Welcome back to Worldwide Wednesday!

Sure, it’s Independence Day in the United States, but we’re not breaking format for that. Today, we’re heading from the Chinese mainland back to France, for a film about the AIDS Crisis in the 1990s. Like French films? Check out Episode #026 (“Blockbuster”), Episode #110 (“I Am Not An Easy Man”), Episode #130 (“Faces Places”), or even yesterday’s Episode #184 (“Nocturama”). Or you can check out the best of international movies list we posted this morning. And if YOU have any suggestions, let us know at onemoviepunch.com or reach out to us on social media.

And now...

Today’s movie is “BPM” (2017), the French historical drama centered on the AIDS crisis in the mid-1990s. The film was directed by Robin Campillo and written for the screen in collaboration with Philippe Mangeot, based on their experiences from the time. It follows Sean (Nahuel Pérez Biscayart), his AIDS awareness activism with ACT UP, and his personal struggle with the disease.

Spoilers ahead. 

I consider myself an activist, mostly focused on opposing military imperialism, wealth inequality, and climate change, before any of those topics were even discussed in the news media, corporate boardrooms, or political circles. I was also involved in labor organizing for about six years, defending and expanding worker rights. And the one lesson I learned from all those years of experience is that the ends may be different, but the means are generally the same. Educate, agitate, organize, mobilize. “BPM” should be near the top of any organizer’s list of films.

This film delves into the often misunderstood role of radical activism in fighting for social causes. Many folks view radical activism poorly, seeing demonstrations and other forms of activism as counter-productive, but radical activism serves as a counter-balancing bargaining chip in whatever social change needs to be negotiated. It generally serves to raise awareness, something dreadfully lacking during the 1990s regarding HIV/AIDS, and can be used as a barometer for the urgency an issue has within society. While mainstream news media tut-tuts at the rise in populist activism, regardless of political philosophy, the results can be nothing short of, well, revolutionary. 

Campillo and Mangeot turn an inherently awesome story into a film that never feels like its two and a half hour running time. Sean’s life follows both a cyclical pattern of activism and celebration, and a steady decline in health and awareness. In between each cycle are incredible transitions, sometimes using electron microscope renderings, sometimes with actual activist footage from the time. Biscayart is incredible as Sean, as well as his relationship to Nathan (Arnaud Valois), from Sean’s incredible activism to his death, showing the power of people committed to change. Taken by themselves, these activists and actions seem pointless, but their collective effect probably did more to raise awareness in a time before cable news and the Internet changed the speed at which organizing can move.

“BPM” (2017) is nothing short of amazing, a historical drama that looks at an amazing group of activists and the important work they did when so many others were apathetic. Campillo and Mangeot distill their experiences into a well-crafted film that personalizes a very politicalized issue. If you are an organizer for social change, or want to learn more about the AIDS crisis in 1990s Paris, then this film is definitely for you.

Rotten Tomatoes: 98% (CERTIFIED)

Metacritic: 84

One Movie Punch: 9.6/10

“BPM” (2017) is not rated and is currently streaming on Hulu.

Hi everyone!

Before we get started, I just wanted to let everyone know that another list will be posting to Twitter and Facebook today, with a number of surprising films from this first six months. In particular, I would love to direct folks to a few gems from the list, including Episode #145 (“Carnival of Souls”), Episode #033 (“A Dark Song”), #Episode #157 (“November”), and Episode #079 (“Are We Not Cats?”). All four are strange, but well worth watching, even if it may not ultimately end up being your thing. More lists to come this week!

And now...

Today’s movie is “Nocturama” (2016), the European drama written and directed by Bertrand Bonello. The film follows seven young folks who plan a bomb attack in Paris and take refuge in a shopping center while the authorities track them down. The film stars Finnegan Oldfield, Vincent Rottiers, Hamza Meziani, Manal Issa, Martin Petit-Guyot, Jamil McCraven, and Rabah Nait Oufella.

Spoilers ahead.

