A young storyteller, Kubo (Art Parkinson), lives the truth of his stories as he must find an ancient suit of armor to fight against the vengeful Moon King (Ralph Fiennes).

A Dying Art

Stop-motion animation was the original go-to for Visual Effects in movies. From the early days of King Kong (1933), to the Imperial Walkers in Star Wars, it provided a way to make fantasy a physical reality. While technology has shifted more to animatronics and computer generated techniques, stop-motion is still foundational to great artistry in film making.

You may know the production company Laika from films like Coraline (2009) and Paranorman (2012) that are those weirdly delightful stop-motion films that we all turn to when Halloween comes around, but this company has so much more to it’s repertoire that is often overlooked when not in the blatantly spooky realm.

Enter Kubo and the Two Strings. It is a fun, family adventure about a young boy who has to follow the footsteps of his samurai father when his aunts and grandfather come to corrupt his soul. Despite the doom and gloom nature of his journey, it is a very sweet story, highlighting the strength of family and community.

The thing that hits me the most about this movie since I watched it upon its release was how snubbed it was when award season rolled around. Sure, it was the year Zootopia and the live-action Jungle Book came out–which were the winners for animation and VFX–but nothing came close (or in my opinion has EVER come close) to the production quality of this movie. It was also considered a box-office flop since it made $77 million worldwide on a $60 million budget. Watch the movie first, but then you must watch this behind the scenes footage to understand how they made this incredibly detailed film, and why it is so devastating that they didn’t receive what I think they deserved.

And while I call this art “dying,” it is still fighting for survival. Laika has a new film “Wildwood” releasing next month. To avoid what happened with Kubo, I strongly believe that it’s important for us all to see this movie in theaters so these kinds of projects can get the fiscal and popular attention this sort of work deserves, done by artist who are passionate about their craft. Watch the trailer here and we’ll discuss more on April 25th!

Parent’s Guide: Rated PG

There is some violence involved as sword fights ensue, and characters die from these fights. Also, in true Laika fashion, the aunts are super creepy, so this may not be the best film for younger audiences.

The post Why you need to watch “Kubo and the Two Strings” (2016) now that it’s back on Netflix! appeared first on Utah.Film.

Based on the true story of the LeRette family, young Austin (Jacob Laval) navigates life with brittle bone disease and autism, which–try as they may–can’t break him down.

Far more than I expected

I was anticipating a cheesy, possibly religious family flick, but I was surprised by the quality and how stylized it was right off the bat. It’s fun and colorful, taking advantage of opportunities to highlight the imaginations of a child versus a parent. The stylized structure also helps build tension, since the story is told a bit out of order, so there is a greater emotional investment, and we pick up on more patterns throughout.

The cast and their performances were all incredible. Zachary Levi (as Austin’s father, Scott) is the reason I knew about and wanted to watch this movie. At times, he is playful and fun, but can also pull off some powerful, deep struggles that any adult (especially parents) can relate to. His chemistry and conflict with Meghann Fahy uniquely and accurately captures married life. Above being a movie about autism, I really think it’s a movie about parenting, especially when facing extenuating circumstances.

Laval was also fantastic, matching the other more seasoned actors in believability. It helped that Laval is also autistic, but as he has pointed out during interviews, he did quite a bit of work to capture Austin’s personality and mannerisms, so it feels very real. There’s something similar to “Peanut Butter Falcon” (2019) here; we have a featured main character with disabilities, but the movie doesn’t make that their only trait and finds a way to flesh them out in a sincere way.

Humor is also a key point to this movie when it comes to the delicate tonal balance with the topics presented. The dialogue is so fun, and very needed at times when there are heavier elements addressed like alcoholism, mental health, and that constant question of if you are doing right by your kids. This story is all about breaks and repairs, going far beyond Austin’s bones. I love how outside conflicts perfectly parallel the inner turmoil the family faces through the years.

I could go on and on about all the little details because every aspect felt very intentional (in particular with costuming, set & sound design, and lighting). Everything came together harmoniously, united in that theme of things breaking and healing, in a way that made me walk away saying “THAT’S how you make a movie!” I highly recommend it for anyone wanting that spark of inspiration and gratitude for life.

