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 Black Widow...

 

Black Widow is a full-adrenaline, character-driven winner and much of its success springs from to its sultry lead: smokin' hot Scarlett Johansson. She takes her iconic character, Natasha Romanoff, to new Marvel-ous heights in this tardy but vivacious, vengeance prequel. 

Directed by Cate (Berlin Syndrome) Shortland and written by Eric (Thor 3) Pearson, Jac Shaeffer and Ned Benson, the prime plot occurs between Civil War and Infinity War (circa '16), but not before we get a flashback explanation as to how an adolescent Widow came to be. The transformation ties to her makeshift family and a heap of deceit, but that's only the start of this energetic thriller, which plays like Flint meets Bourne meets Bond, with ample Emma Peel, Honey West and Modesty Blaise wedged in. 

By the way, William Hurt's General Thaddeus "Thunderbolt" Ross makes a crafty return (reminding us how much we miss the Hulk), and the movie's premiere (supporting) characters, Yelena Belova (Florence {Midsommar} Pugh), Melina Vostokoff/Widow #1 (Rachel {the Mummy} Weiss); Alexei Shastokov/the Red Guardian (David {Hellboy} Harbour); and Rick Mason (O.T. {Maxxx} Fagbenle), are identifiable enough to secure a faithful, cinematic fan base (due in large part to the performers' frothy interpretations), but their presence exists first and foremost as Ramanoff support. This leaves our eponymous, get-even gal to take the reins as she battles the dangerous duo of Dreykov (Ray Winstone) and his mimicking henchman, Taskmaster (Olga Kurylenko), who command a limber Widow vanguard that can leap into lethal attack at the mere press of a console key. 

The action sequences, in particular the from-America-to-Cuba prelude and the big, prison-break scene, place this chapter on a par with Marvel's creme de la creme (and with all the anticipated, resulting humor to tip each explosive spurts), but all in all, the plot remains streamlined once it skids beyond its obligatory set-up. To embellish the aforementioned, Lorne (Megamind) Balfe's strapping score empowers the high-flying espionage with each stupendous chord. 

And of course, there's Johansson. It always swings back to her, doesn't it? As Romanoff, she's an Eric Stanton dream come true as she kicks, swats and somersaults about in her second skin (whether the suit be black or white). I could watch her for hours on end if only awarded the chance (and that's even if she wore nothing but plebeian gear). 

Despite its unjust delay, I believe Black Widow was worth the wait, and it was satisfying to see the movie up on the big screen, making this freedom-fighting chapter a reminder of what so many were so quick to abandon. Then again, those sorts wouldn't have the spine to dig Black Widow, now would they? This product is clearly chiseled for those who hold liberty high. 

Now let's hope the installment draws enough dough to deliver a Black Widow/Hawkeye sequel-prequel or at least launch a Widow counterpart from a parallel portal for Phase IV. Hey, whatever triggers more Johansson can only be beneficial. 

I saw Infinity War (Part 1)...

They say that "Marvel's Avengers: Infinity War: Part 1" is the biggest, character team-up in cinema history. I've no cause to dispute that claim.

Within its nearly three-hour running time, "Infinity War" gives us Captain America (Chris Evans); Iron Man (Robert Downey Jr); Black Panther (Chadwick Boseman); Black Widow (Scarlett Johannson); War Machine (Don Cheadle); the Winter Soldier (Sebastian Stan); the Falcon (Anthony Mackie); Hulk (Mark Ruffalo); Thor (Chris Hemsworth); Loki (Tom Hiddleston); Spider-man (Tom Holland); Scarlet Witch (Elizabeth Olsen); the Vision (Paul Bettany); Doctor Strange (Benedict Cumberbatch); and crossing their imposing paths, those glorious Guardians of the Galaxy (Chris Pratt; Zoe Salanda; Dave Baustista; Karen Gillan; Pom Klementieff; Vin Diesel; and Bradley Cooper). There are also several suprise titans who accompany the headliners. (In fact, one will find a few costarring favorites straight out Marvel's previous blockbuster, "The Black Panther". How's that for respectful continuity?)

