Review: Great Performances "Walk the Line" (Happy B'day, Joaquin Phoenix)

TRASH IN MY EYE No. 177 (of 2005) by Leroy Douresseaux

Walk the Line (2005)
Running time: 135 minutes (2 hours, 15 minutes)
MPAA – PG-13 for some language, thematic material, and depiction of drug dependency
DIRECTOR: James Mangold
WRITERS: Gill Dennis and James Mangold (based upon the books The Man in Black by Johnny Cash and Cash: An Autobiography by Johnny Cash and Patrick Carr)
PRODUCERS: James Keach and Cathy Konrad
CINEMATOGRAPHER: Phedon Papamichael
EDITOR: Michael McCusker

DRAMA/BIOGRAPHY/MUSIC-SONGS with elements of romance

Starring: Joaquin Phoenix, Reese Witherspoon, Ginnifer Goodwin, Robert Patrick, Dallas Roberts, Dan John Miller, Larry Bagby, Shelby Lynne, Tyler Hilton, Waylon Malloy Payne, Shooter Jennings, Sandra Ellis Lafferty, and Dan Beene

Walk the Line, the Johnny Cash biopic, chronicles Cash’s beginnings as the son of Ray Cash, (Robert Patrick), a poor Arkansas cotton farmer, his rise to fame with Sun Records in Memphis, and his early status as a rock and country music star with Columbia Records. Along the way, Johnny Cash (Joaquin Phoenix) battles an addiction to pills, struggles with his first marriage to Vivian Cash (Ginnifer Goodwin), and meets the true love of his life and his soul mate, June Carter (Reese Witherspoon), a singer Cash admired when he was a poor Arkansas boy and she was a child star singer on the country music circuit of the 1940’s.

Joaquin Phoenix as Johnny Cash is the primary reason Walk the Line succeeds. He plays Cash with equal parts mad abandon and quiet intensity. His Cash is one moment a wild man and the next moment a vulnerable soul desiring an intimate connection with June Carter or perhaps seeking reconciliation with the past. A film biography usually can’t give us the interior substance of the man a book could. However, a film biography can give us some kind of emotional and visual approximation of Cash. That’s what Joaquin does in Walk the Line.

Sadly, the film’s (almost) fatal flaw is the script because it’s shallow. The writers, Gill Dennis and director James Mangold, rely on several elements to give the film its emotional impact. One of them is Cash’s drug use, but the film takes a very surface look at it. Cash uses drugs; he becomes addicted, acts like an ass to his friends and family, and breaks things. That entire sub-plot comes across as what it is – old hat. It’s more annoying than interesting.

Two other important sub-plots are Johnny’s relationship with his father, Ray, and his wife Vivian. Robert Patrick gives a good performance as Ray Cash, but Mangold and Dennis mishandle the relationship (or misunderstood it while doing research for the film). It’s a clunky bit of writing that usually has a strung-out Cash staring oh-so-intensely staring at Papa Cash while Ray simply acts like a mean sumbitch. The film doesn’t need the father-son dynamic to be touchy-feely, but that relationship has no heart, is paper-thin, and the resolution is tacked on for a feel-good ending.

Vivian Cash, expertly played by the stunningly gorgeous Ginnifer Goodwin, gets the same dismissal. Mangold and Dennis once again rely on an old film stereotype, one especially big in biopics – that of the shrewish wife. Vivian is more whiny than happy, and the marriage is more or less played as being misbegotten from the get-go. That’s inaccurate (certainly by the accounts of Cash’s four children by Vivian), and if the filmmakers intended to play the marital strife for dramatic effect, they failed, instead ruining a good character.

The biggest waste in Walk the Line is Reese Witherspoon’s June Carter. As written here, the part isn’t a co-lead; it’s a glorified supporting role. Ms. Witherspoon and Phoenix certainly have some serious screen chemistry. They butt heads, stare deeply at one another, and bicker like siblings – or like longtime lovers. Ultimately, however, the story plays June Carter as being only important because she is something Johnny has to have. Of course, this isn’t really June’s story, but it’s obvious to anyone who sees Walk the Line how important June was to Johnny, though we only get a tantalizing piece here and there.