We’re beginning to see multiple fault lines in our current capitalist economy, as the monetary wealth continues to centralize into a handful of wealthy individuals, normally through immense political influence. The economy is driven by a combination of industrial consumerism and pre-industrial resource exploitation, with consumers normally blind to that exploitation. And underlying all of that is the bizarre belief that economics is a natural science (mathematics, physics, biology) and not a social science (psychology, sociology, political science). “Nocturama” takes all of these themes and creates a two-part story about economic terrorism and economic enforcement.

The first part drops us in the middle of a terrorist attack in progress, with multiple flashbacks to help flesh out each character. The viewer learns just enough about each character as they infiltrate various levels of economic and government offices for the attack. The vagueness in their motivations helps maintain the mystery throughout the entire film, and helps maintain tension through this first part. I still have a lot of practical questions about the setup and execution, but those concerns are secondary to the more metaphorical story being told.

The second part slows down a little, set in a shopping mall after the attacks, as each participant reacts to their successful attack and enjoys the rewards freely available to them in the mall. It’s a nice metaphor for what happens after the revolution, so to speak, especially in a consumerist economy. The very luxurious things each person desires are part of the very system they are rallying against. And, of course, no one knows what to do once its done, even as the state forces locate and subdue everyone, including collateral damage. It is an oversimplified look at post-revolutionary politics, but it represents the lack of articulation about a post-capitalist economy, whether by proponents or by journalists.

“Nocturama” (2016) is a social metaphor told through an young ensemble cast, playing with frustrations about our current capitalist economy, and perhaps a cautionary tale about ignoring the effects of major actions. Bertrand Bonello crafts and delivers a somewhat ambiguous but ultimately engaging drama, sure to make viewers think about our present and future. Fans of political thrillers, or folks who just want to watch the world burn, should definitely check out this film.

Rotten Tomatoes: 88% (CERTIFIED)

Metacritic: 71

One Movie Punch: 7.8/10

“Nocturama” (2016) is not rated and is currently streaming on Netflix.

Welcome back to Matinee Mondays! Thanks to everyone who voted on the poll this week. “Won’t You Be My Neighbor” was a close second, especially on Facebook, but don’t worry. I’m checking it out next week and will review it for an upcoming Documentary Thursday.

Also, if you follow us on Twitter and Facebook, we’re posting some lists looking back at the last six months of reviews. So far we’ve posted the Best of 2018, and today we’re posting our Best Netflix Originals for 2018. Follow us on either platform to keep up with every list posting this week.

And now...

Today’s movie is “Hereditary” (2018), the dramatic horror film written and directed by Ari Aster, his first feature-length film. The film follows Annie (Toni Collette) who is struggling emotionally with the recent loss of her mother, along with her husband Steve (Gabriel Byrne), older son Peter (Alex Wolff), and younger daughter Charlie (Milly Shapiro). However, strange and tragic events begin to happen, setting the family against one another, fighting something they can’t define.

Spoilers ahead.

I am so late to the game on this film, as I was with “A Quiet Place” (Episode #127). I was a bit sad when it lost to “Hotel Artemis” (Episode #162), but I’m glad it finally prevailed, especially with the recent mini-backlash from the critics. It tempered my expectations going in, but I’m glad I didn’t pay too much attention, because WOW! So many things to talk about, so let’s dive in.

This film is well-crafted, with an incredible attention to detail. Annie’s miniatures were amazing, obviously painstakingly hand-crafted and works of art within themselves. Details matter a lot in this film, with each set containing little hidden messages, clues, and misdirection, helping to unfold the story in such a way as to keep the viewer guessing. Is it supernatural or hallucinatory or bad luck or something even more sinister? We really don’t know until the final act, when most is revealed. It never feels too long, and maintains the right amount of mystery and tension the entire way.

Toni Collette is amazing as Annie, really nailing her character’s complicated background and relationships, especially as tragedies new and old begin to pile up. The emotion really comes through. Milly Shapiro’s performance as Charlie is also great, although way more on the creepy side. I wasn’t prepared for her character’s fate or lasting impact in the story. She puts on an impressive performance for her first major role.