Parents Guide

The alcoholism and raw parental struggles might not make this a fun, entertaining movie for younger kids. There are also many trips to the hospital, mostly played off lighthearted without showing anything. It’s appropriate for all ages–it’s just up to a parent if the familial struggles might be too distressing for their kids.

The post What I admire about “Unbreakable Boy” appeared first on Utah.Film.

While this conversation isn’t anything new, I noticed an interesting trend with my favorite movies I watched this last year–they were primarily foreign films. As we all have witnessed, movies and shows coming from other countries have become more accessible and mainstream thanks to streaming services, and there are always a few movies highlighted each year during the awards season. I think what has really struck me this month reflecting on the last year was that I preferred less traditional options as I compared everything I watched to each other, and here are the ones that impacted me the most.

5. 3 Idiots (2009)

This one is more of an honorable mention because I like pointing it out whenever I can, and I feel like it still adds to this discussion. I have watched this film so many times, and it still leaves me with more thoughts and tears every viewing. It is the best film I’ve ever seen about the education system, critiquing and praising in ways that still apply to American universities. As a Bollywood production it, naturally, has many musical numbers with songs that are warm and funny while still thoughtfully exploring serious subjects of economic pressures, castes, and even depression and suicide. Anyone thinking of or currently pursuing higher education NEEDS to watch this movie! 

4. Conclave (2024)

This is technically a Hollywood production as it was produced by FilmNation Entertainment and Indian Paintbrush, but director Edward Berger is Swiss-Austrian and this was largely shot in Italy, so it sort of counts. At the very least, it shows how a blend of cultures can make for incredible art. “Conclave” is total Oscar bait as a drama with a stacked cast, but that’s the kind of stuff I love. The shots were stunning and the sound design was impeccable. What struck me the most, however, was how the premise (the fictitious selection of a new pope) allows for thorough discussions of how ‘church leadership’ can be oxymoronic. True men of god must be sinless and humble, but their worst tendencies might come out when one of the highest positions of power in the world is on the line. It’s meant to spark thought and debate, so you may not agree with everything brought up. Regardless, I think the film balances it so well, so you can see the arguments on all sides and feel free to come to your own conclusions. 

3. Along with the Gods: The Two Worlds (2017) & The Last 49 Days (2018)

This was an interesting Korean series I stumbled upon on Amazon Prime, and it ended up having way more depth than I ever anticipated. The film explores the perilous Buddhist afterlife journey a man goes through so he may earn reincarnation. It’s a richly elaborate world that is very much still tied to those still living. The nuance explored about human flaws and the message about forgiveness is so touching. 

I also included the sequel since they have to be seen together. I loved the first film as a stand-alone allegory, but the sequel takes everything to another level. We delve more into the backstories of the characters and their world. Unfortunately, I can’t go into too much detail, but I can say that it shows what we all want from a sequel: something that is (1) thoughtfully tied to its predecessor so they have to be watched together (ex. The Lord of the Rings trilogy), but (2) everything is still new and a delight to watch every minute of.  So, if you are someone who likes the crazy action sequences mixed with touchy-feely moments, you have to check these films out.

2. Godzilla Minus One (2023)

As the first film I watched last year, nothing came close to how I felt watching “Minus One” in my theater seat. This is one you might’ve heard a lot about if you haven’t already seen it yourself. Much like the newer “Godzilla” (2014), you follow people on the ground facing an insurmountable, monstrous threat following the devastating aftermath of WWII in Japan. While I was caught up in the physical danger, the theme about the value of a life explored from the perspective of a Kamikaze pilot deserter makes me tear up when just thinking about this movie. Watching “Minus One” while sitting in front of a big screen makes you feel so small yet somehow enough for the ones you love. The quality of filmmaking is also so incredible, especially when it comes to the sound design and special effects, which is reason alone to see it.

1. RRR (2022)

No film I have ever seen before comes close to the majesty and oddity that is “RRR”. You come for the insane Bollywood action sequences and stay for the bromance. It’s not unpredictable, per se, but the execution hits all the right narrative and emotional beats. You see the strength of two men willing to attain their goal, no matter the cost, with the 1920 British occupation of India as the backdrop. It tackles racism, “modernization,” and sacrifices in many symbolic shots. It’s simply so fun to watch, while also seeing history from the Indian perspective. It’s crushing, and heartwarming; it’s all you could ever want in a movie. Oh, and did I mention that it also has amazing musical numbers and choreography??

