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8.27 Lost Worlds and Legacies in JURASSIC WORLD: DOMINION

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Directed by Colin Trevorrow, JURASSIC WORLD: DOMINION takes place four years after the destruction of Isla Nublar. Since that fateful day, the once-secluded dinosaurs have spread across the globe, living and hunting alongside the human race. However, when a new species threatens the global food industry, teams spanning generations must reunite in order to solve the mystery and prevent global catastrophe. This week, Dave Voigt (In The Seats) and Ben Dower (SF’s Monster Mondays) band together to bite back at DOMINION and its world of mayhem as we discuss missed opportunities and the joy of theme park rides.

You can stream on podomatic, Alexa (via Stitcher), Google Play, Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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Jurassic World: Dominion – Sound and Fury

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The age of the dinosaurs has come to an end. And there are many who are celebrating its demise.

Although the franchise has seen tremendous financial success over the past three decates, few of the entries have been a hit with critics. Other than the (still) brilliant original, many have felt (rightly) that the sequels have been somewhat of a mixed bag, either relying too heavily on nostalgia or just plain ridiculous. But its latest instalment, Jurassic World: Dominion, has found itself utterly blasted by poor reviews across the board.

Spoiler alert: this won’t be one of them. (Well, not entirely.)

Directed by Colin Trevorrow, Jurassic World: Dominion takes place four years after the destruction of Isla Nublar. Since that fateful day, the once-secluded dinosaurs have spread across the globe, living and hunting alongside the human race. However, when a new species threatens the global food industry, Dr. Ellie Sadler (Laura Dern), Alan Grant (Sam Neill) and Ian Malcolm (Jeff Goldblum) reunite to prevent global catastrophe. Meanwhile, Owen Grady (Chris Pratt) and Claire Dearing (Bryce Dallas Howard) are also working hard to discover what mega-corporation BioSyn wants with their daughter Maisie (Isabella Sermon) as she may hold the key to solving the mystery herself.

Every longstanding franchise comes to a point where they have to change the formula in order to survive. Sometimes it works, sometimes not. Admittedly, the Jurassic world wrote itself into a corner with the ending of the previous installment, Fallen Kingdom. By unleashing dinosaurs to rule the earth, the franchise opened a Pandora’s Box without any way to close it. All of a sudden, a series that found its greatest success telling stories about a group of people fighting for survival an enclosed environment completely reversed their formula. 

The series that began as a Lost World had transformed into Land of the Lost. 

Now, as the beasts of history were trampling wide-open spaces around the world, the franchise was forced to pivot. Given the impossible task of attempting to re-create the magic of a classic film, Dominion has had all of its rules changed. How do you attempt to wrap up an iconic franchise when the previous installment threw away the things that made it work? (In fact, one could argue that, like the characters in the film itself, the screenwriters are clearly trying to make the best of a bad situation.)

In a lot of ways, one has to respect the franchise for trying to make the old feel fresh. After all, they had been using similar formulas for the last 30 years with varying degrees of success. Ambitious and wild, Dominion is an attempt to bring an aging franchise into a whole new (Jurassic) world. As a result, the film is chaotic, silly and often non-sensical. 

But, dang it, I enjoyed myself.

Over the years, there’s been much debate as to whether certain films are ‘cinema’ or nothing more than ‘theme park rides’, as though there is some definitive line between the two sides. Dominion may be the film that hits both targets. Broad in its scope, this film feels as though the viewer has paid their ticket, gotten into the boat and takes a trip through a world of wild and possibilities. Whereas early films in the franchise attempted to delve into the moral high ground of scientific achievement, Dominion has no such sensibilities. (I believe it Shakespeare would say that it’s fueled by ‘sound and fury, signifying nothing’.) Instead, it simply wants to play with the toys they’ve created and unleash them in their new environment. Gone is much of the social commentary that marked Spielberg’s original, now replaced by scene after scene of monster-mayhem.

But it’s having fun doing it.

As (supposedly) the last film in the franchise, a clear effort has been made to bring the past and present together. By reuniting original characters with legacy cast, Dominion is very interested in bringing generations together. Wisely, the older characters are far more than cameos. Similar to the returnees in Spider-Man: No Way Home, beloved characters like Ellie Sadler, Alan Grant and Ian Malcolm are allowed to affect the plot. Although the film is drenched in nostalgia, there remains a certain level of satisfaction in seeing them back together onscreen. 