“Hereditary” (2018) is intense and haunting, the way horror films should be. Ari Aster delivers an incredible debut feature-length film, built on a smart script, detailed sets, awesome art direction, and impressive cast performances. Horror fans and folks who enjoy well-crafted films willing to endure a little fright should definitely check out this film.

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Rotten Tomatoes: 89% (CERTIFIED)

Metacritic: 87

One Movie Punch: 9.6/10

“Hereditary” (2018) is rated R and is currently playing in theaters.

Hi everyone!

Before we get started, I just wanted to thank everyone for their support. Yesterday’s episode marked six full months of daily podcasts. I’ll be posting some lists this week looking back at 181 episodes worth of reviews. I sincerely hope you have enjoyed listening to them as much as I have enjoyed creating them. If you have any feedback, or just want to give us a little shout out, let us know at onemoviepunch.com or on Twitter and Facebook.

And now...

Today’s movie is “The Ornithologist” (2016), the Portuguese adventure drama written and directed by João Pedro Rodrigues. The film follows Fernando (Paul Hamy), an ornithologist in search of rare birds in a Northern Portuguese forest. However, an accident carries him further downriver and into bizarre territory as he tries to find his way back out.

Spoilers ahead.

Unless you’ve had someone tell you about this film, you have no idea what it’s about. Sure, you might understand the premise, but the trailer only gives you a taste of just how surreal “The Ornithologist” gets. However, I want to assure folks that the film isn’t just surreal for its own sake. It delves into a host of religious and social and survivalist themes. You’ll get out as much as you put into this film, which is a rare treat.

Fernando’s journey is full of strange encounters, with characters like Fei (Han Wan) and Ling (Chan Suan) Christian pilgrims who fear the presence of Tengu (a mythical Asian dog-headed demon), or Jesus/Tomé (Xelo Cagiao), a ritualistic actor and/or mute animal herder. Oh yeah, and the many birds Fernando finds along the way, perhaps guiding him. The melding of eastern and western religious themes creates fertile ground for what becomes an allegory for... well, I’m not quite sure, which is my biggest criticism for the film. It is fun to paint with mythic and religious imagery, but without a clear comparison to our world or some fundamental human truths, it simply ends up being a really well executed art house film.

Themes aside, though, this film can also double as a gorgeous nature documentary. Rodrigues utilizes the epic scenery of Northern Portugal to capture some absolutely stunning forest and canyon shots, even going so far as to utilize the way light falls into canyons. In fact, the naturalistic scenes can act as a palette cleanser between the more surreal encounters and expositions, which might feel long to some viewers, but I found on par with the best nature documentaries out there.

“The Ornithologist” (2016) is a surrealistic religious allegory set against beautiful naturescapes. João Pedro Rodrigues melds the beautiful and the bizarre, playing with themes and ideas that stay loosely defined. Fans of art house and nature films should definitely check out this film, but be ready for strange happenings and, oh yeah, lots of male nudity.

Rotten Tomatoes: 88% (CERTIFIED)

Metacritic: 85

One Movie Punch: 8.6/10

“The Ornithologist” (2016) is rated TV-MA and is currently streaming on Netflix.

Welcome back to Streaming Saturdays! It’s another science fiction Netflix Original film, which have been hit or miss so far this year. Want to see for yourself? Check out Episode #044 (“The Cloverfield Paradox”), Episode #055 (“Mute”), Episode #090 (“The Titan”), Episode #101 (“Orbiter 9”), and Episode #125 (“Anon”). Let us know what you think at onemoviepunch.com.

And now...

Today’s movie is “Tau” (2018), the Netflix Original science fiction thriller directed by Federico D’Alessandro and written for the screen by Noga Landau. The film follows Julia (Maika Monroe), a woman snatched off the streets by Alex (Ed Skrein) and held hostage at his smart home, operated by an advanced artificial intelligence named Tau (Gary Oldman). However, Julia is changing the nature of Tau’s programming, and uses that advantage to attempt escape before being killed for scientific experiments.

Spoilers ahead.

