ScreenFish

where faith and film are intertwined

VOD

Culture Shock: Blowing Up Independence Day

by Leave a Comment

Set at the Mexican-American border, Culture Shock tells the story of Marisol (Martha Higareda), a young Mexican woman who is fleeing the dangers of her home in search for a new life in America. Yearning for freedom and safety for her family, Marisol fights and claws to cross the border only to discover that the world she’s dreamed of may actually be more of a nightmare.

Released as part of Blumhouse’s Into the Dark horror anthology, Culture Shock is a fun and increasingly dark sci-fi horror with a social conscience. For her first feature film, director Gigi Saul Guerrero shows an incredible amount of confidence behind the camera. There is a fire within her direction that drives the film and underscores her passion for justice. Part Get Out and part The Stepford Wives, Culture Shock has all the ingredients necessary to cook up something special and executes effectively. Fueled by an inner rage, the film is as sharp in its satire as it is brutal in its gore. 

Although the film features solid performances across the board, Shock benefits most from some excellent work by Higareda. As Marisol, Higareda’s performance contains a strength that carries the film. Whether she’s fighting the perils of crossing the border or attempting to navigate a community BBQ, Higareda attacks each scene with ferocity and courage. (It’s also worth noting the most surprising performance comes from Creed Bratton. Best known for his work on The Office, Bratton’s comedic chops are rarely utilized here. Instead, there’s a snarl and grit within his performance that catches the viewer off-guard.)

Visually, Shock is an absolute treat as well. Although she begins with muted colours and heavy shadows, Guerrero eventually fills the screen with clear and crisp red, whites and blues as her vision of the American Dream takes hold. Once Marisol crosses the US border, she is met with the purest of Americana, including fireworks, barbeques and flags galore. This world is meant to represent the very best of US ideals, embedded with a sense of purity, safety and, above all else, hope. 

However, Shock shows that not all dreams are reality. 

Leaning into the darkest edges of American immigration, Shock speaks to the dangers inherent to starting a new life. As Marisol leans into the life that she (thinks) has always wanted, so too does she begin to see her identity slip away. Pressures of language and food subtly chip away at her Mexican heritage, shaping her into a White American model. More than this, however, Shock exposes the pain and suffering it is caused by American immigration policies (especially those under the Trump era). From the separation of families to sacrificing one’s cultural identity in order to ‘fit in’, Guerrero uses her horror to underscore the tragedy of recent real-life events.

But therein lies the irony.

Into The Dark — “Culture Shock” – A dystopian horror film following a young Mexican womanÕs journey across the border into Texas in pursuit of the American Dream, only to find herself in an ÒAmerican SimulationÓ virtual reality. Ricky (Ian Inigo) and Marisol (Martha Higareda), shown. (Photo by: Richard Foreman, Jr. SMPSP/Hulu)

As stories of xenophobia and racism unravel before our eyes, Guerrero highlights the fact that the greatest myth of the American Dream may be how easy it is to attain. In Shock, we see a world of open doors and opportunity… yet soon discover the deeply rooted pain that lurks underneath. While these stories become more commonplace, these systems show themselves to be designed primarily to keep people out as opposed to welcoming them inside.

In other words, it’s possible that the greatest horror in Shock is that it’s no longer shocking at all.

Culture Shock is available on Super Channel on Monday, July 4th, 2022.

Jerry and Marge Go Large: Breaking Bank

by Leave a Comment

Sometimes, picking a film on streaming feels like a gamble. In the case of Jerry and Marge Go Large, it’s a surprisingly big win.

Directed by David Frankel, Jerry and Marge Go Large tells the amazing true story of Jerry and Marge Selbee (Bryan Cranston and Annette Bening), a retired couple that live in Evart, Michigan. After working 42 years as a production line manage, Jerry retires with little fanfare—and little savings. However, when Jerry discovers a legal loophole in the WinFall lottery, he and his wife go all in to win big and invite his community to join them as they attempt to exploit the error.

Fueled by fun, Jerry and Marge Go Large is an absolute delight from start to finish. While the film may be moving straight to Paramount+, it certainly has the star power and energy of a mid-range budgeted comedy. Cranston and Bening are an absolute joy to watch together as a retired couple looking for adventure. As he often does, Cranston disappears into the role. (Seriously, is there any role that he cannot play?) However, Bening may be at her best here. Although she plays a woman in her 60s, there is a youthful joy about her character that helps the adventure move forward. While Cranston maybe the ‘numbers guy’, Bening remains the soul of the film. (Credit should also be given to Rainn Wilson who, although he has a smaller role, clearly seems to be enjoying himself in the film.) 

At its heart, Jerry and Marge is a film about finding your spark. Having lived his entire life in one job, Jerry is a man looking for purpose. When he believes he has stumbled on to something in the form of beating the lottery, something stirs within him. All of a sudden, his gifts make sense. 

Strangely, he feels as though he has found his calling. 

