I SAW JURASSIC WORLD REBIRTH

Jurassic World Rebirth, directed by Gareth Edwards and written by David Koepp (giant-monster veterans, if ever there were), is the latest in a prolific, cinematic franchise, based on the events and concepts of Michael Crichton's bestseller, Jurassic Park (in its own right a companion piece to the raconteur's respected, androids-attack-an-amusement-park venture, Westworld).

For this new Jurassic chapter, we're get a new lead, Scarlett Johansson's Zora Bennett, a covert operation specialist (i.e. mercenary), who leads a DNA-collection expedition (funded by a questionable, pharmaceutical source) to the island where heedless, dinosaur cloning created not only the standard, giant beasts, but novelty, mutant specimens. (The goal is to snare samples from three of the most dangerous creatures for the furtive financiers.) A family joins the explorers (the result of its boat being capsized during a Mosasaurus/Spinosaurus encounter) and must fight tooth and nail alongside the venturers not to be devoured. 

Comprising the supporting cast is Mahershala Ali, Jonathan Bailey, Rupert Friend, Manuel Garcia-Rulfo, Luna Blaise, David Iancona, Audrina Miranda, Niamh Finley ... and Ed Skrein: quite a sum for the daunting circumstance, but then Jurassic's who'll-live/who'll-die gimmick feeds off such smorgasbords.  

That leaves several beasts to steal the spotlight (beyond those featuring the eye-catching Johannson), thanks to the production's top-line CGI and (I'm assuming) textured animatronics. The cutie-pie Aquilops named Delores and the main mutant are the most nuanced, and they help place this survivalist parable on a par with its prior installments. 

Alas, there's an overriding "flaw" with Rebirth, which I believe hinders the other movies, as well. To old-timers like me, who favor the works of Willis O'Brien, Ray Harryhausen, Jim Danforth and Dave Allen, the Jurassic series is akin to visiting an egghead, toy shop where the goods are at best middle-of-the-road. In other words, one might desire a G.I. Joe with Kung Fu Grip, but the best one gets is an Earth Day, promotional kit. 

I know that many consider the Jurassic series the pinnacle of awe and razzmatazz and cite the Brachiosaurus sequence from the first film as a prime example of that, but in my opinion, that big reveal doesn't hold a candle to King Kong's advent (in any version) or let's say the Rhedosaurus' in The Beast from 20,000 Fathoms. 

Despite this, Rebirth still has Johansson, who's stunning in her snug tops, but we should have gotten at least one scene of her disrobed. I know some will scoff at my gripe, but there's nothing wrong with a little, unwrapped eye candy every now and then to ease the tension. (Case in point: Sigourney Weaver's "striptease" near the end of Alien.) Also, it's not like Johannsen would have been averse to a risqué moment or two, as her nude scene in Under the Skin proves, and for all intent, she was virtually nude in Ghost in the Shell, thanks to that skin-tight bodysuit. 

When all is said and done, I can't help but view Rebirth as an entertaining, missed opportunity. I'm certain that the franchise's ardent fans will dig it big time (maybe even call it the imagi-movie of the year), but I generally prefer a sense of weird wonderment with a provocative push in my monster flicks, and at this stage of Jurassic's game, I doubt such will ever transpire.😩 

I saw Rogue One...

"Star Wars" works best when kept simple. The same goes for Buck Rogers, Flash Gordon and John Carter: the exalted forerunners to George Lucas' multi-million-dollar creation. Cloud the stories and you end up with something that's not quite what it's supposed to be: evidenced by the "Star Wars" prequel trilogy, with plots too complicated for their own good.

“Force Awakens” got the franchise back on track, but not without some declaring it too repetitive in structure: mirroring, that is, more of what came before as opposed to directing the mythology into brave, new turf. 

Rest assured, the latest entry, “Rogue One: A Star Wars Story”, should keep most parties pleased, for the film not only embraces the saga’s classic elements in an uncluttered way, but initiates its own ominous but fun tone. This blend is abetted by several new characters, who shine in their traditional heroism, along with some new window dressing, like the Death Troopers, and old, sentimental hardware, like the ATATs and Scout Walkers. 