In Ray, the Ray Charles biopic, actor playing important supporting characters get at least one scene to define his characters both as an individual and as a larger part of the narrative. Walk the Line doesn’t allow this except for June Carter’s part. We also get very little of Johnny Cash’s backup band and or of his industry collaborators and acquaintances. Ray also gave the viewer numerous looks at Ray Charles’ creative process of songwriting, performing, and producing. Other than the concert scenes, Walk the Line gives us very little of Johnny Cash’s creative process.

Still, I found myself getting emotional during much of Walk the Line. There are some powerfully emotional scenes here (for instance, when Johnny first performs for Sam Phillips, founder of Sun Records). Add such magical moments to Joaquin Phoenix and, to a lesser degree, Reese Witherspoon’s performances, and Walk the Line is a special biographical movie.

7 of 10
B+

Monday, November 28, 2005

NOTES:
2006 Academy Awards: 1 win: “Best Performance by an Actress in a Leading Role” (Reese Witherspoon); 4 nominations: “Best Achievement in Costume Design” (Arianne Phillips), “Best Achievement in Film Editing” (Michael McCusker), and “Best Achievement in Sound Mixing” (Paul Massey, Doug Hemphill, Peter F. Kurland), and “Best Performance by an Actor in a Leading Role” (Joaquin Phoenix)

2006 BAFTA Awards: 2 wins: “Best Performance by an Actress in a Leading Role” (Reese Witherspoon) and “Best Sound” (Paul Massey, Doug Hemphill, Peter F. Kurland, and Donald Sylvester); 2 nominations: “Anthony Asquith Award for Film Music” (T-Bone Burnett) and “Best Performance by an Actor in a Leading Role” (Joaquin Phoenix)

2006 Golden Globes: 3 wins: “Best Motion Picture - Musical or Comedy” (Cathy Konrad and James Keach), “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Joaquin Phoenix), and “Best Performance by an Actress in a Motion Picture - Musical or Comedy” (Reese Witherspoon)

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"We Need to Talk About Kevin" Wins 2011 BFI Best Film Award

BFI LONDON FILM FESTIVAL ANNOUNCES 2011 AWARD WINNERS

London – 10.30pm, 26 October 2011: The 55th BFI London Film Festival, in partnership with American Express announced the winners at its high profile awards ceremony, supported by Montblanc at London’s LSO St Luke’s this evening. Hosted by Marcus Brigstocke, the four awards were presented by some of the most respected figures in the film world.

BEST FILM: WE NEED TO TALK ABOUT KEVIN, directed by Lynne Ramsay
Celebrating the most original, intelligent and distinctive filmmaking in the Festival, the Best Film award, presented in partnership with American Express, was chaired by John Madden who presented the award with fellow judge Gillian Anderson.

On behalf of the jury John Madden (Chair) said: “This year’s shortlist for Best Film comprises work that is outstanding in terms of its originality and its stylistic reach. It is an international group, one united by a common sense of unflinching human enquiry and we were struck by the sheer panache displayed by these great storytellers. In the end, we were simply bowled over by one film, a sublime, uncompromising tale of the torment that can stand in the place of love. We Need to Talk About Kevin is made with the kind of singular vision that links great directors across all the traditions of cinema.”

BEST BRITISH NEWCOMER: Candese Reid, actress, Junkhearts
This award is presented in partnership with Swarovski and honours new and emerging film talent, recognising the achievements of a new writer, producer, director, actor or actress. The award for Best British Newcomer was presented by Edgar Wright and Minnie Driver to Candese Reid, for her acting role in Junkhearts, a sophisticated, social drama about hope and the search for redemption. Starting acting at the age of nine, she joined Nottingham’s prestigious Television Workshop, and her role in Junkhearts, at the age of 18, was her first professional acting role. Candese also received a bursary of £5,000 courtesy of Swarovski

Chair of the Best British Newcomer jury, Andy Harries said, “Candese is a fresh, brilliant and exciting new talent. Every moment she was on screen was compelling.”

