The word “dominion” is uttered once in Jurassic World Dominion, in an oblique, irreverent allusion to Genesis 1. “Not only do we lack dominion over nature, we are subordinate to it,” asserts Dr. Ian Malcolm (Jeff Goldblum) in one of his trademark, smugly iconoclastic epigrams. Later in the same speech, though, Malcolm turns with surprising optimism to the power of genetic science to shape the future. Does he really believe this? Is this speech coherent? Is the film itself coherent?
It’s the classic movie monster’s dilemma: You either die a villain or live long enough to see yourself become the hero.
Clearly I am not a vampire. As you can see here, I’ve changed quite a bit in the last six years … not necessarily in my opinion of this franchise.
I’m not thrilled about the lack of worthy romantic leading men in recent Hollywood animation, but I prefer the theme in Frozen, about needing to get to know someone before deciding to get married, to this series’ magical, inexorable “Zing” moment.
Apparently velociraptor is the cowbell of dino design and the filmmakers are Christopher Walken.
I have never seen a movie work harder or more hopelessly than Universal’s new The Mummy, not merely to launch a new franchise, but to jump from a standing start into a full-blown Marvel-style shared cinematic universe in one go.
The MutoVerse is ramping up to a Godzilla vs. Kong rematch, and in due course Mothra, Rodan and King Ghidorah will presumably all take turns fighting one another, culminating in something like the airport set piece in Captain America: Civil War, with everyone against everyone else, only with Mutos instead of superheroes.
The Great Wall is one of those movies that is more interesting for what it portends and the discussion around it than for what is actually onscreen. Not that what is onscreen, in the most literal sense, is bad or uninteresting.
1999 was a very good year for film, and how much more peculiar Tim Burton’s Miss Peregrine’s Home for Peculiar Children might have been had it come out that year, before the X-Men and Harry Potter franchises were launched in 2000 and 2001, respectively.
The Boxtrolls is so defiantly weird and bleak, so committed to the bitter end to its grotesque aesthetic and chilly story, that even as the film crashes and burns you can’t help being moved by the hardworking stop-motion animators’ devotion to their craft.
The latest Hollywood take on the most successful movie monster of all time is a huge hit with audiences and critics…but I’m not feeling the love.
Is it “okay to be okay” if you’re Pixar? Monsters University: : my “Reel Faith” 60-second review.
Monsters University, from first-time director Dan Scanlon, is a charming, well-crafted trifle — at least until the subversive last act, when it sets its sights a bit higher.
More insightful analysis on patterns at Pixar from Peter T. Chattaway…
As a tale of female empowerment and male comeuppance, Monsters vs. Aliens might have been provocative, like, 50 years ago. Today, nothing seems more subversive — and unlikely — than a family film with a heroic leading man who’s the equal of the leading lady — one boys can look up to without having to learn a lesson about male weakness. Now that’s a movie I’d like to see.
In a way, Monster House is a bracingly icy breath of fresh air, a tween-oriented family film that is unabashedly out to frighten.
The world of Monsters, Inc. is a more artificial and contrived affair than the Toy Story world, and something of the figure of the Monster in myth and fairy tale and imagination has been lost. Yet there’s also a slyly satiric point: Childhood fears aren’t what they used to be.
Copyright © 2000– Steven D. Greydanus. All rights reserved.