Tag Archives: J.A. Bayona

Jurassic World: Fallen Kingdom (2018) Movie Review By John Gray

Jurassic World Fallen Kingdom

Director: J.A. Bayona
Writers: Derek Connolly, Colin Trevorrow
Stars: Chris Pratt, Bryce Dallas Howard, Rafe Spall

Jurassic Park is the movie that got me into movies. It’s my favourite film, by my favourite director, scored by my favourite film composer. The sequels have been hit and miss, even the Spielberg directed Lost World was lacklustre, and JP3 was little better than a TV movie in my opinion.

Jurassic World, however, brought us something I always wanted to see; a fully functioning park. It wasn’t a patch on the first film, but was fun, exciting, and full of good ideas. Its sequel, Fallen Kingdom, does something else I always wanted the series to do, by delving into the darker implications of genetic technology.

The director, J.A. Bayona, stated in interviews that he wanted a good reason for going back to the park, and he succeeds in giving us one. Isla Nublar is about to be destroyed by a newly active volcano, and the race is on to stop dinosaurs becoming extinct all over again. Enter Claire, Owen, and John Hammond’s old business partner, played by James Cromwell. Of course others have far less altruistic plans for the animals, namely selling them off to all sorts of questionable corporations and private collectors, and here is where the conflict comes in.

To say much else would spoil some of the movie’s surprises, and I’m happy to report there are actually a few. The movie could so easily have been predictable, but Bayona delivers a switch in the second half, effortlessly changing to a darker, more suspenseful tone. It’s the first time a Jurassic Park movie has been scary in a while.

The opening set- piece in particular is fantastic. In fact, Bayona shows a deft hand at creating thrilling set- pieces throughout, bar one mis-judged gag involving Owen and some lava. You’ll know it when you see it. Other nitpicks would be an over- intrusive musical score and an uneven script with some pretty cringe-worthy dialogue and jokes that don’t quite pan out.

When the script fails it’s largely saved by the sheer likability of the two leads. Chris Pratt and Bryce Dallas Howard are as solid as ever in their roles. Howard’s Claire gets more to do here, and is less of a buttoned-up cliche than she was in the last movie. She brings warmth and passion to the character, who has some hard truths to face about her role in all that’s happened with the park.

Pratt is charismatic and effective as a leading man, even if his character evolves a little less than Howard’s. He’s more stoic this time around, less of a man-child, but still not very interesting. His connection to the velociraptor, Blue, is well played though, and should have been the heart of the movie. Unfortunately the script downplays this connection during scenes where it would have made more dramatic sense to bring it to the fore.

Fallen Kingdom is a thrilling, fun, tense movie that takes the story in new directions. The ending leaves the Jurassic Park franchise in a fascinating place. What works so well about the main plot of this film and its ending is that both feel like they were always inevitable. From the moment John Hammond cloned that first dinosaur we were always headed in this direction. I’m looking forward to seeing what happens next.

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A Monster Calls (2016) Movie Review by Kevan McLaughlin

A MONSTER CALLS

Director: J.A. Bayona
Writers: Patrick Ness (screenplay), Patrick Ness (based upon the novel written by)
Stars: Lewis MacDougall, Sigourney Weaver, Felicity Jones

A rare dark fantasy drama which gives a huge amount of credit to its intended young audience with its bleak subject matter and brooding overtones. An beautifully illustrated allegory of torment, heartache and acceptance.

Conor O’Malley (Lewis MacDougall) lives a complicated life filled with school bullies, his estranged father (Kebbell), a stern grandmother (Weaver) and his loving mother( Jones) who is battling cancer. One ordinary night, at 12.07, his world is ripped apart by a tree Monster who crashes into his life to tell him he will tell him three stories over the next few nights and, at the end of the third story, Conor must reciprocate by telling the Monster his story – the truth behind his nightmares.

On the night of the first story (again at 12.07) the Monster tells Conor a fable of an old King who married a beautiful young woman who the Royal subjects believe, upon the King’s death, poisoned him to take the throne for herself and stop the King’s grandson Prince from ruling. The Prince and a young farm girl run away together and fall asleep under an old yew tree (the Monster). When the Prince awakes he finds his love murdered and tells the people that it must have been the new Queen who killed his beloved and that she’s a witch. He rallies the townsfolk to overthrow the Queen and the Monster joins the mob but, instead of killing the Queen, he rescues her and takes her to a faraway place to live her life in peace. Conor is furious that the Monster would rescue such an evil murderess and demands to know why he would save her. The Monster then tells him that she didn’t murder the King, that it he simply died of old age and it was the Prince who killed the farm girl to incite hatred for the Queen, thus ensuring his succession to the throne. Conor is confused as to what point the Monster is trying to make.