SUTHERLAND AWARD WINNER: Pablo Giorgelli, director of LAS ACACIAS
The long-standing Sutherland Award is presented to the director of the most original and imaginative feature debut in the Festival. This year, Argentinian director Pablo Giorgelli took the award for his film Las Acacias, a slow-burning, uplifting and enchanting story of a truck driver and his passengers. The director received his Star of London from film director Terry Gilliam.

The jury commented: “In a lively and thoughtful jury room debate, Las Acacias emerged as a worthy winner, largely because of the originality of its conception. Finely judged performances and a palpable sympathy for his characters makes this a hugely impressive debut for director Pablo Giorgelli.”

GRIERSON AWARD FOR BEST DOCUMENTARY: INTO THE ABYSS: A Tale of Death, A Tale of Life directed by Werner Herzog
The award is co-presented with the Grierson Trust, in commemoration of John Grierson, the grandfather of British documentary. Recognising outstanding feature length documentaries of integrity, originality, technical excellence or cultural significance, the jury was chaired by Adam Curtis and the award went to Werner Herzog’s coruscating study of the senselessness of violence and its consequences.

BFI FELLOWSHIP: Ralph Fiennes and David Cronenberg (as previously announced)
Awarded to an individual whose body of work has made an outstanding contribution to film culture, the Fellowship is the highest accolade that the British Film Institute bestows and was awarded to Canadian auteur David Cronenberg whose film A Dangerous Method premiered at the Festival on Monday. The Fellowship was presented by Jeremy Thomas and Michael Fassbender.

Ralph Fiennes, one of Britain’s pre-eminent actors, who has just made a bold and critically well received transition to film directing with his festival film Coriolanus, was also presented with a Fellowship, this time from fellow actor and personal friend Liam Neeson.

Greg Dyke, Chair, BFI said: ‘The BFI London Film Festival Awards pay tribute to outstanding film talent, so we are delighted and honoured that both Ralph Fiennes, one of the world’s finest and most respected actors and David Cronenberg, one of the most original and ground-breaking film directors of contemporary cinema, have both accepted BFI Fellowships - the highest accolade the BFI can bestow. I also want to congratulate all the filmmakers and industry professionals here tonight, not only on their nominations and awards, but also for their vision, skill, passion and creativity.’

The Star of London award was commissioned especially for the Festival and designed by leading sculptor Almuth Tebbenhoff.

Jurors present at the ceremony included: Best Film jurors John Madden, Andrew O’Hagan. Gillian Anderson, Asif Kapadia, Tracey Seaward and Sam Taylor-Wood OBE; Sutherland jurors Tim Robey, Joanna Hogg, Saskia Reeves, Peter Kosminsky, Hugo Grumbar, and the artist Phil Collins. Best British Newcomer jurors Anne-Marie Duff, Tom Hollander, Edith Bowman, Stephen Woolley and Nik Powell; and Grierson Award jurors Mandy Chang of the Grierson Trust, Charlotte Moore, Head of Documentary Commissioning at BBC, Kim Longinotto and Adam Curtis.

Other guests included: Alfonso Cuarón , Sheharazade Goldsmith, Duncan Kenworthy, Aaron Johnson, Paul Gambaccini, Chair of the BFI Greg Dyke, Chief Executive Amanda Nevill and Festival Director Sandra Hebron.

Review: 1993 Version of "The Three Musketeers" is Surprisingly Fun

TRASH IN MY EYE No. 87 (of 2011) by Leroy Douresseaux


The Three Musketeers (1993)
Running time: 105 minutes (1 hour, 45 minutes)
MPAA – PG for action/violence and some brief sensuality
DIRECTOR: Stephen Herek
WRITER: David Loughery (based upon the novel by Alexandre Dumas père)
PRODUCERS: Roger Birnbaum and Joe Roth
CINEMATOGRAPHER: Dean Semler
EDITOR: John F. Link
COMPOSER: Michael Kamen

HISTORICAL/ACTION/COMEDY with elements of drama and adventure

Starring: Charlie Sheen, Kiefer Sutherland, Chris O’Donnell, Oliver Platt, Tim Curry, Rebecca De Mornay, Gabrielle Anwar, Michael Wincott, Paul McGann, Julie Delpy, and Hugh O’Conor

The Three Musketeers is a 1993 swashbuckling comedy film from Walt Disney Pictures. It is based upon Alexandre Dumas père’s 1844 novel, also entitled The Three Musketeers.