As with previous entries, there is an admiration of the natural world that pervades the film as well. At every opportunity, Dominion wants you to know that the filmmakers still care about the dinosaurs, even if the beasts almost feel as though they are the background as opposed to in it. With nature now lording over the ‘civilized’ world, these monsters are simply looking for a way to make their home among us. No longer are they for our amusement, yet they still carry the Spielberg-ian sense of wonder. (For example, an Apatosaurus slowly wandering through a lumber site is only one moment of many where humanity pauses to admire their new dino-roommates.)

As such, there is a deeper level of humility for nature in this than any of the other films. Whereas previous entries were about attempting to gain control of the nature world, Dominion recognizes that humanity is no longer the top of the food chain. (“Humanity has no more right to be top of the food chain than any other species,” pines Ian Malcolm.) The damage has been done and we must accept the reality that we’ve created. The past cannot be changed… so what does it mean to live in the moment that is here? 

Right now, there are many who feel like Jurassic World: Dominion is an extinction-level event. But this reviewer simply doesn’t agree. Although there are moments that are laughable, Dominion’s insanity is wrapped in gleeful silliness. Is it the best of the franchise? Not at all. But, despite what some may say, it isn’t the worst either.

Admittedly, one needs to lower their expectations for Dominion if they believe it will achieve the heights of the original. But, if you’re willing to hop onboard for a journey into dino-chaos, there’s no reason that you won’t enjoy the ride.

Jurassic World: Dominion roars into theatres on Friday, June 10th, 2022.

Trolls: World Tour – One Ring[Tone] to Rule Them All

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Can we trust the stories we’ve been told in our youth? Or is history tainted by our own perspectives and blinders towards others?

Somewhat surprisingly, this deeply philosophical question lies at the heart of the sugary sweet sequel, Trolls: World Tour, out on Blu-ray this Tuesday. Though packaged in bright pink and glitter, the sequel to 2016’s mega-hit Trolls actually has some soul underneath the surface for those who are willing to take the time to listen.

Back for the encore, new Queen Poppy (Anna Kendrick) and her potential paramour, Branch (Justin Timberlake) are shocked to discover that their tribe of pop-infested trolls are merely one of six different groups scattered over the lands. Each tribe devotes their time to celebrating a different musical style – funk, country, techno, classical, pop and rock – and have lived isolated from one another for years. When Queen Barb (Rachel Bloom) of the rock trolls attempt to destroy the other musical styles, Poppy and Branch set out on a mission to unite the trolls and save the diverse melodies from extinction.

Featuring tonnes of pop remixes and bursts of colour, Trolls: World Tour is a neon rainbow of musical cotton candy that charms kids (and can be bizarre to adults at times). Stars Kendrick and Timberlake continue to bring energy and fun to the film’s lead couple, Poppy and Branch, as they attempt to navigate more mature issues such as leadership and romance. What’s more, by introducing multiple new characters into the franchise, the larger world building does add a sense of scope to the melodic mythical creatures. In doing so, Trolls: World Tour feels like a progression in the right direction for the franchise as it opens the door for differences of musical style (and opinions).

A bit of a word of warning for the uninitiated, though. As a parent who has frequently rewatched the first movie (and the holiday special, and the television series), I feel I can say this from experience. 

Make no mistake. This franchise is weird. 

Any film that features a naked troll giving birth to his child from a burst of glitter out of his behind justifies such comments, I feel. 

Even so, underneath all the pop hits and rainbows, there’s something timely about the latest entry into the Trolls franchise. At a time when social protests against systemic racism has become a daily occurrence, World Tour speaks to the idea that our current culture is based upon the dominance of one worldview over many. By delving into the history of their world, Poppy and Branch discover that their way of life has actually negated the importance of other forms of music in the process. Without giving away any spoilers, what they learn not only reshapes the way that they understand their role in the world but it also causes them to appreciate and elevate the value of others. While current social conversations were not taking place in the same way when World Tour was being written, themes like this do add a certain sense of relevance to the film.