Directed by Anthony and Joe Russo (who performed a pitch-perfect job on my favorite entry, "Winter Soldier", as well as the contentious but colorful "Civil War"), and written by acclaimed Cap veterans Stephen McFeely and Christopher Markus, the action swings among Earth, space and connecting dimensions. It's no wonder with the pensive, intergalactic villain (and Eternal daddy to Gamora and Nebula), Thanos (Josh Brolin) manipulating the variables to seize the mystical infinity stones: six lovely chunks that house the universe's limitless essence. Thanos hopes to adorn them upon his enormous glove, though even an incomplete set gives the galactic thug significant leverage over the assembled Avengers. But by golly, our heroes still do their best to bring him down, along with his ruthless regiment of Black Order/Cull Obsidian generals. 

"Infinity War" plays, in this respect, like other Marvel movies, with lots of good fighting lots of bad. However, with the Avengers entering the mission more-or-less divided, they must put aside personal concerns to combat their common foe, albeit in specialized packs. The script, therefore, insinuates "X-Men United", though places the concept on a more sprawling scale. (I'm glad, by the way, that Team Rogers and Team Stark are at long last mending their ways. The "Civil War" rift never felt right to me, whether in comic or film form. In my opinion, animosity between/among friends, especially of the exalted, fictional sort, should be resolved within one story line, but I'm okay seeing it settled in two or three, as long as it happens somewhere down the damn, reachable line.)

Even with its unorthodox tensions referenced and stacked throughout, the film doesn't flip the franchise (the most financially successful of all time, I might add) on its head, unless one sees blasphemy in Cap's brooding beard, Widow's amber hair, or Spidey's shiny suit. (For the record, we gained a glimpse of Parker's new costume in "Homecoming", so it's use in an Avengers rally shouldn't be all that surprising.) 

But wait--what's that you ask? Is there truth to the rumor that an Avenger dies? Maybe even more than one beloved character? Well, if that's truly the case, it sure would be big, saga-changing news, but I'm not one to kiss and tell for the here and now. (You know how to reach me if you desire a confirmation.)  I'll say this much: The demise of any Marvel icon would be troubling, perhaps unforgivable, but maybe one could justify it within a well wrought plot. Keeping it more "Wrath of Khan" than "Force Awakens" would be the way to go, but with Disney and Paramount both involved, the woeful moment(s) could go either way...if such were to occur. (And if death were to strike, would any Avenger ever stay forever defunct? Come on, now... Why mourn? Why lament? Fantasy holds no limitations.)

Though the initial "Infinity War" projects much to anticipate and contemplate, its best asset might be the way it combines science and magic, but then, haven't the adventures of Thor and Strange already succeeded there? Also, when it wants to be, the film is as somber as "Winter Soldier" and yet at other times, as outrageous as a Guardians misadventure. Again, we've already seen these extremes on the big screen, though per divided presentations. That they work well within the same context, darting from out so many opposing vantages (and never turning cringe-worthy in the process), is quite a superheroic stunt. (Heck, "Infinity War" exceeds "Justice League" by leagues in this regard.) Say, maybe that's the film's thematic (and symbolic) point!

For those who've stuck with the saga since "Iron Man", it's essential to check this one out. Most will be satisfied with its epic delivery, and I bet "Part 2" will hit an even higher, satisfactory note when released next year.

So, fasten your seat belts and enjoy the high-adrenaline, emotional hills and valleys. As with most Marvel flicks, this ain't Shakespeare, though this one does at least scratch that surface on more than a few occasions. For now, that's all that should count. That's all that should suffice...

I saw Ghost in the Shell...

One might presume Major Motoko Kusanagi to be Asian, and for the sake of her manga origin, it's safe to say that most of her fans do presume the same. Of course, when it comes to Japanese-to-American translations, the designations sometimes get blurred. The "Speed Racer" live-action movie could have been cast with Asians, and yet...