Conclusion

I still loved many of movies that came out last year, and that’s why I’m wanting to get back into writing reviews! While I enjoyed Wicked, Fall Guy, and Twisters as much as anyone else (and I could totally talk your ear off about all of them), none of them reached the emotions I felt while watching these foreign films.

Why would one connect more with something outside of their culture? In part, there is simply more available to us thanks to the vast amount of content on streaming services, so we can sift out the best of the best. I’m also always one to be a cynic and point out that we are craving more quality at a time when Hollywood is still primarily feeding us half-baked-expensive time killers. Other countries are utilizing the same technology we have to tell actual stories that are fun and have thoughtful and emotional impact. I also think that the biggest factor is due to our curious human nature. We love seeing other perspectives and experiences that isn’t Americanized. It broadens our views and expands our hearts in ways we never expected. So give that subtitled film a chance when going to the theater this year!

If you watched some great films last year, give them a shout out below, and I look forward to watching upcoming movies with you in 2025! 

The post My Top Viewing Experiences of 2024: The Year of Foreign Films appeared first on Utah.Film.

On the night of the 100^th showing of Agatha Christie’s “The Mousetrap,” a director (Adrien Brody) who hopes to make it into a film is murdered. Jaded Inspector Stoppard (Sam Rockwell) is joined by the unexperienced but enthusiastic Constable Stalker (Saoirse Ronan) to investigate the cast and crew who seem untroubled by the loss of the unlikeable victim.

Characters Versus Plot

Although an original whodunit, “See How They Run” is made to exist in our world with historic characters like Richard Attenborough (Harris Dickinson) and Sheila Sim (Pearl Chanda)—the original stars of Christie’s famous play. The film is filled with genre references sure to crack frequent smiles and chuckles. The dialogue and style are quick and witty, always aware of the audience’s awareness. It was very meta and used what could be predictable to their advantage. There are a couple of very clever scenes that make for an enjoyable watch.

I loved all the individual interactions accompanied by perfect tone setting tunes. Each scene was filled with rich characterization and these actors absolutely killed it in every moment. Saoirse Ronan was especially fun to watch every time she was on screen, and she had an arc that was fun to follow. She and Sam Rockwell played off each other well, and I would love to see them together again. Just in general, I would love to see a sequel or some other film with this cast because they were all so delightful.

As far as the main mystery goes, I found it lacking. They were rushing through the investigation without letting me grow suspicious of anyone for too long. The ending also felt unsatisfying. Not because of the murderer reveal, but because it didn’t feel entirely earned.

I did like the moments earlier on that somewhat spoiled the ending, but once everything came about, I wasn’t impressed. They didn’t commit to some fake outs like I hoped. Furthermore, by the time I reached the end, I was tired of all the split screens and awkward headspace shots. The film’s focus on being quick and stylish worked more with the dialogue than with the mise en scene and cinematography.

All in all, we have a mediocre mystery plot with amazing execution; I prefer that far more than the other way around in this genre. Some may enjoy the mystery more than I did. I haven’t seen “The Mousetrap,” so that might have influenced my experience. However, even if you agree with my take, I still suspect you won’t regret seeing this one since it provides a fun night out.

Parent’s Guide: PG-13

This movie was relatively clean with minor language and no sexual content, which was very surprising for a PG-13. There are references to affairs but no overly romantic scenes. The only reason for the higher rating is that you see two murders play out. Those scenes aren’t graphic, but the victim in the beginning is put on a stage with blood all over him when the police find him. There is plenty of suspense, but the overall mood is mostly lighthearted and family friendly.

The post “See How They Run” (2022)—Excellent Execution of a Mediocre Mystery appeared first on Utah.Film.

Sam (Javon ‘Wanna’ Walton), a young boy in Granite City, idolizes the superhero Samaritan who disappeared 25 years ago after his ultimate battle with Nemesis. While some believe he gave his life to save the city, Sam suspects that the trashman who lives in his apartment complex, Joe Smith (Sylvester Stallone), is the masked hero in hiding. With crime and tension rising in the city, Sam urges Joe to become the hero they need once more.

