Jurassic World: Fallen Kingdom

Already dominating the global market (China), the follow-up to 2015’s massively successful “Jurassic World” adds yet another layer of absurdity to the clever premise created by Michael Crichton way back in 1990. What started as a special effects novelty has become a full-fledged action franchise. Although it’s fun to see dinosaurs on-screen, it’s getting a little stale and is challenged to come up with bigger, badder predators and original chase scenarios.

Returning to Isla Nublar off the coast of Costa Rica, we are treated to a startling revelation since we last saw our mad geneticists and secret billionaires; the dinosaurs didn’t die off. The second time around I mean. After a very cool opening sequence, the audience is faced with choosing sides; Darwinism, or save the dinos from the active volcano threatening to do them in yet again. The powers that be send in a team to collect survivors to ensure the species, but aren’t they all homegrown and female? Couldn’t it just be done all over again? Anyway, the wealthy suits behind the rescue operation obviously have an ulterior motive, and our heroes Owen and Claire need to save the day. And the dinos. And the civilians. And the world.

“Jurassic Park: Fallen Kingdom” has a little bit of everything, but not much depth. Visually it’s beautiful as there are underwater scenes, volcanic eruptions, a creepy museum/house/dungeon, and loads of reptilian species, most of which are conveniently described for the audience, including the new killing machine hybrid of the Indominus Rex and the Velociraptor, the creatively named Indoraptor. We also have plot twists (predictable), close calls galore, and even a little bit of humor. It’s pretty much everything you would come to expect from a Jurassic Park sequel, but it just doesn’t satisfy.

Chris Pratt returns as Owen Grady, a velociraptor trainer who may as well carry a lumberjack axe and a bottle of Brut everywhere he goes. He’s about as manly as they come, and seemingly the only one who has any common sense around giant meat-eating animals. Bryce Dallas Howard is Claire Dearing, a bleeding-heart dinosaur lover who just needs to admit that she’s into Owen. The two of them unfortunately lack any real chemistry, not that they would have any time or energy with all the running and jumping and nearly dying. The sexual tension takes a backseat to a half-baked plotline anyway, and it’s all just an excuse to cook up more dinosaur action.

Colin Trevorrow (“Jurassic World”) wrote the screenplay, but handed off directorial duties to J.A. Bayona (“A Monster Calls”). Bayona is a master of integrating CGI into his films, and this one is no different. The various dinosaurs take center stage with more screen time than in prior films, and that is what salvages the film’s zest. The Indoraptor is one tough customer. A tenacious and resilient foe, it kills indiscriminately and with animus, and the toe-tapping is a nice added touch.

What I truly appreciated was the detail in the CGI. $170-200 million can buy you a lot of techno-wiz magic and I think we’ve officially reached the time when anything is possible on-screen. There is no longer a need to hide behind what is simply impossible to show an audience. It’s a bit sad, but incredibly exciting at the same time. Literally anything is possible, and looks realistic when done right. That is the precise selling point of this film.

I do wish I had seen the film in IMAX, and perhaps even 3D. I tend to avoid the latter most of the time, but feel like for this one it may have been worth it. “Jurassic World: Fallen Kingdom” is a fun summer film, but it reeks of stale ideas. The writers are throwing darts at a board and pouring money into special effects, but it’s going to turn a profit, so they will keep the sequels coming. I suppose if you like dinosaurs and a little bit of action, you’ll appreciate this film. I for one miss the magic of the original. 6/10.

Ocean's 8

The dramatic shift toward gender equality in Hollywood is on full display with this all-female caper, spinning off of the massively successful (and fun) “Ocean’s Eleven” reboot trilogy. Unlike last year’s “Ghostbusters” reboot, “Ocean’s 8” is less about reboot, and more about being part four with an all (mostly) new cast. I wouldn’t be surprised to see a follow-up if the box office gives it the thumbs up, and I would bet some of our original members would jump at the chance. Of course, the numbers game is an obstacle, so we couldn’t add more than two of our old friends. I’d like to see the Casey Affleck and Scott Caan characters. “Ocean’s Ten?”

Danny Ocean (George Clooney) has a sister! Who knew? Debbie Ocean (Sandra Bullock) emerges from a stint in prison and immediately sets to work, orchestrating the all-female heist of the century. Hollywood starlet Daphne Kluger (Anne Hathaway) is wearing a $150 million dollar Cartier diamond necklace to a museum gala, and Debbie has a perfect plan to snatch it. Of course, there is elaborate high-tech scheming, subterfuge, improvisation, and celebrity cameos galore. What better way to show off the Kardashians than at a Gala? The team features Debbie’s right-hand woman, Lou (Cate Blanchett) who plays Pitt to Debbie’s Clooney. Sarah Paulson, Helena Bonham Carter, Rhianna, Mindy Kaling, and Awkwafina round out our octadic delinquents.

