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Review: “Jurassic World: Fallen Kingdom” is Lost in its World

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The tagline for Fallen Kingdom revises the previous film’s tagline of “the park is open” to “the park is gone.” Okay, now what? With the global public now fearful of dinosaurs after the massacre at the park, it’s a whole new world of possibilities. Some activists want to preserve dino life, tycoons who want to buy them for military purposes, and governments that shrug in confusion at what to do next. All these aspects give the movie plenty to do with its prehistoric showcase; so much that it forgets to put a little heart and brain in with its dinosaur romp.

There’s an even greater distance from the human characters this time, lost in their doubling plot arcs and love of dinosaurs. Owen (Chris Pratt) and Claire (Bryce Dallas Howard) return from the last film but are now on a break in their relationship. Why they split up is briefly addressed, and their inevitable rekindling is even more rushed as they race towards the action. Clearly, Owen’s more defined relationship is with the raptor Blue, this time given even more background and tenderness. There’s rarely a moment of romantic tension between Pratt and Howard but place Pratt next to a wounded raptor, and you have some emotion fit for a blockbuster too tedious for tears.

In the battle between good dino doctors versus bad dino doctors, and eventually good dinos versus bad dinos, there are supporting characters that provide little support past quips and kills. There’s an intern duo of the meek screamer Franklin (Justice Smith) and the wise and snarky Doctor Zia (Daniella Pineda). They’re not quite young enough to fill that Amblin brand requirement, so there’s an English orphan of an aged, sage, and wealthy businessman (James Cromwell). There’s the cold Eli Mills (Rafe Spall) that is trying to build an empire off dinosaurs. You can probably guess his fate. And you certainly don’t need a crystal ball to see things are not going to work out for the violent poacher (Ted Levine) who can’t resist pulling the teeth out of captured dinosaurs.

If that seems like too many humans in a film about dinosaur action, worry not. Director J. A. Bayona crowds the screen with many species romping, stomping and chomping about. Too many that there’s a scene of prehistoric creatures crammed into a tight space, fighting for screen time. When they’re not caught in stampedes, there are a few impressive moments of adventure and terror. Easily my favorite sequence features the human heroes fleeing from a hungry dinosaur that corners them in a room flooding with lava, a shimmering wall of red and orange separating the two species. Another stellar shot is one where a newly bred hybrid dino slowly extends its claws to a girl cowering in her bed, horror movie style.

Part of what made the first Jurassic World so engaging was the simplicity of its adventure. A park full of dinosaurs goes awry, and there’s a mad dash for the exits, with some military involvement and cloning controversy peppered into the run. Fallen Kingdom has far too much going on that none it resonates enough to make Pratt’s tender touch during raptor surgery stick. There’s commentary on everything from government silence to environmentalism to war-hungry investors to cloning gone too far. But it’s all so rushed that several of these twists come crashing in at the last minute and struggle to strike with shock and excitement. The movie doesn’t have time to slow down for everything, leaving the secret villain of Doctor Wu (B.D. Wong) and the experienced Doctor Malcolm (Jeff Goldblum) in the dust.

Jurassic World: Fallen Kingdom has its moments of thrills that resonate enough to be pleasing popcorn entertainment, as with Chris Pratt narrowly avoiding a volcanic flood and a rich snob that gets a deserving munch by two dinosaurs. Sadly, it’s all so muddled and forced into theatrics that even Pratt’s reliable charm can barely make a dent in a script too dense with set pieces and cliches. I remember I enjoyed Jurassic World for being a pleasing throwback to Jurassic Park, returning that same wonder I had as a child. Fallen Kingdom replicates the familiar disappointing sensation of Park’s sequel The Lost World. It’s a mistake that I’m sure Doctor Malcolm would criticize for the producers who were so preoccupied with making a blockbuster sequel to the profitable Jurassic World, asking if they could rather than if they should.


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“Captain Marvel” Retains Top Slot at the Box Office

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It’s no surprise that in its second weekend, the first Marvel Cinematic Universe of 2019 is still riding high. Captain Marvel, the latest in the MCU with Brie Larson starring as the lead, generated another $69 million over the weekend, placing its domestic total at $266 million. Tallying up the international box office, the film’s global total to date is $760 million. Despite the online controversy, the film is looking to be another strong box office smash for Disney and Marvel.

As for the premieres for the weekend, and there were plenty, they were all over the map. Just below Captain Marvel was the animated adventure Wonder Park, bringing in $16 million, another film with controversy when the director’s name was removed from the picture after sexual harassment charges. Five Feet Apart, the dying teen drama about a romance amid cystic fibrosis, only came in at #3 with a weekend gross of $13 million. And debuting the lowest in the top 10 for debuts was Captive State, a sci-fi dystopian tale, only making $3 million. The film debuted so low the little film No Manches Frida 2 was able to sneak about it at #6 with a gross of $3.8 million.

Drops were fairly low all around for the returning films, mostly because Captain Marvel was dominating the previous weekend. The only milestone worth noting is that The LEGO Movie 2, after six weeks at the box office, finally cracked $100 million. And the sun is now setting on Green Book’s post-Oscar run by coming in at #10 for the final weekend of its top 10 run over the past few weeks.

View the full top ten weekend box office results below:

Captain Marvel ($69,318,000)

Wonder Park ($16,000,000)

Five Feet Apart ($13,150,000)

How to Train Your Dragon: The Hidden World ($9,345,000)

Tyler Perry’s A Madea Family Funeral ($8,085,000)

No Manches Frida 2 ($3,894,000)

Captive State ($3,163,000)

The LEGO Movie 2: The Second Part ($2,135,000)

Alita: Battle Angel ($1,900,000)

Green Book ($1,277,000)

Next weekend, Captain Marvel may very well have some competition when Jordan Peele’s new horror film Us hits over 3,600 theaters.


