemed to mark him out as someone to watch.

The core of the tale involves a priest (Father Moore, played by Tom Wilkinson) who is on trial for causing the death of a young woman (Emily Rose, played by Jennifer Carpenter) during an exorcism that the more rational-minded prosecution team (led by a man named Ethan Thomas, played by Campbell Scott) believe was completely unnecessary. Can the main defence attorney (Erin Bruner, played by Laura Linney) make any kind of case that won't be scoffed at by the jury and dismissed by the judge (Mary Beth Hurt)? Perhaps it would be easier if Father Moore wasn't sticking quite so rigidly to his truthful view of the events.

Although an undoubtedly polished and well-crafted supernatural tale, it's hard to deny the fact that this was effectively marketed with the "based on a true story" angle. Anneliese Michel was a young German woman who spent the last year of her short life being the subject of attempted exorcism procedures. Her death, at the age of just 23, led to a court case against her parents and the two priests. The Exorcism Of Emily Rose may well contain enough similarities to justify the tag, certainly more than some other horror movies that have misused the credit, but it's also very happy to diverge from the truth whenever the opportunity arises to add some tension and scares.

Derrickson, who also co-wrote the movie with Paul Harris Boardman, balances things nicely between an atmosphere of dread and one that is more believable. Viewers see how Emily is viewing the world, and how others are at times viewing her, and that is often followed up by prosecution statements that provide a more grounded, alternative, explanation for what initially seems to be impossible to describe as anything other than supernatural.

Wilkinson is excellent in his role, consistently managing to portray his character with faith and trust in the truth being on his side, without ever becoming unlikable or irritating. Linney and Scott are both typical attorneys, and both do very good work, even while constrained by a number of cliches. It would be easy to dismiss the performance from Carpenter if it was nothing more than a bag of tics and pained expressions, which is how it feels in some scenes, but she brings much more to the role, not least of which is a physicality that allows her to contort her body in some of the more disturbing moments in the movie.

There's nothing wrong with this film. It is, from start to finish, a decent bit of entertainment that gives viewers something to think about, while also scattering some decent scares (and FX work) throughout. It's just one of those mainstream hits that I never quite understood ALL the love for, because there was a time when this seemed to top a lot of lists from people recommending their favourite horror movies to others, even if I can't think of anything majorly negative to hold against it.

7/10

You can buy the movie here.
Americans can buy it here.

Bonus Review: The Amazing Spider-Man 2 (2014)

Here it is. The sequel to the superhero reboot that nobody felt was really needed. Marc Webb returns to direct, everyone gets to reprise their onscreen roles, and the new faces are all welcome additions. It may still lag behind the Raimi movies, but this is a step up from the film preceding it.

Things are about to get pretty stressful for your friendly neighbourhood Spider-Man/Peter Parker (played by Andrew Garfield). He's worried about how his superhero duties may endanger the lovely Gwen Stacy (Emma Stone), he still wants to find out more about his parents (played by Campbell Scott and Embeth Davidtz), and there's a new villain to deal with in the shape of crackling, supercharged Electro (Jamie Foxx). And when Harry Osborn (Dane DeHaan) comes back into town . . . . . . . . . . well, I think most fans of Spidey will know what's going to happen there.

Deftly stepping between light and dark moments, The Amazing Spider-Man 2 feels, at times, like a teen comedy riff on the character. From the opening sequence, showing a determined villain (Paul Giamatti), driving through town with a load of stolen plutonium while Spider-Man tries to stop him, to the very last scene of the film, Spider-Man seems completely at ease win his role, and sure that he'll win out. Thankfully, the movie throws enough at him to give him doubt, but it's fun to hang out with a superhero who doesn't spend the majority of the film as a tortured soul. Oh, he has his moments, but they don't taint the entire movie. This is a fun blockbuster, but one that ups the stakes just in time for a gripping third act.

The script, by Alex Kurtzman and Roberto Orci, is fine, I guess. Everything is sketched out well enough, and Garfield gets a lot of lines that provide laughs, but it's also very heavy-handed at times (although that's nothing new when it comes to Spider-Man movies). It's admirable that the film never feels rushed or overloaded, despite the extra villains in the mix, as well as the developed backstory for Peter's absent parents.

Webb clearly has a blast this time around, and that feeling is shared with the viewing audience. Swing around the town with Spidey, revel in some of the huge set-pieces that provide some great eye candy, and enjoy the fights that always seem to allow Spider-Man one or two of his usual smartass lines, no matter how beaten and out of breath he is. The CGI certainly dominates at times, especially in the second half, but it's all polished enough to make the excess a bit easier to accept.

The other element making things easier to accept is the great cast. Garfield and Stone are still fantastic in their roles, with the former especially good at doing the slightly mopey teen schtick without seeming too irritating. Sally Field is fine as Aunt May, and Scott and Davidtz are good to see in their small roles. But it's the villains that everyone gets excited for, and what a selection of good folk being bad this movie has for you. Foxx is great, both as the timid and "invisible" Max Dillon and then, later, as the powerful Electro. You really feel sorry for him, in both incarnations, before he decides to embrace his powers and make his mark. Dane DeHaan doesn't get as much sympathy, but he's no less enjoyable as Harry/Green Goblin. Anyone hoping to see much of Giamatti will be disappointed, as his role is little more than an extended cameo this time, but he still does well with the limited screentime. Colm Feore is easy to dislike, as a conniving member of the Oscorp team, Chris Cooper is Norman Osborn, the man responsible (directly and indirectly) for most of the events in the movie, Felicity Jones is sadly underused as Felicia, an assistant to Harry, and there's another Stan Lee cameo, although it's more groan-inducing than amusing in this instance.

