Jurassic World Dominion: Hash of the Titans

The cast of Jurassic World Dominion

You remember Ellie Sattler, right? She was one of the visitors to the original Jurassic Park, the one whose open-mouthed awe gave way to gasps of horror when she discovered that Samuel L. Jackson’s reassuring hand was attached to nothing more than a bloody stump. Everyone’s favorite paleobotanist, Sattler is back in Jurassic World Dominion, at one point hunching down to peek at a cuddly-looking computer-generated baby critter and murmuring, in a reverent tone, “You never get used to it.”

Don’t you, though? The failed bet of this heaving, sporadically entertaining movie, which was directed by Colin Trevorrow from a script he wrote with Emily Carmichael, is that our collective fascination with prehistoric beasts hasn’t dimmed in the 29 years since Steven Spielberg terrified audiences with a few well-placed shots of CGI and a rippling puddle of water. Technology has progressed dramatically in the intervening three decades, and Dominion renders its terrible lizards with impressive and expensive-looking detail, if not much tangible weight. What is missing, beyond the inimitable gifts of Spielberg himself, is the sense of wonder. This is now the sixth Jurassic feature, not to mention the umpteenth strain in the commercially hegemonic species that is the box-office-conquering blockbuster, the kind whose cinematic DNA is spliced with elaborate effects and cardboard characters. We have, indeed, gotten used to it. Read More

Crimes of the Future, Watcher, and Horror of Body and Mind

Viggo Mortensen in Crimes of the Future; Maika Monroe in Watcher

What scares you? More to the point, what kind of movie scares you? It’s been 100 years since Max Schreck climbed out of his coffin in Nosferatu, and directors have been harnessing and refining cinematic tricks to terrify their audiences ever since. One of the pleasures of the horror genre is its versatility—its infinite methods for exploring madness. This past weekend featured the release of two creepy pictures that take decidedly different approaches in their similar effort to raise the goose bumps on your arms and the hackles on your neck. One tries to dig under your skin; the other carves your skin clean off.

David Cronenberg is the father of modern body horror—or maybe the grandfather, given that the Canadian envelope-pusher is now 79 years old. But the director’s latest grotesquery, the arresting and impressive and ultimately empty Crimes of the Future, proves that age hasn’t sapped him of his enthusiasm for staging imaginative corporeal brutality. In the film’s opening scene, an eight-year-old boy living off the coast of a Grecian island munches on a plastic wastebasket, swallowing its synthetic fibers with no apparent difficulty; shortly thereafter, his mother smothers him to death with a pillow. This shocking, vulgar sequence is arguably the least inexplicable thing that happens in the entire movie. Read More

Top Gun: Maverick: Bruising Altitude

Tom Cruise in Top Gun: Maverick

Ah, the ’80s: that glorious decade of unvarnished patriotism, jubilant synth music, and pop-culture cheese. As artifacts of this ancient era go, Tony Scott’s Top Gun has aged more poorly than most; it now plays as a silly, occasionally diverting genre exercise that doubles as a military recruitment ad, and while it entertains as a tribute to the glistening machismo of Tom Cruise, it also suffers from thin characters and a profoundly stupid story. So when I tell you that Top Gun: Maverick, the 36-years-in-the-making follow-up directed by Joseph Kosinski (from a script credited to Ehren Kruger, Eric Warren Singer, and Christopher McQuarrie), improves on its predecessor in every conceivable way, what I really mean is, it’s not bad.

Honestly, that assessment is perhaps unfair to Kosinski and Cruise, who have approached this legacy assignment with a canny combination of reverence, intelligence, and playfulness. Not content with merely avoiding stupidity, Maverick is often genuinely smart. Its character dynamics are sharp, its plot makes structural (if not geopolitical) sense, and its action is mostly engaging and occasionally electrifying. It’s a pretty good movie that also wrestles with the obligation of being a Top Gun sequel. Read More

Men, Happening, and Women Under Attack

Anamaria Vartolomei in Happening; Jessie Buckley in Men

The internet is fond of sarcastically asking if men are OK, but the same question might be more seriously asked of women. Pay equity, reproductive freedom, toxic masculinity, #MeToo—modern society is aswirl with issues surrounding female safety and autonomy. So it’s no surprise that cinema, with its quicksilver capacity to reflect on and respond to cultural shifts, is tackling these concepts with variety and alacrity. It is a bit surprising, however, for the same month to produce two theatrical releases which wrestle with men’s aggression and women’s liberation so directly, even if they do so in dramatically different ways.

Alex Garland’s third feature, the coyly titled Men, is the more ambitious work, at least in terms of scope and style. Garland favors small casts and isolated locations, but his films (Ex Machina, Annihilation) possess an aesthetic grandeur, teeming with bold colors and striking images. (His television series, the frustrating but beguiling Devs, is one of the most visually enthralling things you can find on the small screen.) This isn’t merely a matter of showing his audience pretty pictures but of somehow splicing beauty with deformity. Garland is a painterly artist with the emotional sensibility of a sick fuck. Read More

Doctor Strange in the Multiverse of Madness: Have Hag, Will Travel

Benedict Cumberbatch in Doctor Strange in the Multiverse of Madness

In one of the many memorable moments in Sam Raimi’s Spider-Man, an enraged Willem Dafoe murders a subordinate scientist who stubbornly insists that they need to take a dangerous chemical concoction “back to formula.” Things may not have turned out well for that underling, but in the two decades since Spider-Man’s release, it’s clear that his cold-blooded logic—the insistence on safety and reliability at the expense of risk and creativity—has earned the last laugh. The Marvel Cinematic Universe, now 14 years and 28 films and several zillion dollars into its reign as the planet’s most ruthless profit-generating machine, is undeniably a product of formula. It is a carefully balanced equation, a recursive system scrupulously designed to serve its fans, perpetuate its merchandise, and—on occasion—make some pretty decent movies. The challenge for any director working within this rigorously controlled franchise is whether they can smuggle their own sensibility—their own spiky and distinctive flourishes—into an enterprise that, by its very nature, flattens personal art into corporate entertainment.

So I am pleased and maybe a little bit to surprised to report that Raimi, the man who created the original Spider-Man trilogy and is arguably (albeit inadvertently) responsible for our current state of cinematic homogeneity, has risen to this challenge with élan and aplomb. To be sure, Doctor Strange in the Multiverse of Madness, Raimi’s first feature in nine long years, is decidedly an MCU production. There are callbacks and cameos and teases and terminological mouthfuls and stale jokes and weightless scenes of computer-generated spectacle. But when he isn’t dutifully hitting these franchise marks, Raimi is sprinkling the margins and filling in the cracks with his own playful, eccentric touches. If the movie isn’t quite a Sam Raimi classic, it at least exhibits glimmers of classic Sam Raimi. Read More