One trend I have loved seeing evolve this year is the use of ultra-sharp digital effects for subtle storytelling. The amazing advances in video editing, even with off-the-shelf software, have made telling science-fiction stories, especially near-future or future-tech thrillers, way more engaging, and when used properly, they let us focus more on the story than the dazzling effects. “Tau” succeeds in that vein, even while having a not-so-subtle giant murderous robotic housekeeper as well. 

Artificial intelligence like Tau are still a few years out, but we’re already surrounded by varying degrees of AI. It can be as simple as temperature control or as advanced as AlphaGo (Episode #004), or somewhere in the middle like Alexa and Siri. One of the major questions right now about AI is how we intend to program it, a conversation started by Asimov’s robot laws and continuing today, finding a proper balance between nature (base programming) and nurture (flexible learning). Landau’s script explores the complicated philosophical discussions in a simplified manner, utilizing both Julia and Tau, and the relationship between them.

“Tau” also has its rough parts, though, especially the final sequence, which feels really overdone. The house demolition protocol feels unnecessarily drawn out, especially when enough C4 could destroy the entire structure in a single detonation instead of a weird crumbling deal. Worse yet, rubbing a severed hand to warm it up so the panels will recognize it more than once feels forced. If the themes the film explored weren’t so well done, I would have knocked off a few points out of principle. And yet, the final scene, once all the escaping is done, actually brought me back to the possibilities of this film, and for that, it gets a pass on a little cheese.

“Tau” (2018) is a decent science-fiction escape thriller, with its strengths and weaknesses, but does explore themes regarding artificial intelligence without feeling like a philosophical lecture. It could also be the template for one kiss ass escape room, especially if you had to teach an AI to help you as part of the mystery. Fans of science-fiction or escape thrillers should definitely check out this film, but be ready for a bit of cheese.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 7.6/10

“Tau” (2018) is rated R and is currently streaming on Netflix.

Welcome back to Film Buff Fridays! We’re moving about a decade later than last week’s film, right into 1988 for a progressive and contextually honest film about autism that won a few awards. I have a soft spot for this time period, since I was just beginning to see movies at home on VHS. Do you have any favorite films from the late 1980s you’d like to see reviewed? Let us know at onemoviepunch.com.

And now...

Today’s movie is “Rain Man” (1988), the Oscar-winning drama directed by Barry Levinson and written for the screen by Barry Morrow and Ronald Bass. The film follows Charlie Babbitt (Tom Cruise), who discovers an autistic brother named Raymond (Dustin Hoffman) after their father dies, and kidnaps him in an attempt to extort more of their inheritance. The film was nominated for eight Oscars, winning Best Picture, Best Actor in a Leading Role for Dustin Hoffman, Best Director, and Best Original Screenplay.

Spoilers ahead.

I had one question sitting down to watch this film for the third time. How well does it hold up with our expanded knowledge about autism, especially with the increasing number of diagnoses? I made sure to sit down with my wife to watch this film, who works as a special education teacher with some autistic children, because Hollywood has been plagued with many well-meaning, but horribly executed films about non-neurotypical characters played by neurotypical actors. And the most I heard about this film when it debuted and at my age was jokes about Raymond Babbitt’s verbal repetitions and mannerisms.

In short, “Rain Man” does hold up. Really well, in fact. It helps that the film consulted six different research and treatment authorities on the subject in developing the script and the character, one that Dustin Hoffman expertly portrays and deserving of the Best Actor Oscar. And Cruise’s character, as infuriating as he can be, does represent the contextually correct attitude by society at the time, and more importantly, his reformation as a character gives others hope as well who are ignorant of autism and other non-neurotypical diagnoses. The only drawback about the film is that not all autistic individuals are necessarily savants like Raymond. As my wife said repeatedly during the film, “If you’ve met one person with autism, you’ve met exactly one person with autism.”

It has a few flaws, mostly to move the story along. Charlie’s girlfriend Susanna (Valeria Golino) departs initially from a contrived, yet comedic conflict in the hotel suite. Counting cards doesn’t work like they make it out to be in Vegas. And kidnapping your autistic brother from an institution and carrying him across multiple state lines would land Charlie in jail. Not a fan of the exotic pan-flute laden score as well, which seemed to add the wrong kind of tone to their journey. Every single one of these flaws, though, is overcome by the larger story of two brothers finding each other, and one that still had me in tears at the end, dangerously close to ugly cry territory.

