JohnDeSando
Se unió el oct 2001
Te damos la bienvenida a el nuevo perfil
Estamos realizando algunas actualizaciones y algunas funciones no estarán disponibles temporalmente mientras mejoramos tu experiencia. versión anterior no estará disponible después del 14 de julio. No te pierdas el próximo relanzamiento.
Distintivos3
Para obtener información sobre cómo conseguir distintivos, visita página de ayuda sobre distintivos.
Comentarios2,4 mil
Calificación de JohnDeSando
"Survival is a long shot!" Dr. Henry Loomis (Jonathan Bailey)
Jurassic World: Rebirth is framed to be forgotten, a concoction meant to please the whole family and certainly not discerning film-literate folk. The plot is simple, the characters underdeveloped, and the dinos less impressive than ever. With a family trying to survive a seafaring school of dinos and a raging Rex, enough home-centered action should make it an enjoyable actioner for low summer expectations.
The lead mercenary advisor on the rambling search for dino DNA is Zora, played by Scarlett Johansson as if she has a much better script to go to in a much better movie but probably not a better salary, which was purported to be around $20 million when she made Black Widow. If she has more than 2 lines at one time, I can't remember. She mostly minds resident scientist, Dr. Henry Loomis, who is as stereotypically out of it as you'd suspect, but a quick learner.
They are seeking dino blood samples to use for human medicine to curb heart disease. In that regard, Jurassic World: Rebirth redeems itself by abjuring the usual lust for profit to do something for mankind, at least supposedly even though chief capitalist rep, Martin (Rupert Friend), has a portfolio worth multiples of Johansson's salary to make sure his company becomes super wealthy from the expedition. That Martin may be dino meal seems a given under the immutable blockbuster formula laws.
The little family that gets connected to the original team is as forgettable as the film itself, slowing down action to focus on their petty squabbles that do little to advance even the humanistic plodding subplot. Only when Johansson and former right-hand mercenary, Duncan (Mahershala Ali), exchange does the script match the talent of the two real movie stars.
The cinematography, less crisp and less realistic than previous iterations, as if Canadian fires were plaguing the filming, is fuzzy, and at times less impressive than the dino movies of the early 20th century, making it almost found footage but not nearly as interesting. Alexande Desplat's John-Williams-derived score gives impetus to the action while reminding us of the great Jurassic movies of yore.
Jurassic World: Rebirth is an action film nowhere near the expertise of a Mission Impossible, but a pleasant air-conditioned amusement through the heat of summer. Where, oh, where, are Sam Neill, Laura Dern, Jeff Goldblum, and their scripts?
Jurassic World: Rebirth is framed to be forgotten, a concoction meant to please the whole family and certainly not discerning film-literate folk. The plot is simple, the characters underdeveloped, and the dinos less impressive than ever. With a family trying to survive a seafaring school of dinos and a raging Rex, enough home-centered action should make it an enjoyable actioner for low summer expectations.
The lead mercenary advisor on the rambling search for dino DNA is Zora, played by Scarlett Johansson as if she has a much better script to go to in a much better movie but probably not a better salary, which was purported to be around $20 million when she made Black Widow. If she has more than 2 lines at one time, I can't remember. She mostly minds resident scientist, Dr. Henry Loomis, who is as stereotypically out of it as you'd suspect, but a quick learner.
They are seeking dino blood samples to use for human medicine to curb heart disease. In that regard, Jurassic World: Rebirth redeems itself by abjuring the usual lust for profit to do something for mankind, at least supposedly even though chief capitalist rep, Martin (Rupert Friend), has a portfolio worth multiples of Johansson's salary to make sure his company becomes super wealthy from the expedition. That Martin may be dino meal seems a given under the immutable blockbuster formula laws.
The little family that gets connected to the original team is as forgettable as the film itself, slowing down action to focus on their petty squabbles that do little to advance even the humanistic plodding subplot. Only when Johansson and former right-hand mercenary, Duncan (Mahershala Ali), exchange does the script match the talent of the two real movie stars.
The cinematography, less crisp and less realistic than previous iterations, as if Canadian fires were plaguing the filming, is fuzzy, and at times less impressive than the dino movies of the early 20th century, making it almost found footage but not nearly as interesting. Alexande Desplat's John-Williams-derived score gives impetus to the action while reminding us of the great Jurassic movies of yore.
Jurassic World: Rebirth is an action film nowhere near the expertise of a Mission Impossible, but a pleasant air-conditioned amusement through the heat of summer. Where, oh, where, are Sam Neill, Laura Dern, Jeff Goldblum, and their scripts?
Will the current Joseph Kosinski F1: The Movie clobber the successful Frankenheimer Grand Prix (1966), Ron Howard's Rush (2013), or Mihael Mann's Ferrari (2024) ---I don't think so, but it can stand with them as one heck of a fine racing movie with performances to match the quality of those other three. The director of the Cruise missile, Top Gu: Maverick, shows the great directors a thing or two about up close and personal in and out of a costly Formula 1 racing car.
When lead Brad Pitt as Sonny Hayse is behind the wheel as an aging racer coming back for one more run (yes, clichés abound as in most not quite first-rate stories), Kosinski is superior to his rivals by pasting in real footage from Formula 1 races that include people in the stands along with the super-charged tracks. Help along the way comes from numerous cameras mounted on the cars to give 360-degree coverage of Pitt and his rival Joshua Pearce (Damon Idris) inside and out and small helmet cams to completely immerse us in the experience.