However, having said this, the film isn’t just about breaking the bank. Jerry’s desire to win as much as possible here almost stems from a sense of altruism. Yes, he and his wife may have the chance to earn the money that they desperately need. Nevertheless, he is committed to investing that money back into the community and giving it life once again as well. To Jerry, the best part of this deal isn’t merely outsmarting the lottery. It’s helping his friends and community members. 

For Jerry, he’d much rather play Robin Hood than Robin Leach.

In many ways, it’s interesting that the true villain of the piece is a young Harvard student. Compared to Jerry, this young upstart is the exact opposite of his elderly opponent. To him, wealth comes with power and respect for himself. That is his sole motivation and he is willing to accomplish his goal at all costs. (In fact, while Jerry wants to restore his community, it’s worth noting that this young man uses his team members in order to make himself rich.) At the same time, Jerry goes all in on his commitment to helping others as opposed to only himself.

In essence, there is quite simply a joy about the film that’s infectious. Featuring solid performances by its cast, Large charges itself with a youthful enthusiasm that charms viewers of all ages. While this is not a film that you will find in the mix come Oscar time, that doesn’t mean it isn’t worth investing into. 

After all, what’ve you got to lose?

Jerry and Marge Go Large is available on Paramount+ now.

Attack on Finland: Boom, Boom, Pow

by Leave a Comment

Directed by Aku Louhimies, Attack on Finland takes place primarily during the celebration of Finland’s Independence Day. When the festivities are interrupted by a brutal terrorist attack and guests are taken hostage, secret service agent Max Tanner (Jasper Paakkonen) is called into action. However, as the conspiracy unravels, Tanner and his former partner, Sylvia Madsen (Nanna Blondell), work together to uncover the secret of who’s trying to destabalize the government.

Although its furiously paced and filled with action, Attack on Finland still feels relatively run of the mill in terms of political thrillers. Despite the fact that the films are entirely unrelated, one cannot help but draw ties to Gerard Butler’s recent …Has Fallen franchise. In each of those increasingly absurd films, Butler’s rogue agent attempts to protect various political figureheads from assassination with the ‘world at stake’. While Finland never fully reaches the wild heights of that franchise, it’s not a stretch to suggest that it might fit neatly into the canon with its non-sensical plot and endless stream of political villains. But, while the film itself doesn’t feel particularly special, its greatest strength is also the most simple.

It’s fun.

No, Attack on Finland doesn’t particularly set itself apart from the pack with originality or style. Russian hackers, government betrayals and strained alliances do their best to bring surprises to the film (and, occasionally, even succeed). However, Louihimes doesn’t necessarily need grand plot twists or grand social commentary to make it entertaining. If anything, Finland works because of its set pieces. From car chases to raids of government buildings, the film keeps the adrenaline ride moving. With an endless parade of gunfire, explosions and stunt work, Finland still keeps you interested, even in the moments where the script is lacking coherence. 

Admittedly, underneath the gunfire, there isn’t a whole lot to cling to here. A storyline about Finland’s desire to join the EU is interesting but barely fleshed out. Character work for its leads remains shallow. (In truth, Sylvia Madsen has the potential to steal the film but is given little to do.)

But, in the end, that doesn’t really matter.

The goal of Attack on Finland is not to push boundaries or challenge ideas. Instead, this remains primarily a shoot-‘em-up political thriller designed for spectacle and, in that respect, it succeeds. Stunts are impressive, heroes are lauded and villains get their come-uppance.

And sometimes, that’s all a film needs to feel like it’s worth your time.

Attack on Finland is available on VOD on Friday, July 1st, 2022.

Rise: Another Disney Slam Dunk

by Leave a Comment

Perhaps some of the more unsung heroes of Disney’s cinematic canon are their inspirational sports stories.

While they’re primarily known for their animated features, nature documentaries and fantasy-adventure films, Disney has always been able to find inspirational stories in the world of sports. Without even scratching the surface of their vault, films like Remember the Titans, Miracle, Queen of Katwe and Glory Road have become classic tales of young people who have been changed by the experience of competition (and even, in some cases, have changed the world as well).

Rise fits very neatly into this tradition. 

(L-R): Yetide Badaki as Vera and Dayo Okeniyi as Charles in Disney’s live-action RISE, exclusively on Disney+. Photo courtesy of Disney Enterprises, Inc. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Set primariliy in Greece, Rise tells the amazing true story of the Antetokounmpo brothers who came out of obscurity to dominate the NBA. When Charles and Vera Antetokounmpo emigrated from Nigeria to Greece, they dreamed of a better life for their family. However, despite their passion for hard work, they struggled to garner citizenship and lived every day under the risk of deportation. Living from paycheque to paycheque, their children found solace on public basketball courts. Although they had no experience playing the game, the Antetokounmpo boys soon discovered their natural giftings and looked for ways to use their talents to help their family.

