Watch Hollywood Movie The Lost World Jurassic Park 1997
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Movie Review:
IT isn't the giant, carnivorous dinosaurs thundering through the jungle and pulling people apart like spaghetti that provide the scariest chills in ''The Lost World: Jurassic Park.'' It is their adorable miniature relatives known as compies (Procompsognathus triassicus) who scamper through the underbrush like a gang of famished street urchins playing cute, bloodthirsty games of hide-and-seek and follow-the-leader with their prey.
In the film's stunningly creepy opening scene, a young girl wanders away from a British yachting party picnicking on the misty beach of a remote jungle island off the coast of Costa Rica.
As she peers into the fringe of the forest, a bony little creature skitters out of the woods and gives her a pleading look. No sooner has she allowed her strange new friend to nibble on her roast beef sandwich than it is joined by a crowd of companions chattering and leaping around her, their sharp-toothed mouths gaping for treats. We don't see their attack; we only hear her as she screams. It is not the last time these squeally leapfrogging little predators swarm over a vulnerable human figure. Nobody is more adept than Steven Spielberg, who directed this sequel to the $900-million-grossing ''Jurassic Park,'' at teasing a movie audience by finding the grotesque in the cute and the cute in the grotesque. E.T.'s ugliness made him more plaintively lovable, but it also kept him slightly scary. ''The Lost World,'' unlike ''Jurassic Park,'' humanizes its monsters in a way that E.T. would understand.
Two of the movie's most destructive creatures are a mommy and daddy Tyrannosaurus rex who want only to rescue their child from human captivity. But the new movie's endowing of its prehistoric monsters with feelings cuts both ways. While it yields some emotional dividends, it compromises the original film's notion of an unbridgeable, mystical gap between the modern world and Earth as it existed 65 million years ago.
''The Lost World,'' which like its predecessor, has a screenplay adapted by David Koepp from a novel by Michael Crichton (much more loosely adapted in the case of the sequel), involves many of the same hands, but it has an entirely different atmosphere. Where the original film was a cut-and-dried Pop-Art-flavored allegory pitting scientific hubris against the unpredictable, ungovernable forces of nature, the sequel is an all-stops-pulled, edge-of-your-seat adventure film whose messages are not so neatly packaged. Where ''Jurassic Park'' could be seen as Mr. Spielberg's follow-up to ''Jaws,'' ''The Lost World'' feels more like a variant of the ''Indiana Jones'' series, lightly seasoned with ''E.T.''
The exotic fauna inhabiting the new film are noticeably more versatile and lifelike than those in ''Jurassic Park,'' and there are many more moments when the lines between computer imaging and reality are all but erased. The scenes of the creatures leaping, charging and flapping while emitting eerie shrieking roars are triumphs of technological ingenuity that set new standards in movie special effects.
But ''The Lost World,'' while terrifically entertaining, is also structurally out of kilter. Shortly after the two-thirds point, the movie comes to a complete halt. And once it revs up its engines again, it never regains full power.
The first hunk of the movie is a rip-roaring, chase-crammed safari adventure that peaks with one of the most suspenseful cliffhanging sequences ever filmed. In this scene, Julianne Moore, who over the course of the movie survives more perils than Pauline, narrowly escapes death in a dinosaur-menaced trailer that dangles over a precipice during a drenching cloudburst. In its second smaller hunk, the movie turns into a more conventional echo of ''Godzilla,'' as a giant Tyrannosaurus rex, captured and transported by boat to San Diego, runs wild in the comfy suburbs of extreme Southern California.
If this dinosaurs-arrive-on-our-shores postscript has its amusing moments (in a clever nod to ''E.T.,'' a wide-eyed little boy wakes up to see a dinosaur leering into his bedroom window, then rushes to tell his disbelieving parents), it is a letdown compared with what came before. The spectacle of a monster stomping through a modern city and batting around buses and chewing on traffic lights has lost enough of its novelty to seem redundant even in hands as masterly as Mr. Spielberg's.
Like ''Jurassic Park,'' ''The Lost World'' is much better at pop myth-making and spectacle than it is at character or plot development. Propelled by an elaborate, fuzzily elucidated ''good guys versus bad guys'' scenario, it carries a stronger ecological message than ''Jurassic Park.'' At the center of the movie, looking more ominously owl-like than ever, is Jeff Goldblum as Ian Malcolm, the skeptical chaos-theory expert who was a minor character in the earlier film. Here he and his fearless girlfriend, Sarah (Ms. Moore), a paleontologist studying nurturing among carnivores, represent the voices of reason and compassion in a world gone mad with greed.