Now available on Blu-ray, the purchase offers a few fun features such as the necessary ‘dance party mode’, where your kids (and you, if you like) can sing along with Poppy and crew, Trolls Dance Academy (which teaches you how to dance to various styles of music) and the all-new animated short, Tiny Diamond Goes Back to School. There’s even a feature commentary with director Walt Dohrn, producer Gina Shay and co-director David P. Smith for those who would really like to get behind the music with the film.

So, for all its bizarre antics and rainbow aesthetic, Trolls: World Tour proves to be a likeable and fun entry into a franchise that, given its profitability, has not likely seen its end. However, if the franchise can continue to say something meaningful to my children in the process, I’m more than happy to continue to sing along.

Trolls: World Tour sings its way onto Blu-ray on July 7th,, 2020.

Dr. Seuss’ The Grinch: Lost and Lonely for the Holidays

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The Grinch (Benedict Cumberbatch) and his loyal dog, Max, live a lonely life atop the snowy crest of Mount Crumpet. Ostracizing himself from the Whos down in Whoville (the tall and the small), his main source of frustration comes during Christmastime when his neighbors celebrate the holidays with a bang. When the Whos decide to make Christmas bigger and brighter this year than ever before, the Grinch hatches a scheme to steal Christmas and end the Whos’ jovial celebration once and for all.

Produced by Chris Meledandri (Despicable Me), the greatest challenge facing Dr. Seuss’ The Grinch seemed to be whether or not The House That Minions Built could tell a story that lived up the legacy of the iconic original. Thankfully, the latest incarnation of Dr. Seuss’ classic tale is an engaging romp that treads enough new ground to feel fresh and—dare I say it?—even necessary. (Incidentally, what impressed me most about the film is that, despite coming from Illumination, the humor is mostly spared from going full ‘Minions’ with bathroom humor, allowing it to feel somewhat timeless and charming.) Star Benedict Cumberbatch plays the titular villain with snarling glee as he plots against the seemingly naïve Who’s (even if he isn’t quite as much of a ‘mean one’ as previous incarnations). What’s more, this film seems to have a lighter bounce and sense of play than in the past, making it more accessible to even younger viewers.

Still, The Grinch sets itself apart from previous versions through its sense of grace and support towards others. While we’ve seen the Grinch as either traumatized by lost love (live-action) or simply… well… mean (animated), this vision shows him as a lonely curmudgeon. Alone in the orphanage as a child, Cumberbatch’s Grinch has deliberately tried to pull himself away from others, not out of hatred but out of jealousy. Having never been invited to be a part of any sort of community, the Grinch simply doesn’t understand the blessing of being surrounded by people that care about you. (Or, he’s at least oblivious to it, as his friendship with Max and Fred would indicate.)

Conversely, however, the Grinch’s isolation is held in contrast to the Who’s desire to come together and, more specifically, Cindy Lou Who’s quest to help her mother. Out of love and respect for what she sees her mom sacrifice for their family, Cindy Lou sets out on a quest to [literally] wrestle Santa to the ground in order to ensure that her request gets through to the North Pole. Rather than give Santa a list of gifts, all she cares about is seeing her mother get the help she needs. Like Cindy Lou, this film has a much firmer grasp on the meaning of the holidays and, as a result, the film’s climactic reunion with the Grinch seems far more significant. This vision of The Grinch understands what it means for a community to lovingly support those in need—and the importance of grace that breaks through in its midst.

On video, the film transfers beautifully (especially in 4K which really allows the color to pop onscreen). Special features include 3 mini-movies (yes, two of them feature the Minions), Cindy Lou’s Yule Log and a sing-a-long version of “You’re a Mean One (Mr. Grinch)”. However, one of the most interesting pieces is also the most simple. A short video entitled “Any Who Can Draw” allows viewers to put their artistic skills to work to draw characters from the film, an activity that my whole family enjoyed.

Dr. Seuss’ The Grinch is available on 4K, BluRay, DVD or Digital Download.

To hear our podcast on The Grinch, click here.

The Grinch (Benedict Cumberbatch) warns his dog Max and reindeer Fred about the seductive power of the Santa cookie as he trains them to help him steal Christmas in “Dr. Seuss’ The Grinch” from Illumination.