(L-R): Ral Agada as Thanasis Antetokounmpo, Dayo Okeniyi as Charles Antetokounmpo, and Uche Agada as Giannis Antetokounmpo in Disney’s live-action RISE, exclusively on Disney+. Photo by Patrick Redmond. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Telling the story of Antetokounmpo brothers and and their ascension to NBA dominance, Rise is an incredible story of resilience that absolutely charms. Directed by Akin Omotoso, the film knows the power of storytelling inherent within the world of sports and uses it to its advantage. Slow motion shots at the buzzer, practice in the rain and battles on the court all bring the action to life with suspense and drama. (Ironically though, the final scenes at the NBA Draft may hold the most solid dramatic tension, even if we already know the outcome.)

Even so, instead of focusing on a particular ‘big game’, Rise primarily spends its time with the Antetokounmpo family as they fight together to survive. As Charles and Vera fight tirelessly to support their family financially, so too do they want to support their children in their dreams. With barely enough money to pay the rent, their boys find their inner spark on the basketball court. Nevertheless, Charles and Vera remain nervous of their endeavours. But their initial apprehension to the boys’ love of basketball is rooted in their desire to protect them from exposure, rather than to selfishly prevent them from enjoyment.

(L-R): Yetide Badaki as Vera and Dayo Okeniyi as Charles in Disney’s live-action RISE, exclusively on Disney+. Photo courtesy of Disney Enterprises, Inc. © 2022 Disney Enterprises, Inc. All Rights Reserved.

And the fear of exposure is justified.

Due to their undocumented status, the Antetokounmpo family lived under a constant dread. Having witnessed the police tear immigrant families apart themselves, they understood the risks of being discovered. While Charles and Vera fought to make their residency legal, they simply continue to run up against an endless stream of roadblocks and red tape. Unable to find work without legal status (and unable to get legal status without work), they are only able to make ends meet by selling sunglasses to tourists and taking on odd jobs. In this way, the film highlights issues that are far greater than whether or not Giannis understands his basketball fundamentals. Instead, Rise cries out for the poor and impoverished who are attempting to start new lives in a foreign country. 

Interestingly, there’s also a deeply rooted faith that strengthens the Antetokounmpo family as well. Despite everything that they’ve gone through, Giannis‘s mother holds fast to her belief that God has a plan. (“God makes no mistakes. Give it your all and let God do his work,” Vera encourages.) To her, even the darkest of moments can provide blessings by the end and this gives them boundless hope throughout the process.

In some ways, it’s a shame that Rise has gone straight to Disney+. With its passionate heart, incredible story and solid performances, this is a film that actually deserves to be recognized onscreen as opposed to an unknown property that people scroll past while looking for Pixar material. With an eye on justice, Rise inspires with joy and enthusiasm that should please the whole family. Quite simply, there is an affectionate heart within this film which is contagious.

In other words, it is definitely a slam dunk.

A scene still from Disney’s live-action RISE, exclusively on Disney+. Photo courtesy of Disney Enterprises, Inc. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Rise is available on Disney+ on Friday, June 24th, 2022

Monster Mondays: Jurassic Park III (2001)

by Leave a Comment

With the success of The Lost World: Jurassic Park (1997), it seemed pretty obvious that film would not be the last in the franchise.  In June 1998, a third Jurassic Park film was confirmed by Universal Pictures, with a release targeted for the summer of 2000.  Unfortunately, the same big problem that faced the writers for the previous film remained: what could possibly happen next?

With no third novel on which to base the new film, the plan was to bring Michael Crichton on to write the script. Crichton, however, left the project very early on to continue working on writing novels.  Likewise, Steven Spielberg decided not to return as director, insteading becoming the executive producer and passing the baton to director Joe Johnston, who had made the successful Honey, I Shrunk the Kids (1989) and Jumanji (1995).

Writing the film proved to be a major challenge.  The script went through several reworkings, even after construction had begun on sets and casting had started.  In the end, principal photography commenced without a finalized script.

The basic premise of the film is pretty simple.  A wealthy couple hire Dr. Alan Grant and his assistant, Billy Brennan, to join them on a chartered flight over Isla Sorna so that he can teach them about the dinosaurs they see.  When they get to Isla Sorna, however, the plane lands.  The couple, it turns out, are not wealthy.  They are actually divorced and have come to the island to search for their missing son.  Of course, they all end up stranded on the island together and have to find a way to get off before they are eaten by the island’s dinosaur residents.

Despite the issues in the writer’s room, Jurassic Park III is a brisk and fun little adventure film.  Though it lacks the depth of the previous two movies, the film delivers on dinosaur action sequences.  Stan Winston’s animatronics are top notch, with the gigantic Spinosaurus being an awe-inspiring practical special effect.  The final encounter our protagonists have with the Spinosaurus happens in a river, and the animatronic is truly life-like as it thrashes and splashes around alongside the human actors.  The CGI is also pretty good for the most part, though it is noticeably weak in a few shots.

