Dino's vs The Volcano: Review of Jurassic World: Fallen Kingdom

Jurassic World: Fallen Kingdom

Director: J.A Bayona

By Alex Watson

Despite some fine visual touches and some solid direction from J.A Bayona- Jurassic World: Fallen Kingdom fails to live up to expectations. Saddled with a dull script and lack of narrative, this picture fails to advance what seemed like a promising reboot franchise. It provides plenty of thrills, but a sequel cannot succeed just on this element alone.

Years on from the disastrous failure of Jurassic World, Claire Dearing (Bryce Dallas Howard) has become a dinosaur activist. Isla Nubar is threatened with an eruption from an active volcano which could potentially wipe out dino life on earth once more. Eli Mills (Rafe Spall) proposes that Claire lead a rescue attempt for these creatures which includes recruiting disillusioned former Raptor trainer Owen Grady (Chris Pratt). However, Mills seems to take a particular interest in saving notorious female Raptor, Blue...

J.A Bayona does bring some delicate touches to Jurassic World: Fallen Kingdom, in particular, his Spielberg-like beginning where an underwater salvage mission soon results in a T-Rex attack. These types of moments are fine and give some small rays of sunshine. Then we come to the central plot which manages to gloss all events over the last three years. The corporation has paid out over $800 million in lawsuits and Owen and Claire had a failed attempt to at romance. From the moment Mills and his benefactor Benjamin Lockwood (James Cromwell) pitch their rescue mission- it is obvious something sinister is at play. Sadly, this soon gives way to a half-baked story about the corporation wanting to weaponize dinosaurs. Well, of course, they do!

What could have been an engaging story of against the clock survival is instead swept by in a matter of minutes. Bayona makes the volcanic eruption a spectacular thing and watching a Brontosaurus essentially left for dead in a cloud of volcanic smoke is gut-wrenching. Had the script stuck this type of affair it would have raised the stakes, instead, we get yet another dull formulaic story of corporate evils looking to profit off dinosaurs. Another key issue is the supporting characters, outside of the engaging Grady and Dearing, their co-stars are reduced to being the whiny nerdy guy (Justice Smith) and the tough-talking scientist (Danielle Pineda). Though veteran Ted Levine does have some fine moments as the villain Colonel Wheatley. The side story of Jurassic World most memorable dino Blue is also good- this is one Raptor that is a must-have for the corporation and throughout she gives this picture a little more soul and smarts.

The third act of Jurassic World: Fallen Kingdom does at least have some commendable thrills to make up for the lack of story. Set within the confines of the Lockwood mansion, it is very much a run and hide affair. One of the key surprises comes from a new hybrid dinosaur that Ingen has cooked up. This alone sends a few shivers down the spine as it runs amock. Bayona manages recreates the cold and creepy feeling that his breakout film 'The Orphanage' provided. While we are let down by an overly sentimental ending and a frankly awful mini twist, we least get some value for money during the home stretch.

Chris Pratt shows how he is fast becoming the main man for Hollywood franchises. Owen Grady is a character more complex than he first appears- his connection to Blue is one that gives this character a needed emotional depth. Pratt also makes good use of his trademark easy charm to win over his audience. Bryce Dallas Howard makes sure she wears more appropriate footwear for this outing. Although Claire Dearing suffers from a lack of development, Howard finds a way to rise above this and give a convincing performance. It is also great to see the return of Jeff Goldblum as Ian Malcolm, his appearance may be small but his character has lost none of its appeal or wit.

Jurassic World: Fallen Kingdom is a big missed opportunity for this franchise. Hopefully the return of Colin Trevorrow for the third outing with steady the ship.

A Head Full of Dreams: Review of The Mercy

The Mercy

Director: James Marsh

By Alex Watson

While this is perhaps a more restrained effort than expected, James Marsh does an excellent job of showing the plight of sailor Donald Crowhurst. The Mercy show demonstrates that the of dreams is very much the subject matter here and thanks to a wonderful measured turn by Colin Firth, we see first hand how sometimes risks do not pay off. The open oceans are the real villain of this piece and Marsh shows us that when facing nature- man is always powerless.

Donald Crowhurst (Colin Firth) is a struggling businessman and sailing enthusiast. Desperate to keep his failing business afloat, Crowhurst decides an around the world race to win a 5000 cash prize. Hopelessly inexperienced and sailing a boat seemingly doomed for failure, Donald still pushes on. When finally out in the ocean, he soon realizes he either faces ruin by turning back or certain death by continuing. Keen not to face oblivion, Crowhurst decides to make fake entries in his log book to hide his failure. 

The Mercy is a movie that puts both its audience and its main star through the emotional wringer. Early on, we realize that Crowhurst is a man of big dreams, but thinking big doesn't always equal success. His loving and devoted wife Clare (Rachel Weisz) clearly dreads the prospect of her husband sailing away into the unknown. Woefully underprepared, Crowhurst is more or less a weekend sailor taking the biggest risk of his life. Seeing an opportunity, sneaky publicist Rodney Hallworth (David Thewlis) comes forward and begins promoting Crowhurst's race as the ultimate underdog story. In reality, it is little more than a suicide mission and this man is a lot of more than bragging rights at stake. In the early stages, Marsh does an excellent job of mixing a bright optimistic outlook with a sense of swirling gloom overhead.

