“The latest installment of the Jurassic Park series sounds like a palatable film for fans of the series but doesn’t offer up a completely enrapturing experience the whole way through.
Reviewers have weighed in on the upcoming Jurassic World: Fallen Kingdom, the sequel to Jurassic World, and it isn’t getting the most thrilling praise so far. In this movie, a volcano at the Jurassic World theme park has erupted, sending the human protagonists and a handful of dinosaurs away from the island and into normal society which is fine for the humans but not so great for the dinosaurs.
Read on to see what the critics thought of Jurassic World: Fallen Kingdom
The visuals don’t disappoint
Matt Chapman, DigitalSpy:
Claire Dearing (Bryce Dallas Howard) guilts Owen Grady (Chris Pratt) into returning to the island to rescue his beloved raptor Blue, before an out of control volcano kills every living thing. What follows is some of the most beautiful destruction you’ll ever see onscreen, with a few heart-in-mouth moments for our intrepid dino wranglers and their support staff, Daniella Pineda’s spunky scientist Zia and Justice Smith’s jumpy tech guru Franklin.
Gav Murphy, IGN:
If you thought there was going to be too much CGI in Fallen Kingdom, you’re wrong. There’s a surprising amount of practical effects on display – in fact, it’s the first time I’ve felt genuinely disgusted by these creatures. From the flies buzzing around Rexy’s stinking sleeping body to the mucus and phlegm we see, there’s an impressive blend of both CGI and practical effects in use that helps bring us closer to the dinosaurs. This closeness helps us either feel more afraid or in the case of Blue, a dramatic medical treatment scene really highlights the bond that Owen has with her. Practical effects and CGI are merged seamlessly here and we end up with a touching sequence that also draws in video flashbacks of Owen raising Blue which are obscenely cute.
Dinosaurs aren’t the main event
Owen Gleiberman, Variety:
The film provides plenty of encounters with our stomping, gnashing primeval beastly friends — yet for much of Fallen Kingdom, they are caged, shackled, sedated, wounded, and otherwise subdued. They’re right up there on screen, but too often they don’t feel like the main event….”
Widows Movie Review
Director: Steve McQueen
Running Time: 2 hours, 9 minutes
“When her husband Harry is killed in a robbery gone wrong, Veronica Rawlings is forced into committing a crime to get back the $2 million her husband stole from a dangerous politician/gangster during their fatal botched heist.
There’s no reason why ladies can’t be heisters, too, so why has it taken so long to give them a good and proper vehicle like “Widows”?…okay, don’t count “Ocean’s 8” from earlier this year, but still, it’s 2018, damn it! We should have dozens of these movies by now. This film is directed by Steve McQueen, who has directed films like “Shame,” “Hunger,” and the Oscar-winning “12 Years a Slave.” McQueen also helped write the screenplay along with acclaimed writer Gillian Flynn, and it is adapted from the British miniseries of the same name by Lynda La Plante. When career criminal Harry Rawlings (Liam Neeson) and his team steal $2 million from a local politician and crime boss named Jamal Manning (Brain Tyree Henry), they are all killed and get burned up with the money when their van explodes in a violent shootout with local Chicago police officers.
Now, Manning wants his money back, and he believes that debt falls to Harry’s widow Veronica (Viola Davis). Harry has left Veronica with little means to pay Manning back. When Jamal and his brother Jatemme (Daniel Kaluuya) come collecting, Veronica must gather the other widows of the men killed in the botched heist, Linda (Michelle Rodriguez), Alice (Elizabeth Debicki) and Amanda (Carrie Coon), to do the last job Harry had in his notebook, which he left for her to find. This final task will net them enough money to pay off Manning and allow them to start new lives for themselves……………………………….”
They Shall Not Grow Old Movie Review
Jackson has restored, colourised and added voices to footage of the western front, bringing the soldiers unforgettably back to life
“To mark the centenary of the first world wars end, Peter Jackson has created a visually staggering thought experiment; an immersive deep-dive into what it was like for ordinary British soldiers on the western front. This he has done using state-of-the-art digital technology to restore flickery old black-and-white archive footage of the servicemens life in training and in the trenches. He has colourised it, sharpened it, put it in 3D and, as well as using diaries and letters for narrative voiceover, he has used lip-readers to help dub in what the men are actually saying.
The effect is electrifying. The soldiers are returned to an eerie, hyperreal kind of life in front of our eyes, like ghosts or figures summoned up in a seance. The faces are unforgettable.
Watching this, I understood how the world wars of the 20th century are said to have inspired surrealism. Thirty or so years ago, there was a debate in film circles about the sacrilege of colourising classic black-and-white movies. This is different. The colourisation effect is artificial, as is 3D (as is monochrome, too, of course), and the painterly approximation of reality presents a challenge to what you consider real on film. After a few minutes, I realised that force of cultural habit was causing me to doubt what I was seeing, because colour means modern. The colourisation, and everything else, is a kind of alienation shock tactic as well as a means of enfolding you in the experience. It is an indirect way of reminding you that this really did happen to people like you and me.
They Shall Not Grow Old is arguably limited in scope: it is just about the western front and there is nothing about the German point of view, or about the war elsewhere…………………………………….”
Apostle review exhilarating Netflix horror is a wild, gory surprise
Gareth Evans, director of The Raid, shocks and confounds with an ultra-violent tale of a mad prophet that transforms into something entirely unexpected
“Apostle, director Gareth Evans first feature-length effort since his pair of The Raid action films achieved instant underground infamy, is that rarest of treats: a horror movie that starts out as one thing, and finishes having mutated into another.
Exhilarating to watch and tricky to write about, similar to such films as The Box and the more recent Annihilation, going beyond surprising its audience with mere twists, instead shaking its own constructed reality off its axis. A full shift occurs not just in tone, with suspense boiling over into scalding insanity, but in the narrative mode, as the established set of unspoken rules governing the universe get violently upended. As soon as the viewer believes theyve got a grip on what sort of horror story theyre in for, Evans demonstrates that in the chaotic universe contained within his camera, anything can happen. And just about everything does; Evanss maximalist more-is-more ethic piles on one Grand Guignol spectacle after another, building to an operatic, hallucinatory climax that leaves our puny reason behind for a metaphysical nirvana. Polarizing yet undeniably fascinating, the bait-and-switch horror film lures its viewer into a false sense of terrified security before pouncing in an anything-goes frenzy, and Evanss latest is a prime specimen.
For the first hour, hed like you to believe youve wandered into a particularly reverent Wicker Man homage, and he makes the legwork of setting…………………………..”
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