The film opens on young d’Artagnan (Chris O’Donnell) who arrives in Paris with dreams of becoming one of the Musketeers, a band of men sworn to protect and serve the King of France, as his late father was. However, the king’s minister, Count Richelieu (Tim Curry), has just disbanded the Musketeers. This is part of Richelieu’s plot with the Duke of Buckingham of England to overthrow King Louis XIII of France (Hugh O’Conor). Richelieu wants to become the new king after the coup, and he also plans to take Queen Anne of Austria (Gabrielle Anwar) as his queen.

Through a series of misadventures, d’Artagnan joins the three best Musketeers: Athos (Kiefer Sutherland), Porthos (Oliver Platt), and Aramis (Charlie Sheen) to stop Richelieu’s evil plot. First, they must intercept Richelieu’s spy and secret agent, Milady de Winter (Rebecca De Mornay), from delivering a signed treaty to the Duke of Buckingham. However, it seems as if the entire country is set against d’Artagnan and the Three Musketeers as they try to save King and Country.

When this version of The Three Musketeers debuted back in November 1993, I was too much of a snob to see it. To me, it seemed like it was going to be nothing more than trash, but 18 years later, I enjoyed watching it. However, it turns out that I was right about some of my misgivings. Three of the four lead actors: Charlie Sheen, Kiefer Sutherland, Chris O’Donnell are just awful, with the lone exception of quality being Oliver Platt’s largely comic performance. Even Tim Curry is way more over the top than he needs to be, while Julie Delpy’s Constance is hardly in the film. Rebecca De Mornay actual makes the most of her scenes and turns in quite a nice performance as the femme fatale, Milady de Winter.

Early in the film, either because of the direction (by Stephen Herek) or the editing, the pace of the film is clumsy and awkward. Then, as the story goes on, the film settles into being a rousing adventure with a delightful comic mood. The film’s art direction and set decorations make this a surprisingly beautiful film, and the English and Austrian shooting locations offer viewers some lovely scenery. Plus, there is even a cool song for the soundtrack, “All for Love” sung by Bryan Adams, Sting, and Rod Stewart (written by Adams, film composer Michael Kamen, and Robert John “Mutt” Lange).

There isn’t much else to say. In most ways, this 1993 version of The Three Musketeers is just an average Hollywood flick, but I like it.

6 of 10
B

NOTES:
1994 Razzie Awards: 1 nomination: “Worst Supporting Actor” (Chris O'Donnell)

Wednesday, October 26, 2011

"Curse of the Phantom Shadow" at Kickstarter

I received the following email:

My name is Mark Ross, and I am an independent filmmaker in the Las Vegas area. My current project may be of interest to your readers.

I am currently in production on our short concept film, Curse of the Phantom Shadow. This movie is an homage to:


Radio Dramas
The Phantom
B Movies
Dick Tracy
Batman
Spy Smasher
The Shadow
Republic Movie Serials
Comic books
Pulp Novels/Magazines of the 1930s/1940s

Our film takes place in 1948. We have professional actors, some of which have been in Hollywood productions.

Until recently, we were 100% self financed from my personal savings. We are now trying to raise money to finish our production.

I realize you probably get many of requests, such as the one I am about to make [Actually, no I don't.]. However, a mention on your blog would definitely help us with our fundraising endeavors:

http://kck.st/o7JT2f

I'm flattered that he thinks our little blog could help, and I hope that it does in any way it can.  So please, lend a helping hand if you can and give Mark and company a kickstart.