When this picture finally embarks on its open water voyage, it doesn't take long for the audience to realize that Crowhurst is in way over his head. His boat quickly falls apart and he appears set for certain failure. When he decides to fake his log book positions, he turns from being a plucky underdog to a forward-thinking survivor. His boat will not stay together in the condition it is in, but he also has to be careful. He cannot win the race but he also cannot come higher than last as it will arouse suspicion. While at sea, there is perhaps too much restraint and while Marsh does a fine job of conveying the sense of fear and desperation by Crowhurst, we don't feel the mania and isolation that would eventually result in his downfall. Simon Rumney's upcoming biopic 'Crowhurst' reportedly has this in spades. His pride is shown as the real driving force and having signed over everything to sponsor Stanley Best (Ken Stott), he has little option.

Few will be prepared for the devastating blow that The Mercy delivers in its final act. Throughout this picture we see Crowhurst keen to protect his family from embarrassment. His phone calls to them through Marsh's film have a resounding emotion to them. We can almost feel the shame radiating off our hero as he hears the pride in their voice. In reality, our hero is a man pushed into a dangerous situation simply to prove his worth. The context in which we should view Crowhurst as the victim is debatable and many different adaptations have put their own unique spin on things. This one is a lot more simple and paints the picture of a man just wanting his family to survive.

Colin Firth delivers a performance that is up there with some of his best. During the movie's key points he wonderful underplays the mania which Donald Crowhurst apparently descended into. He still maintains his typical stiff upper lip but he does a fine job of showing the continuous emotions washing across his face. Rachel Weisz is also strong despite limited screen time. Playing a wife who knows her husband may not make the trip, but is determined to support him anyhow, Weisz, as usual, is remarkable.

The Mercy is a movie which shows to devastating effect how even the best intentions can lead us down the wrong roads.

Someone in the Dark: Review of Hereditary

Hereditary

Director: Ari Aster

By Alex Watson

Every once in a while there comes a horror movie that is truly game-changing. In 2018, that movie Hereditary by first-time director Ari Aster. Coming across as a psychedelic mixture of  Nicolas Roeg's Don't Look Now and Polanski's Rosemary's Baby, Aster has created a rare beast. Throughout this picture is mind-jarring but also incredibly slick and clever too. Those of you who dare to see this will be processing what you have seen for days to come.

After the death of her estranged and troubled mother, miniature artist Annie Graham (Toni Collette) is trying to pick up the pieces. Soon after, she begins noticing some odd changes in her family, particularly with her daughter Charlie (Milly Shapiro) and her son Peter (Alex Wolff). After some other life-altering events, it becomes clear that something sinister is at play and that her mother's private life might have been something quite unholy.

Those of you looking for a formulaic horror movie with plenty of jump scares should look elsewhere. Hereditary is a much a smarter type of scary because Aster leaves it open his audience about how they want to be scared. This picture could have multiple meanings to decipher- is a commentary on mental illness? Is it a supernatural horror? Or is this a compelling look at the effects of grief? Part of the genius of this film is that Aster leaves things wide open. Annie is a woman picking up the pieces from a mother she excommunicated long before. When she tells the funeral gatherers that her mother was a private person with 'private rituals and private friends' we can sense immediately that something ungodly is lurking close by. What is so clever about Aster's film is how he dangles horror right before you, yet you don't notice it immediately. In some scene, we see Annie finishing up in her art studio and in the background you what appears to be a silhouette of her dead mother. You will notice it, your friend will jump but the reality only creeps in when you least expect it.

Aster never once gives his audience a break from the horrors and throughout he maintains a steady flow of unease. Each moment has something troubling close by, even in places where the characters should be safe. During scenes in the dark, our eyes will immediately scan the room and Aster does a great job of playing mind tricks on his audience.  There is also the notion of who exactly Annie can trust? Her husband Steven (Gabriel Byrne) is becoming progressively more concerned with her behaviour. Then along comes the amiable Joan (Ann Dowd) a seemingly friendly and sympathetic fellow grief sufferer. However, in Aster's world, she is immediately suspect and her intentions at first seem pleasant but why does she view Annie as a kindred spirit? The Graham family themselves are also not far from suspicion and as early on we learn that Annie's family has a history of severe mental illness. There are also some 'troubling' reveals about her history of sleepwalking too.

The impressive pulsing score by Colin Stetson is one of the key elements that make Hereditary such a unique experience. Literally sounding like doom itself, this sound makes you squirm uncomfortably. Aster along with DP  Pawel Pogorzelski do a resounding job of making the picture look the part. Little touches such as long swooping takes through the Graham household, to see a tree house lit by burning red lights give this movie its sickening horror. There is also the introduction of many of typical Hollywood horror staples late on. Demonic symbols are drawn, cults are introduced and we see a couple of very unsettling seances. Overall, Aster is very creative in finding ways to make sure his viewers need their hearts jumpstarted after the film's climax. There will be burning questions you need immediate answers to- sadly this will only be solved with time and multiple viewings.

Toni Collette gives a performance that is definitely the best of her career. Annie is a woman who is having problems thrown at her left, right and centre. Collette does a masterful job of showing a woman who is collapsing under the weight of this horrific activity. Frequently she is put to task during the pictures more emotional content, but Collette is more than equal to the challenge. Milly Shapiro is also a compelling supporting presence as the afflicted and social awkward Charlie. Through this performance is able to elicit both dread and sympathy in equal measure. A bizarre and strange looking child, Charlie is a young girl with some strange habits. Alex Wolff is also commendable as the pot smoking teen Peter. A young man on the precipice of adulthood, Wolff shows us a child who is also drowning under the weight of the emotional turmoil that Aster's movie summons up.

Hereditary is a movie that you will be discussing and obsessing over for some time after seeing it. Fair warning though, you may not be the same after viewing it!