While The Lost World: Jurassic Park brought back Ian Malcolm and John Hammond from the first film, with Lex and Tim Murphy getting a small cameo, Jurassic Park III brings back Dr. Alan Grant and Dr. Ellie Sattler, with both Sam Neill and Laura Dern returning to reprise their roles.  It is nice to be reunited with these two characters again, though fans were a little disappointed to learn that Dr. Sattler had married some boring bureaucrat rather than Dr. Grant.  

Replacing the Tyrannosaurus rex as starring carnivore this time is the Spinosaurus, a decision I think was a bit of a mistake.  Spinosaurus was first described by German paleontologist Ernst Stromer in 1915 from very incomplete remains discovered in Egypt in 1912.  In April 1944, this only specimen of Spinosaurus was destroyed as Britain bombed Munich.  Only a handful of highly incomplete Spinosaurus specimens were found in the years between World War II and the making of Jurassic Park III, meaning very little was known about the dinosaur prior to the making of the film.

New discoveries in the years since Jurassic Park III was released has shown that the depiction of Spinosaurus in the movie is terribly inaccurate.  We now believe Spinosaurus was semiaquatic and hunted primarily fish.  In keeping with this semiaquatic lifestyle, Spinosaurus was adapted to live in the water much more so than it was for living on land.  It had shorter hind legs than most other therapods, meaning it was probably not a very fast runner, and it had a flat, paddle-like tail to help with swimming.  The shape of the sail on its back is now also believed to be much different than the semi-circle shown in the movie.  Perhaps one of the most controversial moments in a Jurassic Park film comes when the Spinosaurus battles and kills a Tyrannosaurus rex, impossibly snapping the Tyrannosaurus’ muscular neck with its narrow fish-catching jaws.

Also getting its chance to shine is the pterosaur Pteranodon, which briefly appeared in the final shot of The Lost World: Jurassic Park.  Despite the name Pteranodon literally meaning “wing toothless”, the animals on screen are depicted as having sharp teeth lining the inside of their beaks.  Similar to Spinosaurus, Pteranodon was actually primarily a piscivore and spent its life in and around water.  Still, there is no denying the scene in the aviary is one of the highlights of the film. Interestingly, this scene is adapted from a scene in the first Jurassic Park novel that did not make it into the earlier movies.

Where Jurassic Park III really falters, however, is its ending.  After returning some stolen eggs to a Velociraptor pack, the characters run out of the jungle and are greeted by the military.  After all that had come before, including two major clashes with the Spinosaurus, it all just feels anti-climatic.  Worse yet is the reappearance of Billy, who is all bandaged up in the military helicopter after his encounter with the Pteranodon.  It feels a little too neat and tidy, and it lacks any final sense of tension.

Jurassic Park III is a deeply flawed Jurassic Park sequel which likely suffers from its inability to pin down a final script before shooting started.  Its portrayal of the Spinosaurus borders on crossing the line from animal to monster, and its lackluster ending sucks the air out of its sails rather than leaving a strong last impression with viewers.  Still, the film is fun, and its short running time keeps the movie from becoming bogged down.  While not as strong as the previous two films in the franchise, Jurassic Park III is an entertaining movie that is definitely worth watching.

Peace by Chocolate: A Delectable Story of Hope

by Leave a Comment

Chocolate can do amazing things. Who knew that it could bring peace and hope as well?

Set in Antigonish, Nova Scotia, Peace by Chocolate tells the amazing true story of the Hadhads, a family of Syrian refugees fleeing their nation’s civil war. First to arrive is eldest son Tareq (Ayham Abou Ammar), a respected physician in his home country. As he prepares for his family’s arrival, he quickly discovers that this new land of opportunity is frought with challenges, ranging from financial struggles to xenophobia. However, when his parents join him, things begin to change, especially when his father Issam (Hayem Ali) begins to sell the amazing chocolate delicacies that he create to the community. As his father’s new business begins to grow in popularity, Tareq becomes torn between his family’s success and creating his own legacy in the medical world.

Directed by Jonathan Keijser, Peace by Chocolate is an unexpected treat from start to finish. Anchored by some wonderful performances by Hayem Ali and Ayham Abou Ammar, Chocolate not only inspires but also reveals the challenges of immigrant life. Interestingly, while Keijser could have used the film to take a deep dive into the mishandled aspects of Canadian immigration policies, Keijser instead keeps the focus on the dynamics within the family and the people of their new home. As a result, there’s an aspect of Chocolate that feels instantly relatable to every parent who has struggled to connect with their children.

On the surface, Chocolate is a testament to one family’s ability to pivot in the midst of their own painful traumas. Having lost everything in the Syrian civil war, Issam and his family were felt as though they were left adrift. While Tareq fights desperately to secure his medical license, his parents are left wondering how they fit into their new environment. However, when Issam rediscovers his passion for chocolate, things begin to change. Colour returns into their home and hope begins to inspire them. By the simple gift of candy, Issam begins to leave his mark once again.  Then, as the popularity of their dessert began to rise, Chocolatebecomes a celebration of those who are able to navigate the challenges of refugee status.