The Amazing Spider-Man 2 looks good, sounds good (top marks to Hans Zimmer for the score, especially anything accompanying the scenes featuring Dillon/Electro), and doesn't disappoint anyone looking for superior blockbuster entertainment. It also sets everything up for a mouth-watering next instalment without those building blocks feeling like too much of a distraction. It's not up there with the best of the recent superhero movies, because some of them have really raised the bar of late, but it's a fun time at the cinema and one that I look forward to picking up on shiny disc.

7/10

http://www.amazon.com/Amazing-Spider-Man-Blu-Ray-UltraViolet-Combo/dp/B00JPS6A3O/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1401313145&sr=1-1&keywords=the+amazing+spiderman+2

Dead Again (1991)

Kenneth Branagh and Emma Thompson star in this enjoyable thriller/neo-noir that stars the former as a private detective, named Mike Church, trying to help the latter after she has lost her memory and voice. That's not all, however, as both stars also play characters who have shared a tragic event in the past. Has the trauma that occurred many years ago in the lives of Roman (Branagh) and Margaret Strauss (Thompson) somehow affected the mental state of the woman who needs help in the here and now? Perhaps a hypnotist (Derek Jacobi) can help. As revelations start to come to the surface, the young woman starts feeling more afraid, worried that the past will repeat itself.

As well as starring in one of the main roles, Branagh also directs the movie, and a fine job he does of it too. The script, by Scott Frank, is pretty well put together, with a number of very enjoyable twists en route to the grand finale and nice, easy transitions between the present and the past (although it helps that the past scenes are in black and white - a choice made after filming had been completed).

The cast are great, with Branagh and Thompson both enjoyable in the lead roles, despite affecting some horrible accents (a bit of a distraction). Jacobi is wonderful in his role, Wayne Knight gets to play someone likable, which is a rarity, Andy Garcia is very good as a reporter who covered the Strauss incident, and Robin Williams has a small, but highly entertaining role, as an ex-psychiatrist who can offer a second opinion on the condition of the leading lady. Campbell Scott appears onscreen for a moment or two, long enough to make quite an impression with his smooth, too good to be true, persona.

Dead Again is a fun film. It's enjoyably old-fashioned and full of many nice details. The more I think about it, the more I like and appreciate it, even with those horrible accents being used by Branagh and Thompson. I'm not sure if it all holds together perfectly, but I can't think of any huge plot holes that pulled me out of the viewing experience, and it develops the narrative strands - past and present - in a way that keeps things interesting, and surprisingly fresh, without getting too smug.

It may not be AS essential viewing as many other movies from this category, but it turns out to be well worth your time.

7/10

Available to buy here, but do NOT read the spoilerific product description if you haven't seen the movie - http://www.amazon.co.uk/Dead-Again-Dvd-Kenneth-Branagh/dp/B00005UO5G/ref=sr_1_1?ie=UTF8&qid=1383844678&sr=8-1&keywords=dead+again

The Spanish Prisoner (1997)

Written and directed by the great David Mamet, this is a typically twisty and turny thriller from the man, with his usual cool dialogue permeating every scene.

Campbell Scott plays Joe, a man who has managed to create a very important, though never revealed, process that will allow the company he works for to make lots and lots of money. He is the man of the moment, but that moment seems all too fleeting. When he comes into contact with an interesting stranger (Steve Martin) who happily passes along some of his wisdom, Joe realises that he's maybe selling himself a bit short. With that realisation comes an extra helping of mistrust and paranoia. Who can Joe trust and what will other interested parties do to get their hands on his mysterious, valuable process.

Although there are many times when this feels as stagey as so many other Mamet movies (not the worst crime in the world), there are also plenty of moments that open up the world that the characters are inhabiting. The events may be happening to Joe, but the movie feels like things are being manipulated on a grand, at times even global, scale.

As well as Scott and Martin, who both do a great job, the film features some solid performances from Rebecca Pidgeon, Ben Gazzara, Ricky Jay and Felicity Huffman (with a small, but enjoyable, cameo from Ed O'Neill). Viewers may be put off by the rhythm and delivery of the dialogue, but it's an interesting choice to ensure that every line is given its due. There are no ramblings here, no words that don't seem carefully planned.

Fans of Mamet will need no further persuasion to see yet another fine example of his work. This is up there with the best that he can produce, even if it doesn't quite reach the heights of House Of Games or Glengarry Glen Ross, and deserves to find an appreciative audience for a long time to come.

8/10

http://www.amazon.co.uk/The-Spanish-Prisoner-Steve-Martin/dp/B00009KOYB/ref=sr_1_1?ie=UTF8&qid=1376917281&sr=8-1&keywords=the+spanish+prisoner