A Breath of Fresh Air

Considering my recent Stallone binge and my love for “Unbreakable,” I had high expectations for this movie. And “Samaritan” totally lived up to it! This was such a great angle to observe the oversaturated superhero genre. It explores new themes of a post-vigilante world that will remind you a bit of our real world that lacks super-human abilities.

All the performances were great. Walton and Stallone play off each other in a fun way. I also like how there is still a touch of cheesiness with the names and the villains that still feel like a superhero movie, but it is never over-the-top or distracting.

I am still in awe of the stunts, practical effects, outfits, and sets that were used in this movie. It makes the story feel more real, and it is going to age very well. The shots are really thoughtful and gripping with how the camera moves combined with the choreography. You can actually follow the action and feel excitement and tension surge through you as you watch.

There’s an animated sequence at the beginning to introduce the feud between Samaritan and Nemesis that has a fabulous comic-book style, but what impressed me about it is that they didn’t even skimp out on some of those action shots since they still had stunt actors come in to film the fight sequences and then edit over it to make it look animated. It could’ve all just been computer generated but it would come at the cost of the realistic look.

What the heck is this dedication to craft? I love it! Don’t let the Amazon release fool you. This movie provides all the movie magic and care that “Love and Thunder” couldn’t with five times the budget.

Thoughtful and Reflective

Stallone talked in an interview about how the people in the story give up on their city, and the story shifts to what it means to really take back what you built. It is very topical in today’s world. The beginning talks about muddled morals and then finding clarity as the story continues, which we don’t often see anymore. There are some issues I have with this movie, but I don’t want to draw attention to that because I want people to watch this movie and enjoy a well-made movie.

Parent’s Guide: PG-13

Due to the more realistic nature of this film, the violence feels more intense than in other superhero movies. One scene might be frightening where Joe is hit by a car, and he heals himself with his bones popping back into place like a watered-down version of Stranger Things season 4 shenanigans. The hand-to-hand combat is frequent but not bloody and graphic with many of the deadlier blows not shown blatantly on camera. Most of the time, people’s bodies are just being thrown far to the side. There is also some basic PG-13 language, but it isn’t vulgar. This is a safe movie for teens if they can handle the violence.

The post “Samaritan” (2022) is the superhero flick we deserve appeared first on Utah.Film.

A filmmaker (Dean Fleischer-Camp) becomes fascinated with an adorable talking shell (Jenny Slate) who lives in an Airbnb with his grandmother (Isabella Rossellini). As we explore the little guy’s world, Marcel discovers the possibility of reconnecting with his long-lost family through his growing popularity on the internet.

Unusual in the Best Ways

The film acts like a documentary and feels so genuine and real despite how arduous a stop motion-animation and live action hybrid movie is. I would describe this film as a ballet, where it takes so much effort to make this movie feel effortless and natural. The character and set design are so charming. The technical efforts made for this film is reason enough to check this one out.

Snapshot of an Era

Besides being a visual masterpiece, the ideas presented in this movie will be the most memorable part for viewers. Marcel has this innocent, pure perspective that provides precious nuggets of comedy and wisdom that viewers of all ages will enjoy. His grandmother is equally loveable and an admirable character in her strength and maturity.

For me, there was a lot of personal nostalgia for an era of the internet that inspired me to film my own goofy videos, like the original ‘Marcel the Shell’ shorts on YouTube. It was a genius move to build off those shorts by pulling back the curtain, showing how a documentary is made, making the mysterious man behind the camera a character; it made my little filmmaker heart soar.

Change

Besides the nostalgia, this movie’s overall message really touched me. I find it very interesting that this movie talks a lot about breakups and relationships changing or evolving when Slate and Fleischer-Camp were in a relationship when they first made the Marcel shorts, but they have since broken up. Moving on from a relationship—without immediately falling into a new one—is an interesting way to further explore the main theme of change.

The “Linger” camp song is performed by Marcel many times throughout the film. It shows his longing to hold onto what currently is, refusing to change or say goodbye. However, this is contrasted by life events teaching him that change, whether good or bad (sometimes both), must take place in order to get to the joy of the next phase. This movie is a great way for children (and adults) to learn how to accept change while still having a cathartic experience that validates the heartache that may follow.

This is a magnificently crafted film with heartwarming messages that everyone should see.