“Rain Man” (1988) is a classic film about autism that still holds up. Dustin Hoffman’s performance is one of the best ever, treating a difficult character with respect and care, even when the script could be harsh and borderline offensive. Fans of excellent dramas, or folks who want to learn more about autism, then and now, should definitely check out this film.

Rotten Tomatoes: 89% (CERTIFIED)

Metacritic: 65

One Movie Punch: 9.0/10

“Rain Man” (1988) is rated R and is currently streaming on Hulu, Vudu, Tubi TV, and Filmstruck.

Welcome back to Documentary Thursdays! After last week’s important, but depressing documentary, I thought I would find one that’s a little lighter on the soul. Are you a fan of music? Check out Episode #083 (“Roxanne Roxanne”) and Episode #086 (“Paradox”), each from a different genre. And if you have other concert films or music-related films to suggest, let us know at onemoviepunch.com.

And now...

Today’s movie is “Stop Making Sense” (1984), the classic concert film featuring Talking Heads, written and directed for the screen by Jonathan Demme and David Byrne. The film was produced over a three-day gig at the Pantages Theater in Hollywood, capturing the music and the stage show. It debuted at a few film festivals before a short theatrical run, then returned in 1999 with a re-mastered version, and continues to be featured at music and film festivals.

Spoilers ahead.

If you aren’t a fan of Talking Heads, then this film probably won’t do much for you. I’m willing to bet most folks only know one or two songs by name, and perhaps their music videos. It took me a while to get into them myself, mostly because people love to ridicule a lot of the music from the 1980s. And let’s face it, David Byrne is a special kind of musical and artistic genius that isn’t necessarily everyone’s taste. So, if you hate the music, then this film isn’t for you.

Now, if you ARE a fan of Talking Heads, then this film is probably one of the main reasons you are. The band only had one Top 10 hit in “Burning Down The House” (yes, featured in this film) and a close hit in “Once in a Lifetime” (also featured in the film). However, this particular film, and the soundtrack that followed, stayed on the charts for over two years, and contain some of their most dynamic performances. I even found some of the songs still speaking to me over thirty years later.

The trailer (check the blog) has some of the neatest editing, which I had hoped would have been the entire artistic direction for this film. Compared to the stage shows of today, Talking Heads might seem a little trite, but from the set-building opening act through their classics and right up to the closer, you get an authentic experience, using the tools available, and keeping to previous forms. And bonus points for thanking the crew at the end of the show by bringing them on stage.

“Stop Making Sense” (1984) is a classic concert film that struck a chord for music fans and cemented Talking Heads as a fixture in the new-wave movement. It has the subtle aesthetic of Byrne mixed with the intensity of their stage show. New wave and eighties fans who wanted to know what it was like, and didn’t get the chance to be there, should definitely check out this film.

Rotten Tomatoes: 97%

Metacritic: 89

One Movie Punch: 8.2/10 

“Stop Making Sense” (1984) is not rated and is currently streaming on Amazon Prime.

Welcome back to Worldwide Wednesdays. This week, we’re heading from Spain to the Chinese mainland, with a different kind of relationship drama. China is one of the fastest developing film industries and theater markets right now, although they have also had quite a history in film making, and some of the greatest talents. So far, we’ve only covered one other Chinese film, Episode #133 (“Manhunt”), another Netflix Original by John Woo. Got other suggestions for viewing? Head over to onemoviepunch.com and let us know.

And now...

Today’s movie is “Us and Them” (2018), the Netflix Original Chinese drama written and directed by Rene Liu. The film follows Jian Qing (Boran Jing) and Xiao Xiao (Dongyu Zhou), two strangers who meet on a train during the 2007 Chunyun Period, the largest annual human migration for Chinese families visiting during the New Year, and again after ten years. The film moves between the two time periods, and over the course of those ten years as their relationship evolves and each partner changes, set against the backdrop of contemporary China. 