Though, despite the massive success that this family achieves, Chocolate also acknowledges the seemingly insurmountable barriers that New Canadians face. Inexplicable rules and regulations that forces family members to be left behind or simply attempting to find work all work against the Hadhad family, threatening their physical and mental health. For instance, the best example of this comes through Tareq’s journey as he tirelessly pursues his medical license in his new home. Once a doctor, he too wants to be acknowledged for all the hard work that he accomplished in his home country. Nevertheless, his skills are not acknowledged due to Canadian regulations. As one would expect, these frustrations eat away at his soul as he refuses to settle for a job less than his stature yet this sort of sacrifice remains a painful reality for the most highly skilled of immigrant families. (As his friend suggests, “Here, paramedics drive ambulances and doctors drive cabs.”)  

What’s more, one of the more charming aspects of the film is the deep sense of compassion from much of the community at large. While not everyone is willing to accept their new neighbors, there is a deeper sense that this community sees the value of all people. So, while this may be an incredible story of one family triumphing in their new home, Chocolate also serve as a reminder of the importance of opening the doors that help newcomers flourish as well.

Sweet and soulful, Peace by Chocolate is a delectable delight. Smartly written and executed, there’s simply a joy about this film that’s crowd-pleasing in every way yet still manages to call the viewer to a deeper sensitivity to others.

As such, this Chocolate is definitely worth biting into.

Peace by Chocolate is available on VOD on Tuesday, June 14th, 2022.

Morbius: It’s Morbin’ Time!

by Leave a Comment

The relationship between Sony and Morbius is… complicated.

As they lean further into their SPUMC (or ‘Sony Pictures Universe of Marvel Characters’), Sony continues to fight for their share of the Marvel box office pie. After the success of the Venom films, one can almost see Sony salivate over the potential of creating their own extended universe of super-characters. Plans to merge characters such as Spider-Woman, Kraven the Huner, Vulture and even the rumoured return of Andrew Garfield as Spider-Man into the Venom-verse have driven this (sub)Marvel franchise forward with surprising speed over the last couple of years.

But things hit a speedbump with Morbius. 

Morbius tells the story of Michael Morbius (Jared Leto), a brilliant doctor that has suffered from a rare blood disorder since childhood. Determined to save himself and others who are suffering from the same fate, Morbius allows his DNA to be fused with that of vampire bats in the hopes of creating a cure. However, while his experiment seems to be successful, the effects on him are far worse than he could have imagined. Now with a taste for human blood, Morbius must decide if he can quell his evil urges and become the hero he wants to be.

After a disastrous run in theatres, Morbius didn’t take well with audiences for any number of reasons. Whether it’s Jared Leto’s more serious tone, bad writing or removed Spider-Man teases, the Living Vampire was not seen as a success in taking their plans to the next level. 

But that’s when things took a turn. All of a sudden, the Twitter-verse took over. Memes and TikTok clips celebrating ‘Morbin’ Time’ began to mock the film constantly. Tweets about the hilarious nature of the film seemed to make it trend popularly once again. Unable to recognize the fact that the film’s trending popularity was due to the brutal mocking of internet trolls, Sony even re-released the film in theatres, trying to capitalize on the film’s (sarcastic) buzz. When the film failed again to garner money, they seemed surprised. (Personally, my favourite response from one TikTok’r was ‘We were busy that weekend. Please release it a third time.’)

They may have missed the memo.

But seriously, is Morbius misunderstood? Misguided? Or just plain awful?

In truth, it’s probably a bit of all three. Directed by Daniel Espinoza, Morbius is an ambitious project that continues to develop the more horrifying aspects of Sony’s universe. However, whereas Venom appears to own its silliness (especially in its second film), Morbius leans into the seriousness of its darker tone. Frankly, it doesn’t work. While Leto seems committed to his character, his performance is somewhat joyless in the midst of a ridiculous concept. (At least Tom Hardy appears to be having some fun with his evil symbiote…) While one can’t expect (or even potentially, want) Sony’s superhero universe to mimic Marvel’s blend of action and humour, one would hope that they would understand that their characters lack both the grit of Batman or the silliness of Iron Man. 

They’re something different. And different can be great, if done well.

As with Venom, Morbius has the opportunity to explore what it means to battle our darkest impulses and even potentially use them for good. Is it possible to find redemption after our inner demons have been unleashed? As Morbius wrestles his own desire for human blood, Espinoza could have used the character to take a deep dive into the human experience. It’s ripe with potential. Yet, unfortunately, all that we’re given is a bland photocopy of other films we’ve received over the last decade, without the fun that could’ve been had along the way.

Admittedly, the disc transfer does look good. Morbius features a lot of heavy shadows and backlit areas, yet the film is clear and looks surprisingly sharp onscreen. However, special features are lacking. While Defining the Antihero is a relatively interesting look at the dark side of heroes, few other features are notable. (If anything, this is a project which needs to have a director’s commentary attached, especially one that acknowledges the mixed reaction to the film.)