A Dog’s Purpose: Companionship In Life

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Growing up, I remember dogs were always a part of the daily activities at my house.  In the early years, there was a black Labrador who lived in our backyard and loved to play with the neighborhood kids.  Middle school brought a tan dachshund to the mix—she liked everyone in the family–except me. In high school, I found my companion in the form of Fred, a beagle named after the basset hound in Smoky and the Bandit due to his looks. He followed me everywhere and slept on my bed at night.  Leaving for college without him was bittersweet, but he always remembered me when I returned for holiday visits.  He passed away a number of years ago, but the memories and companionship he brought me live on today.

Into this theme of companionship comes a new film from Universal and Walden Media called A Dog’s Purpose.  You might have heard about it recently, as an online video surfaced that suggested animal cruelty happened on set.  PETA reacted predictably and called for a boycott of the film, but I’m here to say there’s no reason to avoid attending for that reason (by the way, this article by one of the film’s producer explains the whole thing and is quite interesting).  In fact, although extremely melodramatic, A Dog’s Purpose is a decent film and showcases companionship in a touching way.

In the story based on the book by Bruce Cameron, we see life portrayed through the eyes of a dog (voiced by Josh Gad).  Actually, that should be lives, as the dog’s first iteration finds him as a stray and caught by animal control before being euthanized.  Before he can determine what his purpose is, he’s back as a puppy and eventually escapes from a cage.  Two guys find him and leave him in a truck with the windows closed on a hot day.  Thankfully, a lady (Juliet Rylance) breaks the window and rescues him.  After a discussion with her husband (Luke Kirby), their son Ethan (Bryce Ghesiar) has his first dog and names him Bailey.  The two are inseparable, although Bailey gets out of control one night at dinner and ends up costing Ethan’s father a job—and eventually, his family due to alcoholism.

Ethan grows up (now played by KJ Apa) and Bailey indirectly helps him find Hannah (Britt Robertson), and a relationship begins.  Bailey doesn’t understand a number of things that happen later, such as why Ethan leaves for college and why he breaks up with Hannah.  But he’s fiercely protective to the end.  And when that happens, there’s a pause, followed by a new life to live as another dog.  The canine goes through lives as a female police dog, a smaller companion for a college student, and a St. Bernard look-alike that finds his way back to an old farm house and runs into Ethan (Dennis Quaid), who doesn’t recognize him. The ending is neatly tied up and is reminiscent of something airing on the Hallmark Channel, but dog lovers might find themselves wiping away tears by then.

Director Lasse Hallstrom (Who’s Eating Gilbert Grape) keeps the film going at a good clip, keeping the distractions to the story to a minimum.  The whole concept of a dog bouncing through multiple lives is a topic worthy of a later discussion, but it’s handled tastefully and quickly each time.  The soundtrack isn’t particularly memorable, but in this case, that’s a good thing.  In my opinion, the acting is a bit uneven, mainly due to having so many different lives to account for on the part of the dog.  And, outside of the melodrama, the biggest issue I had with A Dog’s Purpose’s involved characterization.  Not of the dogs, mind you, but of the humans portrayed in each section.  Only Ethan is fully conceptualized; the others need more background—why for example, did the police officer live by himself?  We see a picture of him and his wife (daughter?), but nothing else is offered. More characterization would help to increase the power of the bond between human and canine.

And that is really the biggest takeaway from the film for me. When man was created, God realized he needed something. “It is not good for the man to be alone,” he said (Genesis 1:18).  In this case, he created the woman, but the loneliness and companion factor are important for humanity.  Nobody wants to be alone forever, having nobody to talk to or shower love on them.  Perhaps this is why dog owners are so fiercely protective of them, even calling them part of their family—they’re friends who stick closely by through the good and bad times—“closer than a brother,” in fact (Proverbs 18:24).

A Dog’s Purpose offers a look at why canines are referred to as man’s best friend.  They provide more than companionship and love to their masters—they exude hope, courage, loyalty, and strength.  These are fantastic qualities each of us should seek to embody in our lives. Perhaps the film will help a person do just that—thanks to a little bit of wisdom from a dog.

Special features on the Blu-ray and DVD available now are deleted scenes, outtakes, and two featurettes, “Lights, Camera, Woof!” that looks behind-the-scenes and “A Writer’s Purpose” that shares about W. Bruce Cameron (writer of the novel and screenwriter of the film).