The chief villain is Peter Ludlow (Arliss Howard), the rapacious, nerdy nephew of Jurassic Park's eccentric mastermind, John Hammond (Richard Attenborough), who reappears briefly and ineffectually. Peter is determined to resurrect his uncle's nearly bankrupt corporation by exploiting the dinosaurs that were secretly bred on an island not far from the site of the original Jurassic Park. His master plan involves creating a prehistoric zoo in San Diego.
Ian, who after his ''Jurassic Park'' experience had vowed to give dinosaurs a wide berth, is reluctantly drawn back to the area when he learns that Sarah is already there conducting research, and he is determined to bring her back safely. His rescue operation turns into a survival battle when he and an adolescent stowaway, his daughter Kelly (Vanessa Lee Chester), are stranded after the wildlife starts acting up.
The trouble begins when Peter's zoological army descends from a fleet of helicopters and sets about capturing specimens. The evilest of the new arrivals is a sadistic hunter named Dieter (Peter Stormare), who amuses himself by torturing cornered dinosaurs with an electric cattle prod. The movie is kinder to Roland (Pete Postlethwaite), a seasoned big-game hunter who dreams of bagging a single Tyrannosaurus rex but who also has a healthy respect for wildlife.
''The Lost World'' never takes itself too seriously. Yes, it can be seen as a fiendish millennial fantasy of our prehistoric past catching up with us. But it also doesn't pretend to be much more than a messy, full-blooded adventure yarn with cardboard characters and a story that doesn't track. It winkingly acknowledges as much in a throwaway moment when the escaped Tyrannosaurus rex is shown rampaging through a video store. On one wall is a gaudy poster for a nonexistent movie of ''King Lear'' starring Arnold Schwarzenegger. ''The Lost World'' knows it's coming from roughly the same place.
''The Lost World: Jurassic Park'' is rated PG-13 (Parents strongly cautioned). Although the actual gore is minimal, it is scarier than ''Jurassic Park,'' the body count is higher, and the overall mood dark. Young children are likely to be terrified.
THE LOST WORLD
Jurassic Park
Directed by Steven Spielberg; written by David Koepp, based on the novel ''The Lost World'' by Michael Crichton; director of photography, Janusz Kaminski; edited by Michael Kahn; music by John Williams; production designer, Rick Carter; produced by Gerald R. Molen and Colin Wilson; released by Universal Pictures. Running time: 134 minutes. This film is rated PG-13.
WITH: Jeff Goldblum (Ian Malcolm), Julianne Moore (Sarah Harding), Pete Postlethwaite (Roland Tembo), Arliss Howard (Peter Ludlow), Richard Attenborough (John Hammond), Vince Vaughn (Nick Van Owen), Vanessa Lee Chester (Kelly Curtis) and Peter Stormare (Dieter Stark).
In the film's stunningly creepy opening scene, a young girl wanders away from a British yachting party picnicking on the misty beach of a remote jungle island off the coast of Costa Rica.
As she peers into the fringe of the forest, a bony little creature skitters out of the woods and gives her a pleading look. No sooner has she allowed her strange new friend to nibble on her roast beef sandwich than it is joined by a crowd of companions chattering and leaping around her, their sharp-toothed mouths gaping for treats. We don't see their attack; we only hear her as she screams. It is not the last time these squeally leapfrogging little predators swarm over a vulnerable human figure. Nobody is more adept than Steven Spielberg, who directed this sequel to the $900-million-grossing ''Jurassic Park,'' at teasing a movie audience by finding the grotesque in the cute and the cute in the grotesque. E.T.'s ugliness made him more plaintively lovable, but it also kept him slightly scary. ''The Lost World,'' unlike ''Jurassic Park,'' humanizes its monsters in a way that E.T. would understand.
Two of the movie's most destructive creatures are a mommy and daddy Tyrannosaurus rex who want only to rescue their child from human captivity. But the new movie's endowing of its prehistoric monsters with feelings cuts both ways. While it yields some emotional dividends, it compromises the original film's notion of an unbridgeable, mystical gap between the modern world and Earth as it existed 65 million years ago.
''The Lost World,'' which like its predecessor, has a screenplay adapted by David Koepp from a novel by Michael Crichton (much more loosely adapted in the case of the sequel), involves many of the same hands, but it has an entirely different atmosphere. Where the original film was a cut-and-dried Pop-Art-flavored allegory pitting scientific hubris against the unpredictable, ungovernable forces of nature, the sequel is an all-stops-pulled, edge-of-your-seat adventure film whose messages are not so neatly packaged. Where ''Jurassic Park'' could be seen as Mr. Spielberg's follow-up to ''Jaws,'' ''The Lost World'' feels more like a variant of the ''Indiana Jones'' series, lightly seasoned with ''E.T.''
The exotic fauna inhabiting the new film are noticeably more versatile and lifelike than those in ''Jurassic Park,'' and there are many more moments when the lines between computer imaging and reality are all but erased. The scenes of the creatures leaping, charging and flapping while emitting eerie shrieking roars are triumphs of technological ingenuity that set new standards in movie special effects.