So, while Morbius may not a ‘good’ film (or even a ‘so-bad-it’s-good’ film), it may make for a night of laughs with friends who are in on the joke.

Because, apparently, Sony is not.

Morbius is available on Blu-ray, DVD and VOD on Tuesday, June 14, 2022

Monster Mondays – The Lost World: Jurassic Park (1997)

by Leave a Comment

By Ben Dower

When Jurassic Park hit screens in 1993, the film not only wowed audiences with its realistic looking dinosaurs, but also made a fortune at the box office. Almost immediately it seemed that a second Jurassic Park film would be inevitable, but there was a big challenge facing the writers: what could possibly happen next?

Author Michael Crichton was initially not too keen on writing a sequel for Jurassic Park, but he eventually decided to write a follow-up, titled The Lost World after the Sir Arthur Conan Doyle book of the same name. Crichton’s The Lost World novel was loosely adapted to film by director Steven Spielberg and screenwriter David Koepp, and was released to movie theatres in May 1997 as The Lost World: Jurassic Park. The film was an instant hit upon its release, smashing several box office records.

The Lost World: Jurassic Park is a mixed bag. The core of the film’s story is that two rival teams – the hunters and the gatherers – have arrived on Isla Sorna. The hunters come from InGen and they want to trap some of the dinosaurs to take them to a new Jurassic Park facility in San Diego. This would allow InGen to recoup some of the money lost by the failure of Jurassic Park on Isla Nublar. The gatherers, meanwhile, were sent by John Hammond in an attempt to thwart the hunters and allow the dinosaurs to live free on Isla Sorna. The gatherer team is meant to be our heroes and consists of Dr. Ian Malcolm, Dr. Sarah Harding, Nick Van Owen, and Eddie Carr. Kelly Curtis, Ian’s young daughter, also joins the gatherers after she stows away on the ship to Isla Sorna to be with her dad.

Jeff Goldblum returns to the role of Dr. Ian Malcolm for a second time. The character was very well- liked by audiences in the first film, with his funny but insightful philosophical musings helping to carry the key messages of the film. Crichton wisely resurrected the character for his The Lost World novel, and Spielberg and Koepp had the good sense to follow Crichton’s lead and keep Malcolm as the protagonist of their film adaptation.

Another standout from the cast is Pete Postlethwaite who plays Roland Tembo, an experienced hunter who has been hired by InGen to run their expedition to the island. The reason Tembo took the job is because he wants the chance to hunt the ultimate predator: Tyrannosaurus rex. Postlethwaite is fantastic in the role, and the character of Roland Tembo has become a fan favourite, even getting a new toy in 2022 as part of Mattel’s Jurassic World Legacy Collection line.

The Lost World: Jurassic Park also manages to keep the dinosaurs on screen looking just as realistic as they did in Jurassic Park, even with more screentime and more reliance on CGI. The film is bolder than the first in how it pushes the envelop of CGI effects, with the scene where the InGen hunters trap several herbivorous dinosaurs on a game trail being a highlight. Several new dinosaur species appear in the film: Compsognathus, Stegosaurus, Mamenchisaurus, and Pachycephalosaurus, as well as the pterosaur Pteranodon.

There are a few little homages to earlier dinosaur-related media sprinkled throughout The Lost World: Jurassic Park. The ship used to transport the adult Tyrannosaurus rex to San Diego is named the S.S. Venture, a call-back to the ship in King Kong (1933). The T. rex rampage through San Diego is an homage to the film The Lost World (1925), which has a sequence where a Brontosaurus escapes captivity and rampages through London. There is also a little wink at the Godzilla films in that scene as well.

Unfortunately, The Lost World: Jurassic Park also makes quite a few misteps, particularly with its handling of its characters. Perhaps the most poorly handled character by the script is Dr. Sarah Harding, who is portrayed by Julianne Moore. Though Dr. Harding is supposed to be very knowledgeable about research methods and animal behaviour, she foolishly interacts with a baby Stegosaurus. Dr. Harding also brings an injured baby Tyrannosaurus back to base camp, leading its parents to attack the trailer and kill Eddie Carr. After surviving that attack, she walks through the jungle with the infant’s blood on her clothes, which results in the adult Tyrannosaurus pursuing her and killing several members of InGen’s team.

Also problematic is the script’s handling of Nick Van Owen, played by Vince Vaughn. Though he is supposed to be one of the “good guys”, Nick Van Owen sabatoges InGen’s camp, allowing the dinosaurs they’ve captured to go free, and takes the injured young Tyrannosaurus rex to Dr. Harding. This ultimately leads to both groups being stranded on Isla Sorna with no way to contact rescue teams. Later in the film, he deliberately removes bullets from Roland Tembo’s gun so that he won’t be able to hunt a Tyrannosaurus. When the group is attacked by the two adult Tyrannosaurus, Tembo is forced to use a tranquilizer, which leads to the Tyrannosaurus being taken to San Diego and several lives lost on the U.S. mainland.