Nevertheless, Scarlett Johansson is cast as the sexy, cyborg heroine (reassembled like Officer Murphy into RoboCop) in director Rupert "Snow White and the Huntsman" Sanders' "Ghost in the Shell", based on Masamune Shirow's popular, Japanese saga. Per the script by Jaime Moss and William Wheeler, the Caucasian-looking Kusanagi (referred predominately as Major in the film) is part of an intelligence league called Section 9, which tackles terrorists (i.e., Hanver Robotics hackers), but as the story develops, the mechanical beauty realizes she may have been misled in her pursuits: a kind of "Logan's Run" (turf that Johansson previously traveled in "The Island"), with our lead gaining enough understanding to buck the system and maybe even actual autonomy by the adventure's conclusion. 

I must confess, I've never viewed any extensive examples of "Ghost in the Shell'"s anime/manga incarnations. I've known the franchise mainly by name and through its fleeting, lurid imagery. Therefore, it's only the live-action version I can currently assess. With that said, "Ghost in the Shell" feels a lot like other artificial-intelligence/cyborg stories I've seen and/or reviewed, with this one taking place in the not-too-distant year of 2029. 

Major is, in essence, a lost soul (or at least one entrapped within a synthetic body) in search of the meaning of life (yeah, a familiar theme with these sorts of entities), which of course, means she needs to define her purpose and plan, while her particular world adheres to a suffocating, near Borg/Matrix-like dystopia. She wonders who's pulling the hacker's strings and for that matter, her own, trying the whole while to remember who she once was.

Along the way, Major encounters a number of individuals who directly or indirectly substantiate her concerns and paranoia or try to sever her from such, each with a slick name and an eccentric and/or dangerous attribution, including the stoic Security Chief Daisuke Aramaki (Takeshi Kitano); the protective Batou (Pilou Asbaek); the Frankenstein-inspired Kuze (Michael Carmen Pitt); the skillful Togusa (Ng Chin Han); the compassionate Dr. Ouelet (Juliette Binoche); and the tale's heartless antagonist, Cutter (Peter Ferdinando). 

The film's profuse, gaudy intrigue is fine and dandy, as are several of its shock sequences (the robotic geisha being particularly unsettling), but for me it's the sexual implications that do the trick, for in several scenes the Major wears a suit so skintight it would make Jeri Ryan's Seven of Nine blush. Heck, in the same regard, the Major would give Kate Beckinsale's Selene a good run for her money. It's because of this shapely enticement that I wished to see the film. I wasn't one iota disappointed, either. There's loads of Johannson in this thing, whether in simulated undress or not, and she looks damn good at all moments, including even those where her lovely parts are either gruesomely detached or reattached. Now, if the actress can look fetching under those unorthodox circumstances, it's safe to say she's reached unshakable, sex-symbol status. (And when one really comes down to it, that's the reason she's the film's headliner. Oh, and please do keep in mind, a shell is just a shell and needn't define one's background, heritage or character.)

Plot-wise, "Ghost in the Shell" also contains distinct similarities to "Ex Machina" and "Metropolis", but then this tale seems to head even more so in "Blade Runner'"s direction, with its extensive, architectural design being precisely that. 

Do the anime and comic versions of "Ghost in the Shell" capture any of Philip K. Dick's thoughtful fable? I'd imagine so (in that from what I've read, the long-lasting saga touches upon the significance of memories, identity and general civil rights), but my hunch is, most fans of Shirow's material appreciate it for its own merit. Whether they'll enjoy this adaptation is speculative, though it seems likely they'll not accept all aspects of it. Most die-hards aren't inclined to enjoy their favorite mythologies playing second fiddle to what may be perceived as glitz-for-the-sake-of-glitz, even if the comely curves at the center are abnormally alluring. 

No matter how one tries to spin it, Sander's film exists as a tour de force for its celebrated, Marvel-movie, action star. If anyone from the outside-looking-in goes to see "Ghost in the Shell" for any other reason, they're being insincere. Taken for no more than what it is (and even at its smallest degree, it still offers much), it'll entertain for a couple, solid hours. For those who might find the publicized content too threatening in its politically incorrect, visual vigor, there are plenty of play-it-safe movies from which to choose. This one, however, belongs to that wide range of erotica-craving adults of the science-fiction kind, and no apology should they dare make for desiring it.