Celebrating 5 years of my top ranking novel Blood Hunger. Get your free copy of Blood Hunger HERE on Kindle Unlimited. And also watch the slow burning prelude film Terminus today.
22 years after the Isla Nublar incident, brothers Zach and Gray Mitchell go to Jurassic World, a fully functional dinosaur theme park to visit their aunt but things go awry and she enlists the help from an old flame to save her nephews.
Do you want to see Spielberg's Jurassic Park overgrown and in ruins, the original T-Rex, Mr DNA, Dr Wu, Ian's mug on the front of yet another novel, Richard Hammond's statute and a fully functional Jurassic World (park)? Then you've come to the right place.
Director Colin Trevorrow offers state-of-the-art CGI, however, less is more and as visually impressive as it is it looses it's organic feel. The background CGI of the park it's self is more awe inspiring than much of the dinosaur set ups. Even with the amazing giant water dinosaur it can't match the original for impact, but it works in its own right as a good ride and piece of entertainment with some notable stand out moments, including an aviary escape, a velociraptor chase and aquarium killing to name a few. To Trevorrow's credit it flows from scene to scene rather than in the originals set up to set up, yet due to its pace it's never spends enough time with its characters for you to really feel for them deep down.
Michael Giacchino score and sound design are great complementing the visual effects, especially the climactic fight scene. The film takes a swipe at American war policy, commercialism and the like, however, even with four writers including Rick Jaffa, Amanda Silver, Derek Connolly and Trevorrow the dialogue is not as credible as the previous instalments. There's plenty of nods to the other films, even a throw away line about why the Jurassic Park and World dinosaurs may not look like the dinosaurs that roamed the earth 65 million years ago cleverly batting off any criticism of the creature designs and any factual inconsistencies.
Thankfully there's no part III annoying screaming and Chris Pratt's and Bryce Dallas Howard (as Claire Dearing) performances are great. The cast are enjoyable, funny even if a little ridiculous at times. The exploitation military subplot feels a little unnecessary and the dinosaurs are humanised a tad too much robbing World of its fear factor.
Louder and bigger doesn't mean better and it lacks any subtly, but it undeniably entertains. It's Westworld with dinosaurs with a few moments that even encompass the Jurassic Park novel, a reminder as to why you fell in love with dinosaurs all over again in the first place.
A father at a low point in his life is forced to move to a new neighbourhood but their new house is riddled with angry unrested spirits.
A remake of the 1982 film its difficult not to draw comparisons, it is generally entertaining yet fundamentally unnecessary. While the remake revisits and reincorporates 'Poltergeist's' themes, hitting the beats as if plotted on a graph throughout, an ominous tree, the supernatural stacking of objects, an eerie clown and investigator's visions it's hard to pin down a single moment where it does it better.
Thanks to Sam Rockwell's Eric Bowen an everyday dad and Jared Harris in a celebrity medium role it does provide a fast paced ride, retaining the family humour of the 1982 version, however, it lacks that idealistic, innocence in contrast to the sinister side that the original Spielberg/Hooper combo provided.
Writer David Lindsey's script is fine and the contemporary monitoring equipment, including GPS locators that the investigators use and the roles shuffled highlights that with all its updates, it becomes clinical losing the organic feeling of the original. Yes some effects out do some of the optical effects of its predecessor but not many. Even with a solid supporting cast and Sam Rami on board as producer with the likes of Sinister, Insidious, Conjuring to name a few doing the rounds I t's odd why anyone would want to remake Poltergeist in the first place. Following the template of the first, with slight of hand, the ending dispiritingly borrows elements of the 1986 sequel for the 2015 closing.
Gil Kenan's offering is by no means a travesty and it has some great acting talent on board but it's not enough to cause a remake celebration and maybe a re-imagining would have been a more fitting semi-original route to take.
A guy's overbearing girlfriend, who he's afraid to break up with dies in a freak accident. However, she rises from the grave hampering his new relationship.
Written by Alan Trezza reminiscent of IZombie, Big, Over Her Dead Body (2008) only with the ghost aspect replaced with a zombie and Death becomes Her to name a few just a few, Burying The Ex has its own inner city charm. Packed with horror references, it's a genre aficionados dream thanks to Joe Dante's magic touch, effects, score and on location shoot.
Things get interesting when vegan Ashley Greene's Evelyn returns from the grave and Anton Yelchin as Max tries to juggle his new crush, Olivia (Alexandra Daddario) and possessive ex. Yelchin gives the same great every guy performance as he did in Odd Thomas. Greene steels the show with some good makeup effects, from spewing up embalming fluid to being a drop dead gorgeous psycho corpse.
There's touches of the Howling (1981) with the old reference books and Amazing Stories (1986). Some jokes fall flat, but most of the lines, gross out gags are on the money. There's some eerie scenes, vileness and blood when Evelyn realises what zombies enjoy. The film then takes a macabre turn in the latter Evil Dead-like half.
Dante creates a unique off beat atmosphere as he did with Gremlins and Small Soldiers. While zombies have become stale and saturated lately Dante injects some life in what could have been a Twilight Zone, Monsters, Tales from the Darkside or Crypt anthology episode into a snappy horror comedy film. It's not John Landis' American Werewolf but it's a hoot for old school horror, practical effects fans.
Durning the destruction of Krypton a girl is sent to earth to escape and to protect her cousin but when she arrives her mission becomes something very different.
In episode one Kara goes undercover becoming a regular person with a few knowing her true powers. There's a nod to the DC Super franchise with cameos from Dean Cain, Helen Slater and a flash of the Man of Steel himself. While debately not as striking as 1984's Slater, Melissa Benoist looks far more comfortable in the duel Kara geek/ Supergirl superhero role. Opening with a expository flashback, an explanation of her delay in The Phantom Zone, arriving late to earth it turns out there's no need to protect Kai-El. And maybe no need for two alien super beings.
Its fittingly goofy at times, it's fun, with some good action setups, it has nice effects for a TV show, the tone is also serious at times reminiscent of the Adrianne Palicki Wonder Woman pilot.
After Supergirl reveals herself to the world it gets interesting when her presence has a far more of a rippling effect than her cousins and she's introduced to an underground alien monitoring organisation. It's also humorous when Kara begs her boss Calista Flockhart not to coin the 'Super Girl' name. There's some warm scenes with her sister Alex and her mother and it finishes on a teaser with the introduction of her aunty.
With a predominantly female cast, it has a positive young vibe and comic book feel, which may give it some longevity in a saturated superhero TV schedule. It's up, up and okay.