JURASSIC WORLD DOMINION

 Chris Pratt     Bryce Dallas Howard     Isabella Sermon     Laura Dern     Sam Neill

Jeff Goldblum     DeWanda Wise     Mamoudou Athie     Campbell Scott     Omar Sy     BD Wong

            There are plenty of thrills and chills in this production, and if you like chases of one kind or another (cars, motorcycles, dinosaurs), you’ll be especially pleased.  Much of it is over the top with screams, screeches, dark scenes, and rapid-fire camera movements.  In that sense, special effects and action over-ride the story, most of which is about characters trying to get out of horrifying situations.

            Picking up on Jurassic World: Fallen Kingdom (2018), we meet up again with Owen (Pratt) and Claire (Howard) and the “daughter” they have rescued, Maisie (Sermon), settled in their country home with endangered animals living on the property.  Maisie is a teenager and chomping at the bit to get out from under the protection of their home.  But knowing the keen scientific (and commercial) value she carries, Claire and Owen are torn between allowing her to satisfy her longings and keeping her safe from kidnappers.  

            Predictably, a giant corporation, Biosyn, has emerged as a major force in genetics research and commerce, headed up by Lewis Dodgson (Scott), with Ramsey Cole (Athie) and Ian Malcolm (Goldblum) on his staff, and Kayla Watts (Wise) as a contractor for supplying animals Biosyn is eager to acquire, and the only one contributing a bit of humor here and there.  But…hmmm…maybe Biosyn has some nefarious purposes…

            All these characters end up on Biosyn’s property fighting for their lives after one or another major mishap occurs or threatening dinosaur(s) appear.  The filmmakers have done a good job in portraying the horror and terror in these scenes; it’s just that there are too many of them for my taste.

            When Dune had a major sweep of Academy Awards for the crafts this past year, I was pleased because they well deserved the praise.  Will Jurassic World Dominion capture similar acclaim?  I think not, even though the filmmakers have appeared to go all out for technological flash.  The difference is that Dunehas a strong story line with many kinds of nuances and issues to grapple with, and although preserving animal species and partnering with nature is a strong theme here, I doubt it will achieve the same acclaim that Dunereceived.

            It’s likely that most Jurassic fans will lap up the continuation of this franchise, but others less enamored may say, “Enough!”

 

An ongoing story that has difficulty measuring up to its prior versions.

 

Grade:  C                              By Donna R. Copeland

THE CALL OF THE WILD

Harrison Ford     Omar Sy     Cara Gee     Bradley Whitford

Karen Gillan     Dan Stevens     Colin Woodell

     In giving children a dose of nature without so much of the cruelty and violence to dogs that are in the novel, this movie succeeds.  The dogs and wolves are beautiful and the Alaskan scenery is gorgeous. (Kudos to cinematographer Janusz Kaminski for the photographic beauty as well as filming maneuvers.)  The dog Buck’s experiences are models of behavior that can be beneficial to kids, such as the kindness he shows even to strangers, and a logical separation towards the end of the story.  Adults may not take to the film as much as children because of the overly human-like appearance and behaviors of the animals, especially Buck, and the lack of suspense in figuring out what will happen.

     In the beginning, Buck is shown to be rambunctious, not suitable for the genteel life of his owner on plantation-sized property.  This is patient Judge Miller (Whitford) who gently chides him for charging through the house and town and knocking things over—including the mailman.  After one hectic day, the judge makes him sleep on the porch at night “to think over” what he has done.  This gives a local thief the opportunity to dog-nap Buck and sell him. 

     From there, Buck’s adventures are with various masters, the first one cruel and Buck manages to run away, then he is bought by a couple with a dog sled delivering mail, then by another couple with an outsized hunger for gold (this is during 19^thcentury gold rush times) the husband (Stevens) being not only selfish and cruel but stupid as well.  Harrison Ford as John Thornton narrates the story and appears from time to time in Buck’s life as someone with normal sympathies for the oppressed.  Thornton and Buck end up together and prove to be good pals, despite Thornton’s reluctance in the beginning, and each must rescue the other on critical occasions.

     Based on Jack London’s continuing successful novel of the same name, The Call of the Wild movie in 2020 is the seventh film rendition of the story, not including a TV series.  Complaints about it center mostly around the computer-generated dog Buck, which the viewer may find a little creepy, especially when he reacts and communicates so much like a human figure and very un-dog-like. Another criticism is about this being simply another repeat of the story on film.  How filmmakers can justify it is beyond me.  How much better it would be for them to use their resources to create something new.  After all, the film industry is replete with talented people.

A coming-of-age story for the dog Buck who travels from a genteel southern plantation to the snow covered Alaskan Yukon with life-changing events along the way.

