Raptors with Cameras – Jurassic World (2015) Review

Jurassic World posterWhen did we start letting blockbusters off the hook so easily? When did we start expecting so little of them that we allowed studios to churn out generic sequel after generic sequel? When did we become so content as to replace enjoyment from originality with enjoyment from references to an older, better film? If one thing defines our cinematic era it is the power of nostalgia and our willingness as audiences to give into it with each passing franchise iteration. This power is rampant in Jurassic World, a gigantic and spectacular beast that worships at the altar of its first ancestor with an unsettling post-modern grin.

Mere seconds after practically breaking the fourth wall with her welcome to this new dino-park, confident operations manager Claire Dearing (Bryce Dallas Howard) strides purposefully towards the camera, investors in tow, and states that “no-one is excited about dinosaurs any more”. This typifies the blatant self-awareness that pervades Jurassic World, emerging as the fourth film in a series that has failed to dazzle audiences since its first outing way back in 1993. It’s a film that’s all too knowing of what it is; as a sequel, as a summer blockbuster, and as a money-making product. It’s also acutely aware of the problems it faces with its apparently jaded audience; going so far as to use them to set up the thin narrative and state them in dialogue time and again. But for all this seeming intelligence Jurassic World is surprisingly dumb, opting for more as the answer under the misapprehension that it equates to better. Someone forgot to tell the writers that you can’t just wink and state the problem – you have to come up with a creative solution.

As is clear from the title, things have moved on in the twenty-two years since the grand failure of the original attraction as a viable business. The ‘Park’ is now a ‘World’, jam-packed with visitors, rides, and more dinosaurs than you can shake a flare at. Plus a monorail, an aquatic section, a pyramid, and probably fifty separate Starbucks and McDonalds establishments (somewhere off-screen no doubt). But audiences are bored to death of de-extinction and want something new, so not-a-mad-scientist Dr. Wu (B. D. Wong) cooks up the Indominus Rex using a ludicrously dangerous cocktail of DNA that gives it all the tools required to be the perfect prehistoric killing machine – adaptive camouflage, anyone? All the park staff, except the sage yet stoic Owen Grady (Chris Pratt), think this is a cracking idea and completely safe. Verizon even sponsor and present the I-Rex. But tradition must be adhered to and things go pear-shaped quicker than you can say “hubris” and we’re along for another prehistoric rampage.

Contrary to Claire’s earlier statement, the most exciting parts of Jurassic World are when the reptiles break free and stomp around devouring the guests. Where the original film built suspense this one barrels ahead with fast-paced action and whilst entertaining at times it subsequently fails to capture much of that unique blend of wonder and dread. Director Colin Trevorrow – with no more than one indie film under his belt – ably handles the carnage and it’s still fun to see dinosaurs chomping people (even if one character does meet with an uncomfortably drawn-out demise), but these highs are not lasting and seldom inspire awe, even when Giacchino kicks the John Williams score up to eleven and the camera sweeps elegantly across the vast expanse of the attraction.

Moments like these expose Jurassic World as a messy but safe creation, hamstrung by the considerable history behind it, never able to tell a convincing story because it’s too busy nodding at the previous films. The characters – once so strong with the likes of Malcolm, Sattler, and Grant – are barely given enough attention for us to root for them. In fact, in this outing the dinosaurs are given as much depth as the humans, severely reducing the fear factor they once possessed. Case in point – Owen’s pack of raptors with which he somehow communicates using plain old English and a clicking device, able to placate them with an outstretched palm.

The more one thinks about this and the rest of the film as a whole, the sillier and crucially duller it becomes – using dinosaurs for military applications has to be the height of ridiculousness, and don’t get me started on the out-of-the-blue conclusion. The film-makers have set about the task of reinvigorating the franchise with their pieced-together script in one hand and a giant Jurassic checklist in the other, and have judged the latter to be far more important than anything resembling narrative. So in the end that’s what we get with Jurassic World, a handsomely made pile of references that’s just bigger and more on the surface. There’s still raptors, but this time they’re tame…and they’ve got cameras.

We will remember them – Saving Private Ryan (1998) Review

Saving Private Ryan Poster

I’ll never forget the first time I watched Saving Private Ryan. At school I had a keen interest in history, especially the World Wars, and I always wondered what it would’ve been like to be a soldier in the midst of the conflict. There was a part of me that held a bit of boy-ish glee at the prospect of firing a rifle, assaulting a fortified position, or flanking the enemy with superior tactics. It was a rose-tinted view to say the least, one far from reality. I had wanted to watch Spielberg’s war epic for some time too but was wisely not allowed to by my parents. Eventually, in my teens, I got my hands on a copy and sat down to watch. From the very start my eyes never left the screen and by the final credits I was shaken, almost to the point of tears.

The film takes place during World War II, and follows closely a small group of soldiers led by Capt. John Miller (Tom Hanks) as they are tasked with finding Pvt. James Ryan (Matt Damon) in order to bring him home following the death of his brothers. Spielberg’s vision for this film was to present a realistic look at the men who fought in World War II, and to show the war for what it was. In his own words, the movie is “for the veterans”.

The visceral depiction of combat in Saving Private Ryan is what set the film apart at the time, and it really struck me. The narrative starts in the present with an elderly man visiting the graves of soldiers in Normandy, and from then the focus shifts back to the D-Day landings. Using handheld cameras, we are thrown into the midst of the fighting and carnage, seeing events from a soldiers perspective. The entire battle involved around 1500 extras essentially re-enacting the attack and camera men dispersed among them to capture the unrehearsed reactions that Spielberg was looking for.  It’s utterly frantic as the camera pans from one side of the beach to the other, ducking behind cover, keeping close to the ground. The effect this achieves is scarily powerful – war is chaos and according to some veterans, this is close to the truth.

Alongside the uncompromising representation of warfare, there is the tangibly human portrayal of the average Americans called to fight in this war. The characters are not stereotypes or caricatures, they are real people. They bicker, crack jokes, share stories, and show very real fear, especially when facing their own mortality. The effort put in by the cast and screenwriter to bring the soldiers to life makes the ensuing violence seem all the more horrible – excruciating in its mercilessness. On my first viewing I found the final battle so hard to sit through, the whole sequence was a complete gut-punch and I know why. There are moments of creative licence, and this is an undeniably American perspective on the war, but I was left thinking about the actual historical events. I thought about the men of a few generations ago that served their countries and fought for them.

I don’t believe that anyone could maintain a glamourised idea of the 2nd World War after engaging with this film. In brings into sharp relief the enormity of the suffering and sacrifice of countless men and women who sought to protect our freedom. Simply as a movie, it is brilliant, from directing to costuming, but that is not why it means a lot to me. It is important to me that the events shown in Saving Private Ryan bring me back to the harsh truth of warfare and remind me to be thankful that in my youth I have not experienced the horror of war. Whatever means are used, be it cinema or word-of-mouth or education, the act of remembering those who have died in wars must be continued and passed down. I hope that every time you watch this film and the credits roll to “Hymn To The Fallen”, you remember them.