Then there is Kelly Curtis, Ian Malcolm’s daughter, played by Vanessa Lee Chester. As there really is no place for a child in this particular story, Kelly’s inclusion feels forced into the plot to provide a point of identification for younger viewers and to raise the stakes in a few scenes. Unlike Lex and Tim in the previous film, Kelly seems to get carried around by the plot as opposed to being an active participant in key plot points.

Lastly, there is the final act of the film, which features the adult male Tyrannosaurus loose in San Diego. Though a fun idea on paper, on screen it is a little silly and filled with ridiculous sight gags. It doesn’t really fit the darker tone of the island-set portion of the film.

In the end, The Lost World: Jurassic Park is a worthy attempt at a sequel to one of the greatest movies ever made. It was never going to be able to live up to its predecessor, but considering how self- contained and outright spectacular the previous film was, it’s a testament to Spielberg’s skill as a filmmaker that The Lost World: Jurassic Park turned out so well and managed to recapture some of the magic from Jurassic Park.

There Are No Saints – A bloody road to redemption

by Leave a Comment

The trailer for Alfonso Pineda Ulloa’s There Are No Saints declares “The road to redemption is paved in blood.” The film is not a film about redemption, but about that road—a very difficult search for redemption that may or may not be possible for the central character. But it is a road he must attempt to navigate.

Neto Niente (José María Yazpic) has just been released from death row after a dying police officer admitted to planting evidence. Niente was a gang enforcer. He was known as “The Jesuit” because the Jesuits were known for using torture during the Inquisition. He wants to move on with his life in a less violent world. His ex-wife has a new boyfriend who is also gang involved. Niente’s son idolizes (literally) his father. When his wife is killed and the son kidnapped, Niente sets out to rescue his son, using the violent skills he has developed through the years. With the police after him because they know he’s a criminal, gangs after him because he wants out, and the cartel head using his son as bait, Niente is one against the world. Although he does find one person who will stand by him.

In his search for his son (and the hope of redemption) Niente faces lots of opponents who live by violence, just has he always has. He is able to fight them individually or in groups with the kind of fighting skills that Jason Bourne would envy. He has no qualms about causing pain (as his nickname suggests). The action part of the film is the bloody paving for that road.

The film is scripted by Paul Schrader, who has a long line of films about the road to redemption going back to Taxi Driver, Raging Bull, and Hardcore, and continuing through First Reformed and The Card Counter. The search for redemption is always central to Schrader’s work, often in a religious context.

Christian imagery and concepts permeate the film, from the opening title card: “The sins of the father shall be visited upon his sons” (Exodus 20:5) to the almost final line: “For all the things I’ve done, for all the things I’m about to do, may God has mercy on my soul”. Between these religious bookends, the concepts of confessing sins, praying, sacrifice, and justice all find their way into the dialogue. Visually, we see Niente, whose tattoos include a rosary around his neck and a back filled with an elaborate IHS (an abbreviation of Jesus in Greek). Niente’s son has made blood red pictures of his father as a kind of Christ. Niente knows that he will never live up to his son’s image of him, but is challenged by the faith that it represents.

It’s hard to call the final outcome of the film redemption, but there is at least a hope of redemption in the person of Inez (Shannyn Sossamon), the stripper with a heart of gold Niente hires to act as his wife long enough to get across the border. She manages to intwine herself into his life, even as he tries to send her away. It is the love that she exhibits that gives the possibility of redemption, even if it is not achieved by the end of the film.

The real question the film raises is not whether Niente can find redemption, but just what redemption would mean in his life. The film is very clear that he has done many bad things. He does even more during the course of the film. None of that ever becomes redemption for him. Instead, we see that only if he is able to leave this bloody road, will he have a chance to find what he is looking for. But it is not yet happening.

There Are No Saints is in theaters and available on VOD.

Photos courtesy of Saban Films.

Monster Mondays: Terror of Mechagodzilla (1975)

by Leave a Comment

A submarine searching for the remains of Mechagodzilla is attacked and destroyed by a dinosaur.  Marine biologist Akira Ichinose (Katsuhiko Sasaki) and INTERPOL agent Jiro Murakoshi (Katsumasa Uchida) go to the house of the reclusive Dr. Shinzo Mafune (Akihiko Hirata), a scientist who once claimed to have discovered a dinosaur in the sea many years ago and was laughed out of academic circles.  When they arrive at Dr. Mafune’s house, his daughter Katsura Mafune (Tomoko Ai) tells them Dr. Mafune is dead and that she burned all his notes.

In reality, Dr. Mafune has reached a deal with the alien invaders from the Third Planet of the Black Hole.  The aliens had once saved Katsura after a fatal lab accident by turning her into a cyborg.  Now they are rebuilding Mechagodzilla and hope to control the dinosaur Dr. Mafune discovered, called Titanosaurus, to help in their effort to conquer Earth.  While helping the Third Planet of the Black Hole aliens with Mechagodzilla, Dr. Mafune remarks that Mechagodzilla is inferior to Titanosaurus because Titanosaurus has a real brain.