Director Gareth ("Godzilla '14") Edward's entry (scripted by Tony Gilroy and Chris Weitz, from a story by John Knoll and Gary Whitta) takes place between “Revenge of the Sith” and “A New Hope”, detailing a caper to steal the dreaded Death Star's blueprints, or more precisely a flaw that will lead to its destruction. Jyn Erso (Felicity Jones) is assigned to this monumental task, since she holds a special connection to the Death's Star's designer: her father, Galen (Mads Mikkelsen). If she can locate her captured dad, she may gain valuable information that could (and should) deliver the Rebels one of their most rousing victories. 

Good guys and bad guys surround Jyn on her magnificent quest, with Clone Wars veteran, Saw Gerrera (Forest Whitaker) aiding her cause, along with the film's primary droid (and destined sought-after, action figure), K-2S0 (Alan "I, Robot" Tudyk), reprogrammed to aid the Alliance. The ensemble is also distinguished by the cruel yet stylish Imperial Weapons leader, Orson Krennic (Ben Mendelsohn); the soulful and insightful Chirrut Imew (Donnie Yen); the practical and loyal Baze Malbus (Jiang Wen); the humble and diligent Bodhi Rook (Riz Ahmed); and Cassian Andor (Diego Luna), a clever Rebel captain, who's perhaps the most inspirational of the intrepid lot. They see-saw throughout the mission, influencing it at various times in varying ways, but never dominating any part to muddle the whole. (Oh, if only "Phantom Menace" had followed this path.)

Also to its benefit, the story never loses track of its lead, the easy-on-the-eyes Jyn, keeping her team a respectable second within the story structure. This again adds to the the tale's sensible simplicity, even when the action becomes thickly laden. (In fact, this chapter even drops the "Star Wars" prelude scroll to plunge us all the quicker into its first. exciting act, along with Michael Giacchino's mounting score.)

Incidentally, the term, "Rogue One", is an off-the-cuff "call sign" culled from a Imperial vessel seized by the Rebels and for die-hard fans, a label referenced in "Empire Strikes Back". The term also, according to various sources, represents the movie's outside-the-box (gone-rogue), association to the trilogies. Even more so, the term defines Jyn and her troop's risky and unorthodox urge to gain the upper hand. 

If I hold any objection to the adventure, its the minimal use of Mikkelson, who would have given the story an extra tier of grace if granted the screen time. His sideline position, therefore, makes his recent "Dr. Strange" performance more significant in comparison. At least Whittaker's supporting scenes compensate for Mikkelson's relegation, due to the former's compassionate style. (In fact, most of the supporting characters shine in a similar way, adding just enough seasoning to the plot.)

Oh, and let's not forget the film's most coveted cameos...Darth Vader and Grand Moff Tarkin! Yep, as we discerned from the trailers (and arguably, the main poster), Vader (Spencer Wilding, with James Earl Jones again voicing) is in full swing and strategically placed at just the right moments to make us nostalgically cheer or affectionately boo. But Grand Moff Tarkin, you ask? Yes, the grand governor has returned, and it's not just another actor filling his shoes, or is it? For all intents and purposes, we're looking at Peter Cushing, though in "uncanny valley" CGI'd form and blessed by vocalized emulation. (Personally, I always felt that Cushing's Tarkin should have carried on into other chapters; alas, his fleeting, far-off persona in "Sith" was neat, but lacking.)

Contrary to what some might proclaim, "Rogue One" isn't a galaxy-shaking stand-alone. How could it be, existing as an obvious bridge between chapters? At the same time, there's no doubt that it creates a mostly independent aura unlike any other "Star Wars" offering: in style, an "Empire Strikes Back" offshoot/wannabe, but by no means committed to link seamlessly to those pieces surrounding it. That's a pretty novel approach and should act as a standard for all future "anthology" chapters to follow. 

I saw Godzilla (2014)...

Gojira, better known on the English-tongued front as Godzilla, is back in a sprawling Legendary Films 2014 reboot; not that I really need to remind you of this. The behemoth's return is evident through every facet of the media, which naturally goes to reason. The Toho Studios brainchild is a sentimental favorite: a monster most of us have joyously grown up with. 