Spoilers ahead.

One of the reasons I enjoy watching films outside the United States is to get a peek into the cultures of other countries and regions. My upbringing was filled with very little education about other cultures, not surprising in this country. Most of my impressions of China were based social and racist backlash to manufacturing being moved overseas and rampant fearmongering about how terrible they have it compared to us. Not even Big Bird going to China was enough to overcome the bias. In fact, it wasn’t until being introduced to the Chinese film scene years ago that I started to expand my horizons and challenge my own notions.

“Us and Them”, if nothing else, provides a peak into the working class life of two young adults trying to succeed in life and love in Beijing. And their story is not unlike many stories of rural Americans moving to urban environments after college, filled with ambition and a desire to overcome their living standards. The language might be different and the living conditions might be feel a bit more squalid, but the story feels familiar, which makes this film a good pick for discovering modern China.

My main criticism with this film, however, is that it is almost too epic for the story being told. Ten years is a long time to cover for any film, even with a two hour running time, and watching a relationship form and dissolve and reflect back on itself doesn’t really fill either the time period or the running time. It is also unbalanced, focusing a lot on their meeting and initial years, then rushing through the breakup and years that followed. It doesn’t take away from the great performances or some great sets and scenes or a pretty direct use of film editing to move the story in neat ways. But it can, at times, feel long, and strangely, at times, rushed.

“Us and Them” (2018) is a long, but insightful Chinese drama, allowing us a peak into the changing nature of family and romantic relationships as China continues to urbanize and capitalize. Boran Jing and Dongyu Zhou bring their characters to life with complex, emotional performances that challenge existing internal social norms and external perceptions. Fans of international cinema, or folks looking for a street-level look at Modern China should definitely check out this film. Just be sure to set aside enough time.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 7.6/10 

“Us and Them” (2018) is rated TV-MA and is currently streaming on Netflix.

Today’s movie is “I Kill Giants” (2017), the coming of age fantasy drama directed by Anders Walter and written for the screen by Joe Kelly, based on a graphic novel by Kelly and J.M. Ken Niimura. The film follows Barbara Thorson (Madison Wolfe), a young outcast protecting her contemporary seaside town from giants. However, her obsession begins to affect her family life, her school, and her developing friendship with a new arrival. 

Spoilers ahead.

It’s hard to talk about this film without spoiling some major plot points, purposefully concealed within the story until the very end. I think that mystery helps in the storytelling. Children have the most wonderful sense of imagination, which helps them deal with complex issues and which, unfortunately, fades as we grow older. Barbara, as a character, is right at the age where the line between imagination and reality is beginning to blur, a perfect time for telling this incredible story. 

The film has strengths and weaknesses. “I Kill Giants” was adapted from a seven issue limited series from Image Comics, and in some ways, that medium is better suited to tell this story, better able to blend reality and imagination into a unified vision. The costumes, sets and effects are all really well done in the film, but the overall aesthetic never seems to congeal in the same way as the comic book. Ten years ago, this film would have been considered phenomenal. However, our expectations are so much higher now, thanks to the incredible increases in special effects and, more importantly, storytelling with those special effects. With a comic book, we can fill the rest in with what’s left of our imagination, but with a film, you get what you get, and unfortunately, I wanted either something more or maybe something different.

The cast is pretty great. Madison Wolfe and Zoe Saldana really shine, even if their relationship feels a little forced at times, and I’m not just talking about the general counselor/adolescent relationship. Imogen Poots feels underutilized, playing a fairly one-dimensional character. Sydney Wade is fun as Sophia, but also feels underutilized. Walter’s direction is strong, with a very well done resolution sequence towards the end that elicits a lot of emotions, even if the final few scenes hold on a little longer than necessary.

“I Kill Giants” (2017) is an above-average coming of age story that does pretty well bringing the source material to life. While never really finding a perfect blend of fantasy and reality, it does find a way to tell a difficult story from a unique perspective, one that parents might find to be useful in teaching their children about difficult topics. If you like coming of age stories or modern fantasy films, or perhaps just a comic book movie that doesn’t necessarily have a superhero, then you should definitely check out this film.