Writer/Director Gary Ross (“The Hunger Games”) manages to maintain the vibe of its predecessors with familiar music, some of Soderberg’s trademark split-screen scenes, and a sense of nonchalant coolness that made the first three films so enjoyable. Despite the stab at familiarity, these are all new characters, and although the introductions are done fairly quickly, we don’t ever really get to know who these women are, and that affects the enjoyment factor a bit.

I wanted more from Cate Blanchett. Her screen time seemed limited, and there must have been a reason, but the scenes with just her and Bullock were captivating. Hathaway delivered a very strong performance as well, and I would say the three of them carried this film over the hump of possible disaster, into mildly satisfying.

The story was nothing we haven’t seen before. In fact, plot-wise, it follows the formula of its predecessors and most heist films for that matter to a near-perfect cadence, but as an audience we can overlook those flaws because we love the suspense of shady deeds, secretly hoping the perpetrators will get away with it.

What is hard to overlook is the execution of their plan. The allure of the original “Ocean’s” films was the improbable, yet somewhat believable aspect. The thieves fearlessly overcome obstacles and narrowly avoid suspicion and capture. It was exhilarating and fun. “Ocean’s 8” misses that aspect of the story. Infiltrating a star-studded gala seems easy as pie for each and every member of the group. Nobody questions anything, and the security is inept and non-existence, never threatening to catch them.

As the film reaches its inevitable twist and climax, James Corden makes a welcome appearance as the insurance investigator called to work the case.

I can’t say the film wasn’t entertaining, but it lacked any bold moves or story arc deviations, and certainly had very little newness despite the fresh cast. They all fell into familiar archetypes, and Gary Ross and his team could have certainly done better.

“Ocean’s 8” stays afloat by way of the three leading ladies doing what they do best; strong acting. Everything else is filler, and you won’t be blown away, but you might find yourself missing the old crew of Clooney, Pitt, and Damon. In a good way. 6/10.

Solo: A Star Wars Story

In the wake of last winter’s critically divisive “The Last Jedi,” the Star Wars juggernaut releases its second stand-alone film and second in just six months; this time an origin story of the franchise’s most beloved scoundrel, Han Solo.

A long time ago, in a galaxy far, far away, there was a young man with no regard for conformity. Roguish and handsome, he only wanted adventure, fame, and fortune. Han Solo (Alden Ehrenreich) joins a band of thieves led by Beckett, the unfortunately miscast Woody Harrelson, and attempts a heist of a highly volatile, incredulously expensive hyperfuel source to get in the good graces of gangster Dryden Vos (Paul Bettany). Along the way, he meddles in flirtation with his childhood sweetheart, Qi’Ra (Emilia Clarke), meets a Wookie, and we finally get answers to the most pressing questions; How did he get his name? How did he meet Lando? And how exactly did he manage the Kessel Run in only twelve parsecs?

Leaving the theatre after watching “Solo” felt like eating a bowl of vanilla ice cream at a toppings bar. There was so much opportunity and so many options, but they (Disney, Marvel, writers, producers) chose the safe path with very little flavor. Don’t get me wrong, I love ice cream, and even vanilla is good, but when you have the chance to add sprinkles or syrup, you have to do it.

Alden Ehrenreich was my young actor to watch three years ago when he stole the show in the Coen Brothers’ “Hail, Ceasar!” I wasn’t sold at first when his casting was announced because let’s be honest, this is a monumentally epic role. The physical resemblance isn’t quite there, and the voice leaves me a little uncertain, but the smirk. The smirk works. Alden pulls off the swagger and blasé attitude that Harrison Ford made so memorable all those years ago. It takes a little warming up, but by the end you can embrace the new incarnation of Han Solo.

Donald Glover, Emilia Clarke, and Woody Harrelson receive mixed reviews. Acting is solid all around, but I wanted to know more about Emilia’s character, I never bought Woody as a “Star Wars” guy, and Donald Glover had some big shoes to fill. Not nearly as big as Ehrenreich, but he’s the character that drives the curiosity of the film. I have to admit, I didn’t really care much about any of the others, and I spoiled the ending because I already watched the next six movies over the past forty years.

Ron Howard boarded the project to direct last fall after the departure of “The Lego Movie” duo of Phil Lord and Christopher Miller (“The Lego Movie”). It was due to creative differences, and I can only imagine that Lord Miller wanted a bit more of a storyline. Ron Howard is fine, but this isn’t his wheelhouse. I like how they are enlisting a variety of directors for their projects, but they could have done better. Someone more edgy and less established would have made this a stronger performance.