Review: "Transformers: Dark of the Moon" is a Shiny Empty Thing

TRASH IN MY EYE No. 86 (of 2011) by Leroy Douresseaux

Transformers: Dark of the Moon (2011)
Running time: 154 minutes (2 hours, 34 minutes)
MPAA – PG-13 for intense prolonged sequences of sci-fi action violence, mayhem and destruction, and for language, some sexuality and innuendo
DIRECTOR: Michael Bay
WRITERS: Ehren Kruger (based on Hasbro’s Transformers Action Figures)
PRODUCERS: Don Murphy, Tom DeSanto, Lorenzo di Bonaventura, and Ian Bryce
CINEMATOGRAPHER: Amir Mokri (D.o.P.)
EDITOR: Roger Barton, William Goldenberg, and Joel Negron

SCI-FI/ACTION/WAR

Starring: Shia LaBeouf, Rose Huntington-Whiteley, Tyrese Gibson, Josh Duhamel, John Turturro, Patrick Dempsey, Kevin Dunn, Julie White, John Malkovich, Frances McDormand, Alan Tudyk, Ken Jeong, Lester Speight, Glenn Morshower, and Buzz Aldrin; (voices) Peter Cullen, Leonard Nimoy, Hugo Weaving, Frank Welker, Charlie Adler, Reno Wilson, and Keith Szarabajka

Transformers: Dark of the Moon is a 2011 science fiction war and action film. It is the third movie in the live-action film series starring Hasbro’s popular toy line, the Transformers. The two other movies were Transformers (2007) and Transformers: Revenge of the Fallen (2009). Once again, the human hero from the first two films is caught in a war between two factions of alien robots, the Autobots and the Decepticons, but this time the war involves a new technology that could enslave humanity and forever change Earth.

Dark of the Moon takes place three years after the events of the second film. Sam Witwicky (Shia LaBeouf) is frustrated on two fronts. U.S. government officials will no longer allow him to work with the Autobots, and Director of National Intelligence Charlotte Mearing (Frances McDormand) tells Sam that he is not a hero, but was merely a messenger bringing the Autobots to the world’s attention. Sam also cannot find post-college employment that satisfies him professionally and financially. He is also irritated that his new girlfriend, Carly Spencer (Rose Huntington-Whiteley), supports them both with her high-paying job.

Meanwhile, the Autobots are helping the U.S. military prevent conflicts around the globe. Bigger things are about to happen for the Autobots, however, and it involves a mystery that began 42 years earlier with the Apollo 11 mission to the moon. Autobot leader, Optimus Prime (Peter Cullen), travels to the moon where he finds an Autobot thought to be dead, Sentinel Prime (Leonard Nimoy), Optimus’ predecessor as leader of the Autobots. Optimus revives Sentinel, and that begins a series of events which allow Megatron (Hugo Weaving), leader of the Decepticons, to commence a diabolical plot to revive Cybertron, the ruined home planet of the Transformers. Soon, the Decepticons launch an all-out war against humanity with Chicago as the epicenter.

USAF Chief Robert Epps (Tyrese Gibson) and “Team Epps” join Sam on a mission to slip into Chicago to save Carly. Meanwhile, U.S. Army Lt. Colonel William Lennox (Josh Duhamel) leads the classified strike team, NEST, into Chicago to help them. But time is running out for them to save Carly and the world.

Like Revenge of the Fallen, Dark of the Moon got some bad reviews, although maybe not as many as Revenge. I like this as much as I did Revenge of the Fallen, but both films are too long. Dark of the Moon is probably a half hour longer than it needs to be, but it’s almost worth it to get just about any of the action scenes that include the Transformers. Many of the Transformers here are more complex and have more moving parts, in addition to the fact that this film is shot in 3D. The special visual effects wizards who worked on Dark of the Moon were up to the task and turned in the best visual and special effects of the three films.