Rotten Tomatoes: 79% (CERTIFIED)

Metacritic: 74

One Movie Punch: 8.2/10

“I Kill Giants” (2017) is not rated and is currently streaming on Hulu.

Welcome back to Matinee Mondays! I really had no other choice this weekend, either. Ever since I learned about dinosaurs as a kid, and then seeing the original “Jurassic Park” in the theaters at least ten times, along with countless viewings at home, I pretty much prepared myself for this moment. Well, not only this moment, but also the many other entries in the franchise to come. But this coming weekend, I’m definitely gonna need your help. So, check out Twitter and Facebook and let me know what you want me to see, then I’ll go see it.

And now...

Today’s movie is “Jurassic World: Fallen Kingdom” (2018), the second film from the rebooted Jurassic World franchise, directed by J.A. Bayona and written for the screen by Derek Connolly and Colin Trevorrow. The film follows Owen Grady (Chris Pratt) and Claire Dearing (Bryce Dallas Howard) as they return to Isla Nublar to rescue the remaining dinosaurs before a volcano destroys the island. However, the mission isn’t what it seems and everyone gets way more than they bargained for.

Spoilers ahead.

A good portion of film-making now revolves around franchises, and the nature of those franchises has evolved quite a bit. Production companies have gone from a “wait and see” approach to developing entire series of films based upon existing intellectual properties, for better or worse. And with the influx of trust and/or money placed into existing franchises, we’ve seen some mixed attempts to reboot franchises, trying to distill the parts that made earlier franchises succeed and injecting newer elements to try and take the franchise in new directions. With a few franchise reboots, most notably “Star Wars Episode VII: The Force Awakens” and “Jurassic World”, we’ve seen almost carbon-copy returns to existing story structures, although with updated technology and effects.

“Jurassic World: Fallen Kingdom” doubles down on reliving storylines from the previous entries. Connolly and Trevorrow’s script feels like a patchwork of themes from previous films. Once again we’re bringing stars back to the island under false pretenses as in “The Lost World” and “Jurassic Park III”, although this time with comically evil villains. Once again we’re attempting to exploit the dinosaurs for corporate profits, as in every single installment. Once again we’re seeing new, more dangerous dinosaurs being genetically engineered, as we just saw in “Jurassic World”. And somehow, a freighter ship filled with multiple-ton dinosaurs makes the trip from Costa Rica to Northern California in what seems to be a single night, which means it was travelling at 500 miles an hour. The story does expand the franchise, debuting a new unknown original partner behind InGen with a cloned child/grandchild, and moving the dinosaurs to mainland, announced by Dr. Ian Malcolm (Jeff Goldblum) as “Welcome to Jurassic World”. In short, it feels cliché, the first signs of franchise fatigue.

The film is full of amazing sequences, though, a patchwork of must-have shots and scenes involving dinosaurs, including some truly heartbreaking and heartwarming scenes, using both practical and special effects, and excellent sets and costumes. Many scenes felt like callbacks to previous scenes that scored well in the franchise, although updated with newer technologies and colors. The shots are truly incredible, well worth the theater experience, and made this dinosaur fan’s heart smile. By the end of the film, I feel like it would have been just as good with any script to move between the fantastic shots and sequences, which is a shame because the lack of meaningful story takes away opportunities from an underutilized cast. Also, and this is admittedly petty, but what a terrible end credits scene.

“Jurassic World: Fallen Kingdom” (2018) is a mediocre entry into the rebooted franchise, a combination of amazing action sequences and a needlessly complex story with oversimplified characters. Franchise fans will probably have mixed feelings, finding satisfaction in some parts and wanting a lot more in other areas. If you like the franchise, or just want to see some intense action sequences, then you should definitely see this film in the theaters, although be ready for some contrived storytelling.

Rotten Tomatoes: 50%

Metacritic: 51

One Movie Punch: 7.0/10

“Jurassic World: Fallen Kingdom” (2018) is rated PG-13 and is currently playing in theaters.