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“Dragon” Continues To Soar, “Funeral” Close Behind, “Green Book” Back

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With little competition for the weekend, How to Train Your Dragon: The Hidden World, the third in the animated fantasy saga, was able to secure the box office once more. In its second weekend, the animated epic made $30 million to push its domestic total to $97 million. So far the film has done about the same as the previous film and is on track to stay in the top 10 for a few more weeks in March.

Debuts this weekend were small with one big exception. Tyler Perry’s latest Madea film, A Madea Family Funeral, naturally made a relatively big splash with its dedicated audience. Starting at #2, the film made $27 million for its first weekend. No word on the budget yet but it’s most likely on a budget as most Tyler Perry productions are, so it’s safe to call this a success, especially for debuting with a box office so close to Dragon.

The rest of the premieres were not as strong at all. Greta, the new thriller starring Chloe Moretz, debuted all the way down at #8 with $4.5 million box office. To be fair, however, the film was in a constant battle for its spot as three other films also reported earnings around $4 million for the weekend. Of note, Green Book, fresh off winning the Academy Award for Best Picture one weekend ago, splashed back into more theaters to arise even higher in the top 10 with its domestic total now sitting at $73 million. Don’t count on it remaining there long as bigger blockbusters will be swooping as we plow through the last remnants of winter movies.

Check out the full listing of the top 10 box office weekend results below:

How to Train Your Dragon: The Hidden World ($30,046,000)

Tyler Perry’s A Madea Family Funeral ($27,050,000)

Alita: Battle Angel ($7,000,000)

The LEGO Movie 2: The Second Part ($6,615,000)

Green Book ($4,711,000)

Fighting With My Family ($4,691,284)

Isn’t it Romantic ($4,645,000)

Greta ($4,585,000)

What Men Want ($2,700,000)

Happy Death Day 2U ($2,516,000)

Next weekend is once again all about Marvel as their latest superhero solo film, Captain Marvel, will be appearing in 4,100 theaters.


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Review: “Captain Marvel” is a Solidly Sensational Sci-Fi Adventure

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Captain Marvel joins the ranks of the Marvel Cinematic Universe in a much different way. She slides into the MCU via a twisty sci-fi adventure of the 1990s, before the Avengers were formed. And though the film does serve as a strong bridge picture that answers a few more questions about the Marvel universe, the film quickly becomes its own thing and gives its hero a real identity as the powerful addition to the superhero ensemble.

Brie Larson plays Carol Danvers, a woman not sure if she’s a human pilot of Earth or a soldier of the Kree empire’s Starforce. There’s little time to explore these conflicting visions she’s having when there’s special energy powers to control and a war being waged against the shape-shifting Skrull alien creatures. A detour to 1990s Earth gives her a bit of time to find out more while also hunting down some more Skrulls, leading to some interesting scenarios when combatting aliens that could look like old ladies.

Marvel Studios’ CAPTAIN MARVEL..Captain Marvel (Brie Larson) ..Photo: Film Frame..©Marvel Studios 2019

Carol’s landing on Earth leads to treading down familiar Marvel timeline territory as well as evoking plenty of dated 1990s bits. What started drawing me into the picture was how the film holds itself back from the obvious. The 1990s setting is used for some gags of video stores and Windows 95, sure, but never goes the extra mile of becoming an aggravating reference fest, keeping a certain vibe the way Guardians of the Galaxy embraced the 1970s and 1980s. And just like that film, there’s a nostalgic soundtrack to boot, with choice tracks for just the right cue.

Samuel L. Jackson pops up in the film as a younger Nick Fury with his two eyes still intact. He teams up with Carol in her intergalactic spy adventure and thankfully never goes to the booming lengths he was known for that decade. And the filmmakers could have easily made this younger Fury go full Die Hard 3 or Pulp Fiction but he never does, always keeping that cool persona he has been known for in the Marvel Cinematic Universe.

Marvel Studios’ CAPTAIN MARVEL..L to R: Att-Lass (Algenis Perez Soto), Captain Marvel (Brie Larson) and Minn-Erva (Gemma Chan)..Photo: Film Frame..©Marvel Studios 2019

But the one aspect that is never shunned and built up grandly is the aspect of female empowerment. Danvers is established as a woman who doesn’t have a clear identity or mindful nature of galactic politics and has to build herself up when she realizes she may be a very powerful pawn in a big game of intergalactic chess. Her memories are that of always being told to back off from non-traditional activities for girls and, sure enough, she rises up to become the smirking and energy-shooting hero when the final piece of her character puzzle is pieced together. It’s just unfortunate that the film spends so much time doing the building amid a twisty sci-fi spy story that Brie never gets a moment to shine as brightly as she could, despite a very enthusiastic third-act closer.

If we’re being blunt, no, Captain Marvel doesn’t quite have the same gravity to be a cultural milestone of a comic book movie. Where others have pointed to Black Panther as not the first the most insightful and cultural of black-led superhero movies, I doubt many will look towards Captain Marvel as the grandest of female-led comic book movies, making its motives known with the power and subtlety of a supernova. But, in terms of what the film is aiming towards, it doesn’t have to prove anything to anyone and that’s perhaps the point. I just wish that Captain Marvel’s astounding powers to destroy starships and aliens had a much bigger punch for a picture that wants to obliterate the glass ceiling and merely cuts a narrow hole within the MCU. It’s a nice hole, mind you, and still weaves a capable and compelling sci-fi adventure with a surprisingly more engaging finale than most Marvel solos.


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