Showing posts with label Joe Johnston. Show all posts
Showing posts with label Joe Johnston. Show all posts

Thursday, 11 June 2015

Jurassic Park III



The Jurassic Park films have real issues mounting a satisfying finale. Each is apparently operating under an undisclosed agreement to never actually have the humans and dinosaurs go claw-to-claw. Instead the tiny, pathetic fleshlings must mantle obstacles and flee. Few of these characters ever think to pack a gun when jetting off to any of the series' dinosaur islands, even if they do it's usually junked before they can unload on any advancing threat. Either this is an attempt at an animal rights informed, conservation angle or the filmmakers just really want to keep their adventurers forever on the back foot. Mind you, it's not like you could blow the arm off a raptor and still maintain a family friendly certificate. Not in 2001 when Jurassic Park III was released anyway. 

Director Joe Johnston continues this passive trend with an airless finale that sees the malevolent new apex threat frightened off by the brief whoosh of petrol igniting. Similarly, a pack of Velociraptors are placated with, essentially, a flute. Johnston is fine when it comes to arranging the specifics of hazard-based action but a little lacking when the time comes to go in for the kill. Unlike Spielberg who, let's face it, is a bloodthirsty savage, Johnston is just not particularly interested in the gruesome, consumptive details. Dismemberment is handled politely and usually completely obscured then. Several deaths even involve some of the casual neck-twisting usually seen in America's more roided-up action films. This strange sense of decorum jibes badly with a 90 minute screenplay going full speed ahead. JP3 might be plotted like a state-of-the-art B picture but, on the day, the film itself is executed with all the excess of one of Disney's True-Life Adventures.

Saturday, 6 August 2011

Captain America: The First Avenger



Captain America: The First Avenger takes a character that could be perceived as a jingoistic brute and presents him as the earnest, physical manifestation of America's Greatest Generation. Chris Evans' Steve Rogers may be (at least initially) small and sickly, but he's also possessed of backbone and keen lateral thinking. Taken under the wing of German super scientist, Stanley Tucci's Abraham Erskine, Rogers is involved in an army run mensch program designed to stress the kind of post-identity idealism required to become a bright, blaring symbol. This is were the film excels. Rogers, as Captain America, isn't written to be a downtrodden jerk enjoying the newfound power or status gifted to him by phenomenally powerful sun lamps. Instead, he's the exact same grafter he's always been. 

Rogers still fumbles his way around women; he oozes discomfort when he finds himself around actual soldiers too. He carries no bitterness though. No sense of navel-gazing self-pity, even when the super soldier program he exemplifies is suddenly blackballed and Rogers finds himself lost in the vaudeville and propaganda of USO shows. Instead, he grits his teeth and gets to work, bopping The Fuhrer on the nose ever night. Rogers doesn't abuse his new-found abilities, preferring to locate the task at hand then knuckle down on it. He never cats about with his dancers, or re-visits a bully for a settler either. This Captain America seems to understand himself in the abstract - the human embodiment of the kind of virtues essential to the population of any country locked into an extinction war. Rogers excels as Captain America, first as a song and dance man shilling for war bonds; eventually as a one-man answer to Hitler's Satanic science division.

Friday, 24 June 2011

"You win wars with GUTS!"



After Hal Jordan's limp-dicked reluctance to be awesome in last week's Green Lantern, this enthusiastic biff-bosh trail for Captain America: The First Avenger is a tonic. Instead of a dull hunk dodging responsibility, we have a pint-sized member of the Greatest Generation actively seeking burden.

Thursday, 10 February 2011

Super Bowl Spot: Captain America: The First Avenger



In contrast to Transformers hyperactive image avalanche, Captain America: The First Avenger sells on a more romantic, human action, teasing flirty relationships amongst sci-fi slanted Second World War secret servicing. Phew! Ahead of Matthew Vaughn's 60s set X-Men: First Class, the period setting is a novel twist for a genre close to saturation point. Plus! Who doesn't get a kick out of seeing the primary coloured Cap existing alongside bleach bypass GIs?