In the twenty five years since its release, Jurassic Park has still remained a staple for 1990’s cinema because of its innovative visual effects and to this day, it’s astonishing that it still happens to look every bit as beautiful as it does. But as the franchise had only grown to become as big as it did, the meaning behind Crichton’s original creation had slowly been fading away. Surely enough, it’s hard to deny that the original Jurassic Park still remains a spectacle for the eyes because of what it had taken in order to make you truly believe that you were seeing actual dinosaurs on the screen through the film’s innovative use of both computer-generated imagery and animatronics. But there comes a point to which one can only get too caught up by the image of the spectacle that Jurassic Park had set into place and Jurassic World only emphasizes that danger all the more, because it cynically exploits that nostalgia one would have had for the original film without ever finding its own way to carry itself through. It cynically boils down what Crichton would have wanted to say about the eventual spectacle of nature’s own ways only to what audiences would buy in as “dumb fun,” and to me, that never felt right – it just felt ugly.
Continue reading →
Westworld in itself is an interesting idea – and that’s essentially what the film rides upon. That’s really all I can say for it, because the ride that Michael Crichton’s cult film provides for oneself definitely is a fun one if also one that should have been explored much more than what is already presented on the spot. What I won’t deny though is that it is easy to see why did Westworld manage to acquire a cult following, even if the product had left such an empty feeling running through my head. Being a fan of Michael Crichton’s writing I figured that there was something set for myself to love about Westworld and in part, I got that – and the other half I just got something that almost felt somewhat lacking at the same time. Continue reading →