Visually, this is an undeniably impressive science fiction action film. Sadly, the rest of the film is either barely coherent or simply incoherent. The acting is often lost in all the noise and visual splendor, and in many cases, that is for the better. There is some hysterically bad acting and embarrassing overacting. This film is also over-the-top and overwrought, and sometimes, it’s just too much. It took me three sittings over three days to watch this movie, and I’m glad I chose not to see it in a theatre.

The special effects and the robots transforming were superb, but as much as that blew my mind, something is really wrong with this movie as a story. This is director Michael Bay at his most mind-numbing, and it is now clear that he has perfected film as sound and fury signifying absolutely nothing. Transformers: Dark of the Moon shows how far the science and technology of cinema have come, but the storytelling is positively Stone Age.

5 of 10
C+

Tuesday, October 25, 2011

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Virtual Pop Idol "Hatsune Miku" Concert Film in November 2011

LIVE VIEWING JAPAN PRESENTS A SPECIAL HATSUNE MIKU EVENT FOR ONE-NIGHT-ONLY IN 9 MAJOR U.S. CITIES IN NOVEMEBER

World’s First Virtual Pop Idol Has Become An International Music Sensation And Will Be Featured In A Special Concert Film For Fans

Live Viewing Japan, a distribution company focused on bringing Japanese entertainment media to an international audience, has announced that it will stage a very special one-night-only Hatsune Miku event simultaneously in nine major U.S. cities on Thursday, November 10, 2011 at 7:00pm (local time). Hatsune Miku Live Party 2011 39's LIVE in SAPPORO (originally organized by 5bp Inc. in August, 2011) will screen a live concert performance of Hatsune Miku in movie theaters in select markets. More information about this exclusive one-night-only event is available at:
http://www.liveviewing.jp/contents/009_mikupa.html.

The cities that will host the Hatsune Miku event include:
Baltimore, MD
Boston (Manchester), MA
Chicago, IL
Houston, TX
Los Angeles, CA
Orange, CA
New York, NY – Two locations
San Francisco/Bay Area, CA
Seattle, WA

“We’re very excited to present this unique Hatsune Miku experience for her U.S. fans,” says Live Viewing Japan Exective Director Hiroki Kotani. “Miku has captivated a global audience with a mix of catchy pop music and captivating technology-inspired visuals. Her popularity has opened an entirely new range of possibilities to blend a cute pop idol persona with technology and computer-created graphics. We invite fans to visit the Live Viewing Japan web link for more information and for specific movie theater event locations. Don’t miss this rare opportunity to see Hatsune Miku perform!”

Pop idol Hatsune Miku, whose name means, “first sound of the future,” is a Vocaloid (meaning machine-made vocals) digital female avatar and the most popular of the Vocaloid Character Series software originally created by Crypton Future Media, Inc. using Yamaha’s Vocaloid 2 engine to create organic-sounding synthesized vocal tracks.

In Japan, Hatsune Miku is a major national phenomenon and has appeared in numerous popular video games and music videos. She’s also played several enthusiastic “concerts,” where she performs on stage projected as a 3D hologram and backed by a live band. Miku recently played her first live concert in the U.S. called, “MIKUNOPOLIS in LOS ANGELES,” at the Nokia Theatre for the 2011 Anime Expo, held this past July in Los Angeles, CA. The show sold out in only 4 hours, further underscoring the growing popularity she enjoys in North America. Hatsune Miku was also recently featured in a T.V. commercial for the Toyota Corolla.

Live Viewing Japan has seized on the growing global popularity of Hatsune Miku and has plans to screen her live concert film in several countries including France, Thailand and Brazil.


About Live Viewing Japan:
Live Viewing Japan is a Japanese-based media distribution company focused on bringing a variety of entertainment properties to a global theatre-going audience. More information on the company and its projects is available at: http://www.liveviewing.jp/.