But ''The Lost World,'' while terrifically entertaining, is also structurally out of kilter. Shortly after the two-thirds point, the movie comes to a complete halt. And once it revs up its engines again, it never regains full power.
The first hunk of the movie is a rip-roaring, chase-crammed safari adventure that peaks with one of the most suspenseful cliffhanging sequences ever filmed. In this scene, Julianne Moore, who over the course of the movie survives more perils than Pauline, narrowly escapes death in a dinosaur-menaced trailer that dangles over a precipice during a drenching cloudburst. In its second smaller hunk, the movie turns into a more conventional echo of ''Godzilla,'' as a giant Tyrannosaurus rex, captured and transported by boat to San Diego, runs wild in the comfy suburbs of extreme Southern California.
If this dinosaurs-arrive-on-our-shores postscript has its amusing moments (in a clever nod to ''E.T.,'' a wide-eyed little boy wakes up to see a dinosaur leering into his bedroom window, then rushes to tell his disbelieving parents), it is a letdown compared with what came before. The spectacle of a monster stomping through a modern city and batting around buses and chewing on traffic lights has lost enough of its novelty to seem redundant even in hands as masterly as Mr. Spielberg's.
Like ''Jurassic Park,'' ''The Lost World'' is much better at pop myth-making and spectacle than it is at character or plot development. Propelled by an elaborate, fuzzily elucidated ''good guys versus bad guys'' scenario, it carries a stronger ecological message than ''Jurassic Park.'' At the center of the movie, looking more ominously owl-like than ever, is Jeff Goldblum as Ian Malcolm, the skeptical chaos-theory expert who was a minor character in the earlier film. Here he and his fearless girlfriend, Sarah (Ms. Moore), a paleontologist studying nurturing among carnivores, represent the voices of reason and compassion in a world gone mad with greed.
The chief villain is Peter Ludlow (Arliss Howard), the rapacious, nerdy nephew of Jurassic Park's eccentric mastermind, John Hammond (Richard Attenborough), who reappears briefly and ineffectually. Peter is determined to resurrect his uncle's nearly bankrupt corporation by exploiting the dinosaurs that were secretly bred on an island not far from the site of the original Jurassic Park. His master plan involves creating a prehistoric zoo in San Diego.
Ian, who after his ''Jurassic Park'' experience had vowed to give dinosaurs a wide berth, is reluctantly drawn back to the area when he learns that Sarah is already there conducting research, and he is determined to bring her back safely. His rescue operation turns into a survival battle when he and an adolescent stowaway, his daughter Kelly (Vanessa Lee Chester), are stranded after the wildlife starts acting up.
The trouble begins when Peter's zoological army descends from a fleet of helicopters and sets about capturing specimens. The evilest of the new arrivals is a sadistic hunter named Dieter (Peter Stormare), who amuses himself by torturing cornered dinosaurs with an electric cattle prod. The movie is kinder to Roland (Pete Postlethwaite), a seasoned big-game hunter who dreams of bagging a single Tyrannosaurus rex but who also has a healthy respect for wildlife.
''The Lost World'' never takes itself too seriously. Yes, it can be seen as a fiendish millennial fantasy of our prehistoric past catching up with us. But it also doesn't pretend to be much more than a messy, full-blooded adventure yarn with cardboard characters and a story that doesn't track. It winkingly acknowledges as much in a throwaway moment when the escaped Tyrannosaurus rex is shown rampaging through a video store. On one wall is a gaudy poster for a nonexistent movie of ''King Lear'' starring Arnold Schwarzenegger. ''The Lost World'' knows it's coming from roughly the same place.
''The Lost World: Jurassic Park'' is rated PG-13 (Parents strongly cautioned). Although the actual gore is minimal, it is scarier than ''Jurassic Park,'' the body count is higher, and the overall mood dark. Young children are likely to be terrified.
THE LOST WORLD
Jurassic Park
Directed by Steven Spielberg; written by David Koepp, based on the novel ''The Lost World'' by Michael Crichton; director of photography, Janusz Kaminski; edited by Michael Kahn; music by John Williams; production designer, Rick Carter; produced by Gerald R. Molen and Colin Wilson; released by Universal Pictures. Running time: 134 minutes. This film is rated PG-13.
WITH: Jeff Goldblum (Ian Malcolm), Julianne Moore (Sarah Harding), Pete Postlethwaite (Roland Tembo), Arliss Howard (Peter Ludlow), Richard Attenborough (John Hammond), Vince Vaughn (Nick Van Owen), Vanessa Lee Chester (Kelly Curtis) and Peter Stormare (Dieter Stark).
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