Grade:  C                                    By Donna R. Copeland

INFERNO

Tom Hanks   Felicity Jones   Omar Sy   Irrfan Khan   Ben Foster   Sidse Babett Knudsen

          Inferno is based on the fourth book by Dan Brown about Cambridge symbolist Robert Langdon (Angels & Demons, The DaVinci Code, The Lost Symbol), who solves puzzles and crimes by interpreting the symbols associated with them.  This film opens with Langdon (Hanks) in the hospital following a head wound and suffering retrograde amnesia.  He can’t remember what happened to him, at least for the time being.  He’s given some information from his doctor, Sienna Brooks (Jones), but when bullet fire begins, she helps him escape and takes him to her apartment. 

         It takes a fair amount of time, skirmishes, and new characters like Bouchard (Sy) Sims (Khan), and Sinksy (Knudsen) showing up for Langdon to get a full picture of what is going on.  In the meantime, he and Brooks are running from assassins while Langdon tries to solve the puzzle of why this is happening.  They’re in the Palazzo Vecchio in Florence; then with more clues, they run to Venice, and finally must go to Istanbul to fill in the last of the puzzle.

     Director Ron Howard has made this an action film with much less time spent on presenting and deciphering clues as happened in the previous two works.  As a result, it is much less engaging.  The threat of a virus that has the potential to wipe out half of the world’s population adds some excitement, along with finding out more about the characters responsible (e.g., Zobrist, played by Foster).  But again, character development is weak, so we don’t know much more about him, only about his idealistic plan.

      Tom Hanks plays the befuddled hero well, as he has done with so many such characters.  Supporting actors Jones, Sy, Khan, Knudsen, and Foster likewise portray their roles well.  The ending with Langdon and Sinsky leaves much to be desired in its nostalgic parting of ways. 

          I’m not sure why this film was made.  I think maybe everyone involved signed on early on, but perhaps by the time shooting began, enthusiasm had waned considerably.

This is only for diehard Dan Brown/Robert Langdon fans.

Grade:  D                            By Donna R. Copeland

BURNT

Bradley Cooper     Sienna Miller     Daniel Brühl     Omar Sy     Emma Thompson     Uma Thurman     Alicia Vikander

          A chef with a sordid past shows up in New Orleans being as obnoxious as he used to be in the kitchen.  However, he has at least shaken the destructive addictions that got him into trouble and has done self prescribed penance by shucking one million oysters.  Now, he is ready to begin again—in London.  When he gets there, Adam Jones (Cooper) gradually meets up with a number of colleagues from the past, but no one is pleased to see him because of the dastardly things he had done to them.    Nevertheless, (the man has grit) he starts to recruit the very people he had wronged.  It won’t be an easy road and he still has things to learn, but his reputation as a chef and his charm (when he turns it on)—and sometimes behind-the-scenes manipulation—will get him the people he wants in a restaurant that needs rescuing.

         Burnt is a good title for the film as a metaphor referring to a mistake in the kitchen, to friends and colleagues feeling burnt by Adam, and burning one’s bridges before an exit.  The film is about the ups and downs of getting the restaurant, “Adam Jones at The Langham”, on its feet and Adam’s try for a third Michelin star.  Unfortunately, he yells at his staff, is rude with everyone, and has temper tantrums when things aren’t perfect, running the risk of losing valuable employees.  (This over-the-top violent interaction reminds me of Director John Wells’ August:  Osage County of last year.)  But Adam sees a therapist (Thompson) and tentatively starts a supportive friendship to get his self on a better, less destructive track. 

        One of the things I find very frustrating in “food” movies is that we don’t really get to look at the gorgeous dishes prepared.  Isn’t that part of the point in seeing a movie about gourmet restaurants?  The editing of this film by Nick Moore is so jerky we never get to admire the artful dishes that someone has slaved over; and the rapid cuts from one scene to the next and zipping back and forth between two characters’ simultaneous actions can have a dizzying effect.  It may be that the filmmakers are interested in showing us what really goes on in high-end restaurants—a lot of yelling and throwing dishes across the room and at people—but I for one can just as well do without that side of reality, if it is indeed a reflection of reality.

        Bradley Cooper does bring his acting skills to the character, but the script makes him so repulsive, it’s hard to warm up to him.  Adam does become more insightful and respectful of others across time and lets go of some perfectionism, but watching that much narcissism unleashed for most of the film is tiresome.  The characters played by Sienna Miller and Daniel Brühl provide good counterbalance to Adam’s abrasiveness, and they are well cast.  Likewise, Uma Thurman and Emma Thompson bring extra sparks to their cameos.  Another cameo by Alicia Vikander is perfect as a woman who appears to be mysterious at first, but whose identity is gratifyingly explained. 

        Somehow, despite all the talent involved in the making of this film, Burnt just doesn’t fill the appetite.

Burnt:  Not a well seared production.

Grade:  C-        By Donna R. Copeland