Photo: ‘Jurassic Punk’
Steven Spielberg’s ‘Jurassic Park’ has been a recognizable film that has been successful in the year of 1993, along with his Oscar-winning movie ‘Schindler’s List.’ ‘Jurassic Park’ influenced other blockbuster films to experiment with special effects and computer animation to exceed audiences' expectations and also remind them that it is always exciting to watch a movie with great visuals. The film even gave Spielberg the opportunity to direct ‘The Lost World: Jurassic Park,’ which had more dinosaurs and computer animation. The critically-acclaimed director may not have been behind the camera for ‘Jurassic Park III,’ but Joe Johnson was. Around the late 2010s to early 2020s, three more sequels were made: ‘Jurassic World’ (2015), ‘Jurassic World: Fallen Kingdom’ (2018), and ‘Jurassic World Dominion (2022).’ Things to do: Subscribe to The Hollywood Insider’s YouTube Channel, by clicking here. Limited Time Offer – Free Subscription to The Hollywood Insider Click here to read...
Steven Spielberg’s ‘Jurassic Park’ has been a recognizable film that has been successful in the year of 1993, along with his Oscar-winning movie ‘Schindler’s List.’ ‘Jurassic Park’ influenced other blockbuster films to experiment with special effects and computer animation to exceed audiences' expectations and also remind them that it is always exciting to watch a movie with great visuals. The film even gave Spielberg the opportunity to direct ‘The Lost World: Jurassic Park,’ which had more dinosaurs and computer animation. The critically-acclaimed director may not have been behind the camera for ‘Jurassic Park III,’ but Joe Johnson was. Around the late 2010s to early 2020s, three more sequels were made: ‘Jurassic World’ (2015), ‘Jurassic World: Fallen Kingdom’ (2018), and ‘Jurassic World Dominion (2022).’ Things to do: Subscribe to The Hollywood Insider’s YouTube Channel, by clicking here. Limited Time Offer – Free Subscription to The Hollywood Insider Click here to read...
- 12/22/2022
- by Marco Castaneda
- Hollywood Insider - Substance & Meaningful Entertainment
On the March 15, 2022 episode of /Film Daily, /Film editor Ben Pearson is joined by /Film editors Jacob Hall, Brad Oman, and editor/chief film critic Chris Evangelista to talk about the best things they saw at SXSW 2022.
Opening Banter:
In Our Feature Presentation: The Best of SXSW 2022
Brad: I Love My Dad, They Call Me Magic, Spaz, Linoleum, Tony Hawk: Until the Wheels Fall Off
Chris: The Pez Outlaw, Nothing Lasts Forever, The Girl From Plainville
Jacob: Everything Everywhere All at Once, Marcel the Shell With Shoes On, X, The Unbearable Weight of Massive Talent, More Than Robots
Also mentioned:
More Than...
The post Daily Podcast: The Best Movies of SXSW 2022 appeared first on /Film.
Opening Banter:
In Our Feature Presentation: The Best of SXSW 2022
Brad: I Love My Dad, They Call Me Magic, Spaz, Linoleum, Tony Hawk: Until the Wheels Fall Off
Chris: The Pez Outlaw, Nothing Lasts Forever, The Girl From Plainville
Jacob: Everything Everywhere All at Once, Marcel the Shell With Shoes On, X, The Unbearable Weight of Massive Talent, More Than Robots
Also mentioned:
More Than...
The post Daily Podcast: The Best Movies of SXSW 2022 appeared first on /Film.
- 3/15/2022
- by Ben Pearson
- Slash Film
Given its subject matter, it’s fitting that Scott Leberecht’s documentary “Spaz” is so committed to throwing a middle finger to the filmmaking establishment, but in wielding awkward narrative tools, Leberecht undermines his own film’s idiosyncratic subject. The film follows Steve “Spaz” Williams, the revolutionary and rebellious visual effects designer behind “Terminator 2: Judgment Day,” “Jurassic Park,” “The Mask,” and so forth, to build out
“I had it all,” Williams laments in the film’s opening voiceover, clumsily calling up the wide variety of films that open with the similarly toned (and now meme’d to death) “you’re probably wondering how I got here?” query. The framing is cliche, setting up an unnecessary narrative artificiality to what’s clearly a real heartache. But once Leberecht throws the narrative back into his engaging subject’s hands to recount his turbulent life, from childhood to his time at Lucasfilm...
“I had it all,” Williams laments in the film’s opening voiceover, clumsily calling up the wide variety of films that open with the similarly toned (and now meme’d to death) “you’re probably wondering how I got here?” query. The framing is cliche, setting up an unnecessary narrative artificiality to what’s clearly a real heartache. But once Leberecht throws the narrative back into his engaging subject’s hands to recount his turbulent life, from childhood to his time at Lucasfilm...
- 3/14/2022
- by Robert Daniels
- Indiewire
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