Parent’s Guide: PG

This movie is very safe for young viewers, but the slow pacing might not make it super exciting for them. The only things that bump up the rating is some rare mild language and the sad loss of loved ones that is portrayed in the film.

The post I want to linger a little longer with “Marcel the Shell with Shoes On” appeared first on Utah.Film.

In the 1960’s North Carolina marshes, the body of Chase Andrews (Harris Dickinson) is found at the base of a high tower. Speculation and town gossip leads to the arrest and trial of Kya Clark (Daisy Edgar-Jones) who lives alone in the marshes.

Romanticism and Reality

This movie reminded me of “The Glass Castle” (2017) which was also better received by audiences while trashed by critics. It was criticized for not being harsh and realistic enough, but I found the performances incredible, the scenes shot nicely, and the narrative extremely satisfying. I feel the same way with this movie.

There is a romanticized view of the southern marshes and a girl having to raise and take care of herself in the wild. It’s an idea that I have toyed with in my own stories. While the scenery and score can feel unrealistically captivating, I think it helps show the fixation and infatuation that many of the characters have with the ‘Marsh Girl.’ There are themes about truly knowing someone that I think grounds the mystical back into reality.

As someone who grew up reading all sorts of teen triangle romances, I found Tate and Chase’s characters to be incredibly fascinating as a more realistic portrayal of a triangle relationship, once again subverting the fantasized rose-colored lens perspective of relationships. The contrasts in action and ideals between themselves and with Kya were very interesting to see unfold.

But, of course, the unfolding crux of this film is the murder trial. I love parallel stories in film because the creators must intelligently edit the two storylines to make viewers believe it all flows into one congealed story. And this story flows so well. It kept me guessing; it made me feel tense. For what could’ve been a simple courtroom drama, the way new information was presented kept the story very interesting, all the way to the very end.

This feels like an overly simplified response for a movie that was so well made technically and thematically speaking, but I can see why this book was so popular when released. I hope viewers find this a faithful adaptation that uses the possibilities of film to successfully frame these beloved characters and captivating thriller storyline.

Parent’s Guide PG-13

With the background premise of a murder trial, many elements are very mature, especially with sexual and abusive content. While nothing is graphically shown, there are long scenes of intimacy and (basically) a rape scene fully played out. Language isn’t very strong, but some is used. There is also an abusive father who is seen beating his wife and children. To paint Kya’s character, we see people mistreat her which has turned her into a recluse, desperately trying to survive. If these things seem disturbing, I wouldn’t recommend this movie because it will make you uncomfortable.

The post Romanticism vs Reality in “Where the Crawdads Sing” appeared first on Utah.Film.

When Julia Thistlewaite (Zawe Ashton) is humiliated over being publicly slighted by the wealthy, honorable Mr. Malcolm (Sope Dirisu), she enlists her cousin (Oliver Jackson-Cohen) and childhood friend Selina Dalton (Frieda Pinto) to use Mr. Malcolm’s list of requirements for a wife against him.

Everything I Could Have Wanted and More

With this being based on a contemporary novel, I was a little skeptical. This is a genre I am very picky about since I have been a hard-core Jane Austen fan for as long as I can remember, and I crave the best chemistry, longing, and wit when it comes to romance. Although I came in with these high expectations, they were thoroughly surpassed. From the very first moments with the music and establishing shots, I was hooked.

I don’t know if I should credit my love for this movie to the script or to the actors who brought those written characters to life. Either way, the characterization is such a strength to this film. The characters are very unique from one another and from anything I have seen before. There was a lot of range in their emotions and in the roles they would play, being helpful one minute and antagonistic in another. It was very realistic in how people can have their good and bad moments. Whether or not we as an audience agreed with their actions, we still loved them flaws and all. Plus, it made for fantastic drama.

While ‘Mr. Malcolm’s List’ certainly pays homage to other popular period romances, they made this story their own. A major theme of the movie is artificiality versus authenticity especially when it comes to the dating game. This provided interesting commentary that applies to the 1800s and today. Authenticity carries over to the production itself as the plot and conversations develop so naturally. I was very surprised by how the plot progressed in ways that would best suit the characters instead of falling into predictable tropes. I can’t say this enough—I love these characters.

