Tag Archives: Chris Pratt

Notes on Dinosaur Camp: Jurassic World: Fallen Kingdom, reviewed and discussed on Pop Culture Happy Hour.

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Here’s my review of Jurassic World: Fallen Kingdom. That link will also take you to where you can hear Linda Holmes, Stephen Thompson, and Glen Weldon discuss the movie and its place in the Jurassic-iad with me in the fourth chair.

I regret that it never occurred to me to refer to this film as Jurassic 5 even though “Sum of Us” is an all-timer shadowboxing jam. I also regret that none of us, not even Thompson, thought to mention the moment in Jurassic 5 when it seems like Ted Levine from The Silence of the Lambs is about to start singing “See My Vest.” You’ll know the one I mean.

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Lost in Space: Passengers, reviewed.

Jennifer Lawrence and Chris Pratt star in Columbia Pictures' PASSENGERS.

I had hopes for Passengers, from Prometheus writer Jon Spaihts and The Imitation Game director Morten Tyldum, because I root for science fiction films in general and because I’ve just edited a story for Air & Space/Smithsonian about research into human hibernation for long-term spaceflights, which is key to the premise of this movie. But its billion-dollar ideas are undermined by its five-cent guts, as I aver in my NPR review. Bummer.

If It Ain’t Woke, Don’t Fix It: The Magnificent Seven, reviewed.

(l to r) Vincent D'Onofrio, Martin Sensmeier, Manuel Garcia-Rulfo, Ethan Hawke, Denzel Washington, Chris Pratt and Byung-hun Lee star in Metro-Goldwyn-Mayer Pictures and Columbia Pictures' THE MAGNIFICENT SEVEN.

Wait, Michael Biehn starred in a short-lived Magnificent Seven series on CBS in the late 90s? I’ve always been bad at keeping up with what’s on TV, but this I should’ve known, given my long-term interest in the guy.

Anyway, here’s my NPR review of the new Magnificent Seven from Antoine Fuqua and Denzel with Chris Pratt mugging his way around, too. Random note: It’s funny that both The Magnificent Seven and Westworld, two long-dormant properties that starred Yul Brynner — most famous for the Rodgers and Hammerstein musical The King and I, “etcetera, etcetera” — as a black-clad cowboy, are both getting reimagined in 2016, isn’t it? I think it is.

The Bitch Is, Regrettably, Back: Jurassic World, reviewed.

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Stuff I Ran Out of Space to Say in My Just-Posted NPR Review of Jurassic World:

1) Yeah, the sense of wonder that still comes through in Steven Spielberg’s 1993 original comes back, fleetingly, a little, just in the opening act. I think that’s mostly down to Michael Giacchino’s score, which interpolates John Williams’ stately, noble Jurassic Park theme the way John Ottman’s music for Superman Returns interpolated Williams’ march from Superman.

1a)  I haven’t been able to stop humming Williams’ “Theme from Jurassic Park” in the two days since I saw the new one. Giacchino is the busiest and probably best composer in the blockbuster game these days, as ubiquitous as Williams was 30 or 25 years ago. But I can’t recall any of his original Jurassic World music.

2) This movie, while enjoyable, is even better if you imagine there are subtitles under all the shots of dinosaurs’ faces, like when dog and bear confer in Anchorman.

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