Jurassic World

Colin Trevorrow, 2015

IMDB

3/5

Basically any boy who grew up in the early nineties saw Jurassic Park. It can easily be considered the millennial generation's Jaws. It's now been 22 years since the original film hit theaters. So Jurassic World is trying to do two things. It's trying to satisfy original generation who grew up with the original, because they are certainly going to the be the ones accompanying the easier-to-please younger generation of kids who already have dinosaur posters on their walls. And who knows, maybe some of these kids have caught the original on cable or figured out how to operate daddy's VHS player. Long shot. I know. Okay, well to be fair it's also on DVD.

One of the immediately pleasant things that you notice with Jurassic World is that it's very self-aware of it's own cultural existence. There are satirical elements at work; displayed by the corporate forces trying to get increased park attendance, clearly poking fun at the whole trying to get movie audiences back in seats to the franchise. It blankets the franchise with a very modern touch. Just like in our own real-life world, the corporate entities are everywhere you turn. There is now a Starbucks in the park. Guys in suits are looking for any possible surface to plaster a logo to create a new revenue stream. Also gone is any of the old school corporate etiquette. We notice quite quickly that the modern day Jurassic Park is a corporate environment where low-totem guys like Lowery (Jake Johnson) can mouth back to their superiors with no real punishment.

Jurassic World ultimately succeeds in what it sets out to accomplish. It revitalizes an old franchise and gets people in seats hoping for some new terrors in questionably secure confinement. There are some eyebrow-raising moments, like when two kids are able to quickly fix a 20 year old Jeep covered in vegetation and get it running in what seems like a few minutes. There are some worn-out themes, like Bryce Dallas Howard's character as the cold corporate woman that we have seen so often in cinema. Because of the attempts to sort of one-up itself in the story and in real-life by creating something new for audiences to see, it actually morphs into more of a monster movie and less of a dinosaur movie. That's okay, because the characters are developed enough that you have some moderate investment in them and you still get some of the classic Jurassic Park touches. If you go into Jurassic World with the right expectations, you will probably walk away from it satisfied enough. It doesn't try to reinvent the wheel, it goes down easy. Especially for someone who was raised on the originals and wants a dose of dino-nostalgia. 

Chained

Jennifer Chambers Lynch, 2012


3/5

Lynch directs this torture-horror picture about a serial killer who traps his victims with his taxi cab and brings them to his house to kill them. He uses a boy, son of a past victim, as a slave in his home to help clean up his messes and work on his scrapbook which details his slayings.

Lynch's work is probably the creative equivalent of bringing Eli Roth home on a date to meet her father David. It's not necessarily a bad thing. Just different from a film that her father would make, and of course she is going to be forced to endure countless comparisons from the film community given the impact that David Lynch has had on modern cinema. She has certainly picked up some of the chops, while the film is quite disturbing at times it still maintains an artful quality to it. D'Onofrio disappears into his role as Bob, proving that he can become an even more involved killer than his character in The Cell. His victim, Rabbit (Eamon Farren), maintains a very obvious sympathetic edge throughout the film, as he sits in the run down shack malnourished eating the scraps left behind by Bob. When it comes to the attention to set design, the serial killer's house is so chilling the Fedex guy would be afraid to place a package on the front steps. The visual canvas of the film is laid out using a lot of bleak colors, and when you are in the presence of some light it's usually a circa 1970's lamp providing a disconcerting glow throughout the filthy shack. The windows are boarded up. The basement, which is home to the remains of the many victims, is lit only and ironically by Christmas lights. Night falls, and the glow of fluorescent-lit "Comfort" written on the top of the Taxi Cab provides the same tension you feel when trapped in the house with the monster. Lynch not only plays off of visual cues but also with sound as well. There is a very present bass-driven hum throughout the film, maintaining a sense of impending horror. To sum it all up... it's a film that will appeal to the horror fan, but anyone that's planning a re-watch really needs a psychological evaluation.