Such technical bravado is what American cinema does so well-transporting us from the plush chairs to the cramped compartment of a multi-million-dollar machine and racer. Besides the visual delights that include Pitt's well-wrought 60-year-old body, Kerry Condon brings just the right underplayed romance as the feisty chief architect of the car and Javier Bardem as Pitt's old racing rival. It all works as summer fare that provides you with air conditioning and action in weather that is usually as blasted hot as the engines on the screen.
For a more intense collaboration with the stars, Kosinski and crew pay little attention to other rival drivers as Pitt and Pearce race around the world, leaving us with our stars and the plot centered around their team work, the inescapable ingredient of success. Better than its cinematic rivals, F1 lets us experience the rivalry and eventual brotherhood at which American filmmaking and its stories excel.
When lead Brad Pitt as Sonny Hayse is behind the wheel as an aging racer coming back for one more run (yes, clichés abound as in most not quite first-rate stories), Kosinski is superior to his rivals by pasting in real footage from Formula 1 races that include people in the stands along with the super-charged tracks. Help along the way comes from numerous cameras mounted on the cars to give 360-degree coverage of Pitt and his rival Joshua Pearce (Damon Idris) inside and out and small helmet cams to completely immerse us in the experience.
Such technical bravado is what American cinema does so well-transporting us from the plush chairs to the cramped compartment of a multi-million-dollar machine and racer. Besides the visual delights that include Pitt's well-wrought 60-year-old body, Kerry Condon brings just the right underplayed romance as the feisty chief architect of the car and Javier Bardem as Pitt's old racing rival. It all works as summer fare that provides you with air conditioning and action in weather that is usually as blasted hot as the engines on the screen.
For a more intense collaboration with the stars, Kosinski and crew pay little attention to other rival drivers as Pitt and Pearce race around the world, leaving us with our stars and the plot centered around their team work, the inescapable ingredient of success. Better than its cinematic rivals, F1 lets us experience the rivalry and eventual brotherhood at which American filmmaking and its stories excel.
"Memento Mori," Ancient Latin phrase saying, "Remember death."
Death is everywhere in director Danny Boyle's sequel, "28 Years Later." The numerous skulls in one sequence are testimony that this is not just a zombie film but rather a study of how we face death and honor it.
Initially a group of survivors from the plague of 28 years ago find a small island and send out a father and son to the mainland: 12-year-old Spike (Alfie Williams) accompanies his father, Jamie (Aaron Taylor Johnson) to kill some evolutionary subculture of once-humans as a coming of age for Spike and future guard against these infected zombies.
Although the landscape of Northern England and the Scottish Highlands contrasts the grim world from which the duo have come, the beautiful, dense foliage is hiding the worst that human have become-naked zombies and fat ground crawlers, all bent on killing that seems their only occupation besides eating their targets. Indeed, the plague has captured souls that once held promise for civilization. It is a descent into madness whose only outcome is death.
Boyle and writer Alex Garland may be commenting on our current interest in macho, manly madness fomented by extremists of any ilk. Spike, while a 12-year-old of smarts and sensitivity, has little love of the sport; he eventually must avoid his own death by being a reluctant marksman.
Death in the form of his mother, Isla's (Jodi Comer) mysterious ailment forces him to strike out to find the out-there Dr. Kelson (Ralph Fiennes), perhaps the only hope in the film except in the slightly cliched ending. Even that hope emphasizes the need for cooperation in survival, not only the family unit but also the barricaded survivors reacting with militarized precision and cooperation to the zombie onslaught.
Although the movie's action emphasizes the struggle to survive, Boyle and Garland have larded it with familial love as an essential ingredient and a strange need to respect death, as the doctor describes it and humanizes it. Spike's love and care for his mother are admirable, a stark contrast to the zombie mindless slaughter and even his father's disrespect of Spike's mom.
As in super hero films, this post-apocalyptic tale illuminates the need to survive, not just from zombies but also to preserve the family if anyone is to find home.
Death is everywhere in director Danny Boyle's sequel, "28 Years Later." The numerous skulls in one sequence are testimony that this is not just a zombie film but rather a study of how we face death and honor it.
Initially a group of survivors from the plague of 28 years ago find a small island and send out a father and son to the mainland: 12-year-old Spike (Alfie Williams) accompanies his father, Jamie (Aaron Taylor Johnson) to kill some evolutionary subculture of once-humans as a coming of age for Spike and future guard against these infected zombies.
Although the landscape of Northern England and the Scottish Highlands contrasts the grim world from which the duo have come, the beautiful, dense foliage is hiding the worst that human have become-naked zombies and fat ground crawlers, all bent on killing that seems their only occupation besides eating their targets. Indeed, the plague has captured souls that once held promise for civilization. It is a descent into madness whose only outcome is death.
Boyle and writer Alex Garland may be commenting on our current interest in macho, manly madness fomented by extremists of any ilk. Spike, while a 12-year-old of smarts and sensitivity, has little love of the sport; he eventually must avoid his own death by being a reluctant marksman.
Death in the form of his mother, Isla's (Jodi Comer) mysterious ailment forces him to strike out to find the out-there Dr. Kelson (Ralph Fiennes), perhaps the only hope in the film except in the slightly cliched ending. Even that hope emphasizes the need for cooperation in survival, not only the family unit but also the barricaded survivors reacting with militarized precision and cooperation to the zombie onslaught.
Although the movie's action emphasizes the struggle to survive, Boyle and Garland have larded it with familial love as an essential ingredient and a strange need to respect death, as the doctor describes it and humanizes it. Spike's love and care for his mother are admirable, a stark contrast to the zombie mindless slaughter and even his father's disrespect of Spike's mom.
As in super hero films, this post-apocalyptic tale illuminates the need to survive, not just from zombies but also to preserve the family if anyone is to find home.