Meanwhile, Katsura strikes up a relationship with Akira Ichinose, giving him Dr. Mafune’s notes on Titanosaurus which she did not burn.  He tells her of a plan to send a research submarine to search for Titanosaurus.  She informs the aliens and her father, who then send Titanosaurus to attack the submarine.  Before Titanosaurus can destroy the sub, however, the crew accidently discovers the dinosaur is sensitive to supersonic waves.

A supersonic wave oscillator is constructed incase of an attack by the aliens using Titanosaurus.  Dr. Mafune unleashes Titanosaurus without the permission of the aliens and the supersonic wave oscillator is destroyed by Katsura.  Godzilla arrives and confronts Titanosaurus, and Katsura is shot by the authorities as she flees the area.  Dr. Mafune releases control of Titanosaurus, who heads back to the sea, leaving a confused Godzilla behind.

The aliens once again save Katsura, but as they rebuild her they implant a controller for Mechagodzilla inside her, based on Dr. Mafune’s advice that the robot requires a real brain to be most effective.  The aliens order Mechagodzilla and Titanosaurus to attack Tokyo, leading to mass destruction and death as they push their way into the city.  While efforts are underway to quickly repair the supersonic wave oscillator, Godzilla arrives in Japan again to confront Mechagodzilla and Titanosaurus.

Terror of Mechagodzilla marks the end of the first cycle of Godzilla films, called the Showa Godzilla series by fans.  Japan divides history by each emperor’s reign, with Emperor Hirohito’s reign called the Showa Era (1926-1989), Emperor Akihito’s reign called the Heisei Era (1989-2019), and Emperor Naruhito’s reign called the Reiwa Era (2019-Present).  The films from Godzilla (1954) to The Return of Godzilla (1984) were all made in the Showa Era of Japanese history, but as The Return of Godzilla launched a distinct new continuity in which the next six films were released in the Heisei Era, it acts as the start of the Heisei Godzilla series.

After the release of Godzilla vs. Mechagodzilla (1974), Toho held a contest for people to submit stories for the next Godzilla film, and the winner was a woman named Yukiko Takayama.  Though the story she originally sent in was altered somewhat prior to filming, largely due to budget constraints, her original core concept was retained.

There are two key characters at the heart of Terror of Mechagodzilla, and they are Katsura and Titanosaurus.  Tomoko Ai does a wonderful job portraying Katsura, a young woman caught between wanting to pursue her own dream of living a normal life with Akira Ichinose, and her loyalty to her father and his goal of vengence on humanity for destroying his career.  The fact she is a cyborg, a combination of flesh and machine, is a nice reflection of the team up between Mechagodzilla and Titanosaurus, and the idea of implanting Mechagodzilla’s controller inside her raises the stakes nicely in the final moments of the film when it becomes necessary to destroy her to stop the robot.

Titanosaurus is somewhat of a throwback to earlier Toho monsters, like Anguirus and King Kong, in that he is a giant animal without any superpowers.  As the 1970s progressed, Godzilla’s foes generally came with a long list of outlandish weapons, but Titanosaurus fights using close-range hand-to-hand combat.  His design feels natural and is very well suited to his ocean environment.  Titanosaurus’ roar consists of a loud elephantine trumpeting sound, and he often snorts like a horse, creating a diverse and life-like feel to his vocalization.  In Yukiko Takayama’s original story, there were going to be two creatures called Titans that eventually merge, but this was changed for the final film to just Titanosaurus.

Returning to the director’s chair one final time is Ishiro Honda.  Honda had directed seven of the previous fourteen Godzilla films, including Godzilla (1954), as well as much of Toho’s other key monster output during the Showa Era including Rodan (1956), Mothra (1961), Matango (1963), and War of the Gargantuas (1966).  Honda’s return to the series is a welcome one, bringing with it the darker tone of earlier giant monster movies.  After Terror of Mechagodzilla, Honda would shift his career to helping his close friend Akira Kurosawa with his film projects.

Terror of Mechagodzilla was released in Japanese theatres on March 15, 1975.  Toho had the film dubbed into English in Hong Kong and Bob Conn Enterprises theatrically released an edited down version renamed The Terror of Godzilla in North America in the summer of 1978.  A nearly uncut version of the film, under the title Terror of Mechagodzilla, was released to television in the fall of 1978 and had a prologue added on that was composed of footage from a few previous Godzilla films.

Throughout the VHS era and into the early DVD era, only the heavily edited U.S. theatrical version was released to home video, albeit with its title corrected to Terror of Mechagodzilla.  In 2008, Classic Media released both the original Japanese version and extended North American TV version on DVD.  All of these earlier releases of the film are now out of print.  The original Japanese version of Terror of Mechagodzilla, with Toho’s English dub as an alternate audio option, is currently available as part of The Criterion Collection’s Godzilla: The Showa-Era Films, 1954-1975 Blu-ray set.