Those who are seeking a continuation of the franchise will detect a slight odor of nostalgia, but mostly you’ll miss the days of old. Disney is on the cusp of over-saturating the “Star Wars” universe with 2019’s “Episode IX,” and the recently announced Boba Fett origins story, in addition to the rumored projects (Obi-Wan Kenobi, Yoda). I will leave you with this thought; Can you have too much of a good thing? Disney and Marvel say absolutely not. You might enjoy the film, but the luster of the franchise is definitely wearing off. 6/10.

Deadpool 2

Back in 2016, “Deadpool” broke the rules of the superhero genre, and it payed off handsomely. Not only did it earn an ‘R’ rating, which limits the box office potential, but the film’s anti-hero, Wade Wilson (played endearingly by Ryan Reynolds) broke the fourth wall of acting, and engaged directly with the audience with his witty/offensive banter. The gonzo marketing has gone viral and the franchise has opened up a new niche in the Marvel universe that may open the door for the DC universe to make the appropriate move into ‘R’ rated territory (“Suicide Squad” should have gone there).

The red-leather-clad, former-special forces, mutant assassin is back in action. Still contemplating the meaning of life, still holding on to questionable musical preferences, and still treating his body like it’s an amusement park. Because you know, he can’t die and has healing powers. He puts together a super-team (X-Force) to try to stop the powerful Firefist, while attempting to avoid the mysterious time-traveling Cable (Josh Brolin). Little does he know that the secret to his own salvation just might lie in a little bit of trust and compassion. Cue emotional piano riff.

I am not completely up to speed how the Deadpool and X-Men characters fit in the Marvel Comics Extended Universe as there are clearly connections (Stan Lee, Quicksilver, post-credits scenes), but this film is really more of a door-opening (or door-shattering) for a new brand of X-Men. With “New Mutants” being pushed back a year due to what can only be surmised as superhero saturation, the other side of the MCEU is quietly building into what looks to be the Avengers’ little brother.

Ryan Reynolds revels in this character. It was rumored that he had been campaigning for the role for years prior to being cast, and he has nailed it. After blowing it badly in “X-Men Origins: Wolverine,” he showcases the character he’s always wanted. A producer and writer on the project, this is Ryan Reynolds’ baby. He’s annoying but funny. Clever and crass. Self-deprecating at every opportunity, and I have to tell you, it works very well.

Playing the second antagonist in as many Marvel films, Josh Brolin is Cable, a time-traveling mercenary with a hit-list. He bears a remarkable resemblance to Winter Soldier, with the exception of the teddy bear, the futuristic blaster, and the glowing eye (never fully explained). I wish there was more back story, but there was a lot going on in the film, so the most interesting character will have to unravel in his obviously impending sequels and spin-offs.

David Leitch is hot property behind the camera after last year’s “Atomic Blonde.” He’s a former stuntman with an eye for action, and has two upcoming projects that will certainly raise some eyebrows. 2019’s “Hobbs and Shaw,” a spin-off of the “Fast and Furious” franchise, and 2020’s “The Division,” a Tom Clancy story where Jake Gyllenhaal saves New York from terrorist gangs (think a modern “Warriors”). Anyhow, he showcases his chops through a series of impressive action sequences, most notably everything with Josh Brolin.

Reynolds has often shared some of his professional regrets publicly, and in one of the most guilty-pleasure post-credit scenes in Marvel history, he reaches a level of catharsis that any actor would envy.

Reynolds tells the audience early on that this is a family film, and to some extent, it really is. There isn’t the typical good guy/bad guy dynamic. it’s more about having fun along the way and doing everything that is great about superhero films, just with added sex, violence, and juvenile foul language.

I was pleasantly surprised that the sequel outdid the original, I was not expecting that at all. It’s fun and fresh, and you leave the theatre with the feeling of accomplishment that comes with the consumption of a CGI blockbuster, but also the levity of a good comedy. A really good comedy. Ryan Reynolds is on top of his game, and the combo of David Leitch and writer Rhett Reese have struck gold. I wouldn’t be at all surprised to see Reynolds atop the list of this year’s highest paid actors as a result of the hundreds of millions that are sure to be generated by way of word-of-mouth and critical praise.

“Deadpool 2” has everything you could want out of a gonzo superhero action-comedy; skydiving, mutant powers and futuristic laser guns, absurd death scenes, and even a blink-and-you’ll-miss-it Brad Pitt appearance. Reynolds was right, the sequel lives up to the hype. 9/10.