Conor’s seemingly cold and unkind Grandma wants to take Conor away from his mum to live with her, a scenario which the strong-willed Conor will do anything to avoid. Not that this affects Conor, of course. Conor’s mother is not getting better. In fact, she’s becoming sicker and she’s not responding to new treatments. Against Conor’s wishes, he is moved to his Grandma’s house to stay for a few days. His father, who lives in L.A. with his second wife and Conor’s half sister, returns to help his son through this demanding time in the boy’s life. When Conor challenges his dad as to why he can’t come to live with him and his new family in L.A., he gets a less than satisfactory response. Money is tight, there isn’t enough room, Conor shouldn’t be uprooted from his friends and family etc. And Conor, as usual, stoically takes it on the chin.

The Monster visits on the second night and continues with his promise of a second story. An apothecary, he tells Conor, spends his time curing and ailing the sick with his old-fashioned remedies made from herbs and flowers. He also covets a yew tree to use in his potions, which is on private ground. A local parson denounces the old healer’s medicines and encourages his followers to reject the archaic brews and potions, but not before his two young daughters become sick. The parson begs the apothecary to help cure his daughters, after all other avenues have been explored. The healer, bitter that his business has been driven away, initially rejects to parson’s pleas until he is promised the old yew tree, the most prized of all healing ingredients, to use in his future concoctions and also deliver his parishioners as customers. Even with this promise the apothecary says he can’t help and the two young girls die. The tree awakes and destroys the parson’s house as punishment for denying the apothecary’s way of life yet turning to him for help in his time of need and abandoning his own beliefs in the process. The apothecary, while greedy in his practices, knew that without the parson’s belief in either way of life the

medicine wouldn’t have worked. Belief is half the cure, the Monster tells Conor. An increasingly frustrated Conor is becoming tired with these increasingly tedious and pointless stories.

While the Monster is visiting Conor, he encourages the boy to embrace his anger and, in doing so, Conor wrecks his Grandma’s front room and her cherished family heirloom, a grandfather clock. When she returns to witness the devastation, she silently surveys the room is shock. A visibly distraught Conor follows his Grandma out the room to discover she’s retreated to her daughter’s old bedroom, crying. It’s here we witness Conor’s realisation that the recent events are having an effect on everyone, not just him. He is beginning to see his mother as his Grandma’s daughter and, through a subsequent conversation with his father, someone who had dreams of going to art college, someone who was once loved by a man and that life doesn’t always work out in a way that results in happy-ever-after.

From here we see the rest of the story evolve in such a poignant way. Conor continues to be bullied. He continues to act out. He continues to learn that his mother, father and Grandma don’t have the answers to impossible questions. And the Monster returns with his third and final story. Above all we see Conor learn that life is messy.

A Monster Calls isn’t the Iron Giant, Baymax from Big Hero 6 or the terminator in T2. This isn’t a story about an inanimate object or lifeless robot that’s transformed into a seemingly sentient being to help out a kid going through a tough time in his life. The Monster is an allegory and the riddle-like stories he tells are about tough choices in an interminable situation. He isn’t an emotionless substitute for a teddy bear. The Monster is a very clever plot device used to convey the confusion, fear and rage felt in the hopelessness of misery and heartache.

Liam Neeson channels his Aslan from The Chronicles of Narnia, but without the sentimentality. His rich, almost alarming, voice lends itself perfectly to the role of the tree that comes to life to act as a guide to a young boy embarking on a horrible journey. The CGI itself is rather petrifying and petrified, and inspires the overall tone of the film. He’s less Groot, more a terrifying, haunted Halloween tree that owls usually perch upon while witches screech past.

Lewis MacDougall’s performance is simply beautiful. His ability to convey hostility, irritation and anger and, then seamlessly, break your heart with the deftest of expression is wondrous. He seems to conduct every one of Conor’s emotions like a beacon and express them flawlessly at will with no effort. It would be criminal to express admiration for his abilities and mention his young age, as if one had to do with the other. He’s not talented despite his age. He’s just extremely talented and it will be interesting to see what he can do in the future.

Felicity Jones has shown her ability to play strong women. Here, we get a glimpse of her portraying someone who shows a different kind of strength, avoiding self-pity and still teaching her son invaluable lessons.

Toby Kebbell is lovely as the dad who doesn’t always know how to get it right. Kebbell delivers a solid performance as someone who really tries his best for his boy.

Sigourney Weaver is amazing. While her quintessentially generic English accent may be a tad questionable here, her performance is not. She excels as the seemingly impenetrable grandmother but, in actual fact, just has an impossible time trying to remain strong for her daughter and grandson while

reflecting on everything she has to lose. Weaver delights as the woman who struggles with the responsibility of stoicism.

J.A. Bayona gives us a tremendous film, written by (as based on the book of) the excellent Patrick Ness. Bayona conveys a sense of hope, almost misleadingly, through a film with such dark subject matter for its intended audience. But he pulls it off entirely, giving us an entertaining and endearing film that’s a pleasure to watch. Jurassic World 2 will be interesting.

A Monster Calls delivers where other films may have bailed and gave us the happiness and closure we crave. It’s extremely dark but also incredibly moving and funny in its own little awkward way. The movie is an allegory for grief, but there’s also an argument to say it’s a parable for adolescence itself. It’s confusing, painful, awkward but has a great amount of joy as well. It’s a hugely enjoyable movie and thrives because it doesn’t trivialise its content.