Review: "Jurassic Park" is Always Worth the Trip

TRASH IN MY EYE No. 117 (of 2004) by Leroy Douresseaux

Jurassic Park (1993)
Running time: 127 minutes (2 hours, 7 minutes)
MPAA – PG-13 for intense science fiction terror
DIRECTOR: Steven Spielberg
WRITERS: Michael Crichton and David Koepp (from a novel by Michael Crichton)
PRODUCERS: Kathleen Kennedy and Gerald R. Molen
CINEMATOGRAPHER: Dean Cundey
EDITOR: Michael Kahn
COMPOSER: John Williams
Academy Award winner

SCI-FI/ACTION/ADVENTURE/THRILLER

Starring: Sam Neill, Laura Dern, Jeff Goldblum, Richard Attenborough, Bob Peck, Martin Ferrero, Joseph Mazzello, Ariana Richards, Samuel L. Jackson, B.D. Wong, and Wayne Knight

Over a decade after I first saw it, I still get a thrill whenever I watch director Steven Spielberg’s Jurassic Park. The Academy Award-winning film (Best Effects – Sound Effects Editing, Best Effects – Visual Effects, and Best Sound) is, like Star Wars and Terminator 2: Judgment Day, a landmark film in the area of visual effects, in this instance, for its use of computer rendered characters or CGI, computer generated imagery. While the Terminator sequel introduced the moviegoers to the magic “morphing,” seamless changing a character into something or someone totally different, JP introduced a whole slew of characters that were not added to the film until principal photography was finished shooting. These were characters that only existed inside a computer and were digitally added onto the film.

In the movie, John Hammond (Richard Attenborough), a billionaire industrialist, convinces colleagues Drs. Alan Grant (Sam Neill) and Ellie Sattler (Laura Dern) to travel to his newly created theme park that he calls Jurassic Park. His company’s scientist have miraculously cloned dinosaurs to populate the theme park, and Hammond needs Grant and Ms. Sattler, two paleontologists, to examine the park and give their seal of approval to the venture which in turn will appease Hammond’s worried investors. But as with any test run, things go badly. The park suffers a major security breakdown and releases the dinosaurs, including a hungry T-Rex and pack of velociraptors who enjoy hunting humans. The computer malfunction has Grant, Sattler, and the rest of the park’s inhabitants and visitors (including Hammond’s grandson and granddaughter) struggling to survive the onslaught on vicious dinosaurs as they try to escape from the island.

Although Spielberg has made his share of “serious” films to impress film critics and Oscar® voters, his best work remains his films that have a sense of magic and wonder, and Jurassic Park has both. However, the film is also a razor sharp suspense thriller and amazing adventure filled with frightening pitfalls, daring escapades, and last minute reprieves – the kind that end just before the other shoe drops.

Spielberg is at his best when he manipulates his audience, but honestly by weaving a thrill-a-minute film that has heart. It’s more than just the things that stop your heart, and JP has lots of that. It’s also about the moments that warm the heart, and a Spielberg favorite theme – that of the father who earns redemption or the man who learns to become a father or father figure, is very strong here. A lot of the credit has to go to a script (by Hollywood screenwriting heavyweight David Koepp and the author of the novel upon which this film is based, Michael Crichton) that is friendly to the elements and themes Spielberg favors for his films.

Still, the master filmmaker takes it and not only does he make it work, he makes it work on a level that turns what could have been a novelty film into an movie that is both unforgettable and influential. On a purely entertaining level, JP is a great and a film that is a treat to watch. As a work of art, Jurassic Park’s subject matter may seem like B-movie material, but the entire work is both a brilliant piece of pop entertainment and masterstroke of film craftsmanship.

10 of 10

NOTES:
1994 Academy Awards: 3 wins: “Best Effects, Sound Effects Editing” (Gary Rydstrom and Richard Hymns), “Best Effects, Visual Effects” (Dennis Muren, Stan Winston, Phil Tippett, and Michael Lantieri), and “Best Sound” (Gary Summers, Gary Rydstrom, Shawn Murphy, and Ron Judkins)

1994 BAFTA Awards: 1 win: “Best Special Effects” (Dennis Muren, Stan Winston, Phil Tippett, and Michael Lantieri); 1 nomination: “Best Sound” (Richard Hymns, Ron Judkins, Gary Summers, Gary Rydstrom, and Shawn Murphy)

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