This particular retelling (directed by Gareth "Monsters" Edwards and story lined by Max Borenstein and David Callahem) initially presents the great one as a metaphor for an unstoppable force of nature. I suppose it only goes to reason that Hollywood would use that angle, which alas, is predictably tired. How many times must we be told that humankind is solely to blame for Earth's otherwise natural disasters, including Godzilla's emergence? Thank goodness, the concept isn't beaten into the ground for very long and eventually even gets turned on its head.

In truth, Bryan Cranston makes the latter easier to swallow, even if his character is prominent only in the picture's first half, but considering the plot's circumstances, that's where he's probably most needed. 

He plays Dr. Joe Brody, a physicist desperate to reveal a government cover-up: that radioactive monsters do roam the planet. He is obsessively lonely (especially in the wake of his wife's untimely death) and above all, sad and mad, offering a nice brush of "Breaking Bad", while also welcoming us to see through is eyes. Yes, the poor guy is significantly on edge, and even pulls his gallant son (Aaron "Kick-Ass" Taylor-Johnson), a Naval lieutenant and explosives expert, into his tormented zeal, but still for all intents and purposes, he could be you or me, giving the tale (while the compassionate moment lasts) a lovely, empathetic flow.

There are also other characters who eventually grab the reins from father and son, portrayed by the likes of Ken Wantanabe as the insightful Dr. Ishiro Scrizawa, David Straithairn as the level-headed Admiral William Stenz and Elizabeth Olsen as Lieutenant Brody's worried wife: all more than competent within the story's context, but let's face it, it's Godzilla we've come to see, even if he's again redesigned; but hey, that's a tradition we've happily embraced for six decades. Why the hell stop now?

At any rate, the military intrepidly swoops in to investigate (and hopefully halt) an ongoing string of monster-sprung disasters; and unlike in similar creature epics, the Armed Forces actually come across as refreshingly and realistically competent here. Also, as the destruction escalates, we experience Godzilla's steadier exposure, watching him become (as we have experienced in so many Toho classics) by no means our curse, but rather our grand defender. The let-down is, his presence is mostly insinuated and never consistently seen: a disenchanting minus, if ever there was one. 

To compensate for Godzilla's lack of visibility, it's his adversaries who enter the forefront. They're called the Mutos (Massive Unidentified Terrestrial Organisms): a duo of fiery-eyed, spidery "Cloverfield"-like things, of both genders, that have transformed from once existing monsters into more ghastly ones; one crawls, the other flies. (Pre-production sketches actually inspired some to speculate that the film's primary foe might be Godzilla's old, Cyclopean adversary, Gigan, albeit it heavily revamped, but more recent reports promptly squashed such fervid anticipation.)

Just as Godzilla is radiation's spawn, the Mutos actually feed off such; and though they are ultimately destined to be passionately embraced by die-hard, kaiju fans, they are, in truth, despicable, ruthless things: behemoth terrorists that won't--and shouldn't--gain an iota of sympathy for their destructive deeds, even though it seems they only wish to mate (but oh, what horrid consequences such would bring if left unattended).

Anyway, with the gigantic villains firmly established, most would naturally expect Godzilla to readily crush his foes, but just remember, the great lizard lost to Kong, Mothra's offspring and even when teamed with Rodan (another Toho favorite fans were hoping to grace this epic), kissed defeat via the evil, three-headed "Monster Zero" (aka, Ghidrah/Ghidorah). Simply put, in Godzilla lore, no outcome is ever assured. 

Regardless of the combative result (and I'm just trying to mount some suspense for those who haven't seen the film yet), Godzilla nonetheless spitefully rises as the yarn's stalwart hero: a legend still to be loved and admired. Yep, the enduring sentiment can't be ignored in this outing, even through all the hazy, special-effects jammed glory and unfortunate brevity of his screen time. Despite it all--Hallelujah!--our childhood buddy has returned once more, and by the time the end credits roll, only self-denying grumps will likely walk away dissatisfied.