The humor was incredible. It kept the movie from dragging, and it made me want to this movie again as soon as I can. Ashton and Jackson-Cohen, in particular, absolutely steal each scene they are in with their line deliveries and their expressions when the camera lingers on them. I will be exclaiming “What an astute observation!” at every given opportunity from here on out. In part, the editing needs to be commended here for hitting those beats perfectly and allowing such a great flow for the story.

I highly recommend this movie as it is so well done and great for people of all ages. If you have a cold, black heart and can’t bring yourself to cheering on love and happiness for others, this may not be a good pick for you. But hey, the devious schemes may suck you in anyways.

Parent’s Guide: PG

There are some minor swear words used very rarely and two (extremely satisfying) kiss scenes that parents can feel safe bringing their kids to see.

The post ‘Mr. Malcolm’s List’ is the crowning jewel of the summer appeared first on Utah.Film.

Five people suddenly wake up from cryosleep in a mysterious underground facility with no immediate recollection of who they are or why they are there. As they get a sense of their roles and situation, not all is as it appears as each person seems to be concealing their own secrets.

Bravo, guys!

Although it is a local, independently made film, there are some very impressive elements. My favorite part has to be the location. The bones of the facility has a cool texture, and it is dressed like a puzzling underground lab. While I don’t usually like intense monochromatic color schemes, the lighting and coloring made the visuals very interesting, adding a lot to the tone. While these were physical tools that built the tension, there’s a great deal of attention given to the psychological side through how scenes are cut together and how sound is manipulated. I watched this one at home, but I imagine experiencing the sound in a theater would be incredible.

The performances were all pretty good—I always love seeing Michael Flynn—except for Curt Doussett whose aggression sets audience suspicions off balance. I really wanted to foster an even distrust with each character, but Doussett came off a little strong, conveniently knowing too much right off the bat. I don’t think it’s his fault but the script’s, because the opening scenes when everyone first gets together are pretty clunky with him being the worst culprit of bad dialogue. The dialogue throughout was awkward, as each character spoke perfectly one at a time like in a play. Natural arguments where characters are speaking over one another would have been more realistic and would have picked up the pacing.

Besides those issues, I love how the script turns on each character like in a game of Clue. In fact, there happens to be a clever scene of characters playing the game in the first half to get them bonding. In addition to Clue, there are many allusions and references that nicely tie into the story and made me an active audience member, constantly guessing what would happen next.

The story itself is unlike anything I had seen before. It makes you feel uneasy like “Ex Machina” and claustrophobic like “10 Cloverfield Lane” with other familiar themes from the genre, but I don’t really want to compare this movie because it does feel unique. The ending is so satisfying and thoroughly enjoyable to see unfold. The only thing that would have made it better was fixing some inconsistencies with injuries and placement in the facility; I think it was intentional, but they looked like mistakes, and it detracted a little from the big reveal when it could have enhanced it.  

All in all, while it isn’t without its flaws, this was a very well-crafted film by people who were clearly passionate about telling an interesting story, which is what I have been craving in modern cinema. And let’s not forget that this was directed by Utah filmmaker Barrett Burgin, filmed in Provo, with a Utah crew! For something of this caliber, that’s a big deal and I hope it does well once it gets a wider release in select theaters June 24^th and VOD June 28^th.

Parent’s Guide: PG-13

More than anything, the tone is what would make this one too scary for young kids with the red lights, a featured pool of blood, and mysterious shadowy figures following the main characters. One of the opening scenes features the silhouette of a nude woman as she leaves her cryochamber, but nothing is ever shown. It wasn’t until one scene with a couple of swear words (including an F-bomb) that I realized there hadn’t been any language in this movie. I wish they didn’t put any in because the few profanities seemed oddly placed in an otherwise fairly clean film. There are also some intense scenes of physical conflict, but there isn’t any gore. Definitely a PG-13 but a comparatively safe one.

The post “Cryo” (2022) is one to keep on your radar appeared first on Utah.Film.

Following the world-altering events of “Fallen Kingdom,” dinosaurs are now living in the outside world. Owen (Chris Pratt), Claire (Bryce Dallas Howard), and Maisie (Isabella Sermon) have become a pseudo-family hiding out in the woods. Although sympathetic to the dinosaur survival cause, their hands are tied from venturing out too far due to a high demand to study the human clone. Meanwhile, Ellie Sattler (Laura Dern) is brought in to investigate a mysterious horde of large locusts that point to the new genetics company on the block, BioSyn. She recruits Alan Grant (Sam Neill) to join her to meet with Ian Malcolm (Jeff Goldblum) to get to the bottom of this.

OOF

As you may have noticed by now, the trailer far exceeds what the movie provided. In fact, there’s a lot of differences between the trailers and the film in having whole scenes that don’t exist and different takes used of moments with the main cast. My expectations were very low, but I’m still surprised by how much this movie unintentionally made me laugh. It is absolutely ridiculous, which may make this a fun movie to watch once and never think of again, but I have some specific issues that I must get off my chest.

I was very excited to see humans and dinosaurs coexisting. I was morbidly curious after the events of “Fallen Kingdom” about how they could possibly dig themselves out of the narrative hole of releasing dinosaurs into the world. Well, the answer is apparently to just ignore it for most of the film. Besides some news montages at the beginning and the National Geographic-esque montage at the end, we really only spend time with dinosaurs that are owned. It was so boring and lazy.

On that note, the lazy writing was atrocious. I’m convinced from the nostalgia bait but massive let-downs that the writers never saw the original films, only the memes. It’s no wonder that besides the Jurassic World movies, the only other story of note that Colin Trevorrow worked on was “Rise of Skywalker.” There were plot points concerning the science and living situations that were set up in the previous films and carried out fairly well until it all fell flat on its face after the expositional scenes. The lines were uninspired and made the story drag. Remember how quick and witty the other films were? Ah, those were the good ol’ days. Instead, we now have characters stopping to explain every little obvious action to each other in real time. This is the kind of rough draft dialogue and story I would turn in for an inconsequential school assignment after a long week of procrastination.

And because of slow dialogue-heavy scenes, we had to speed up the action. This is the perfect example to contrast with “Maverick” since the confusing action disorients us and pulls us out of scenes. There is never any tension or build up that will make us look back and say, “hey, remember the ___ scene from ‘Dominion?’ Classic!” These sequences look like the garbage CG featured in the Fast and Furious Universal Studios ride. In a series that became so famous for ground-breaking spectacle that inspired generations of cinephiles, this is heart-breaking.

The main antagonist is basically the Steve Jobs/Bill Gates/old-weird-tech-guy, previously seen on “Don’t Look Up.” He is unremarkable besides the uncomfortable cringe his ‘quirkiness’ brings. *Sort of spoiler* He was so bad, and the other new cast members were so poorly acted that I thought there was going to be a plot twist where the new characters were the real evil masterminds all along. They weren’t, but now I’m just confused on why any of these characters were directed to act this way. Furthermore, I won’t go into too much detail, but I’m very curious as to why this story fuels a lot of current conspiracy theories floating around about our current food supply situation. Take the antagonist and this plot line as you will, but it was a surprising choice for Hollywood.

As a personal note, Ellie Sattler is one of my all-time favorite film feminists because she was so cool and could hold her own against anyone—even a dinosaur—, but there was also this very tender motherly side of her. That’s what made her relationship with Alan Grant so interesting because she challenged him intellectually AND personally, while it was still clear he was a genius (albeit flawed) in his own right. Fast forward to fourth-wave feminism Ellie where her children are out of her life and she can finally be free to push the bumbling idiot men around. It was discouraging to see how modern ideologies can be so damaging to past triumphs. At least Jeff Goldblum is still just as entertaining to watch, but the awkward dialogue even tripped him up a time or two.

As I said previously, I laughed and was decently entertained but I would certainly not pay full price to see it, nor will I watch this movie again. I don’t think anyone will. That being said, I would recommend seeing this movie just to witness the disaster in person, preferably on a discount night in theaters so at least you can enjoy the lighting and the sound design in its full glory.

Parent’s Guide

It’s definitely a PG-13, but not a hard one. The violence was primarily off-camera and the language wasn’t stronger than a Marvel movie. Also, since tension is never built-up, it is the least frightening out of all the Jurassic films. It might be a good, safe one to introduce to kids, but frankly, they deserve better.

The post ‘Jurassic World: Dominion’ might have had good intentions…. and that’s about it. *A RANT* appeared first on Utah.Film.