Jurassic World

For F*** Magazine

JURASSIC WORLD

Director : Colin Trevorrow

Cast : Chris Pratt, Bryce Dallas Howard, Vincent D’onofrio, Ty Simpkins, Nick Robinson, Omar Sy, B.D. Wong, Irrfan Khan, Jake Johnson

Genre : Adventure/Thriller

Run Time : 125 mins

Opens : 11 June 2015

Rating : PG13 (Some Violence)

“The park is open.” With those four little words, the 14-year-long wait for a new Jurassic Park film has finally come to an end. 22 years after the events of the first film, Isla Nublar is now home to a fully functioning dinosaur theme park called “Jurassic World”, welcoming thousands of visitors each day. Billionaire Simon Masrani (Khan) has been entrusted with overseeing the park after the passing of founder John Hammond. As visitors hunger for more excitement, the park’s geneticists, led by Dr. Henry Wu (Wong), have spliced together a new hybrid dinosaur, the vicious Indominus rex. In the meantime, the park’s overworked Operations Manager Claire Dearing (Howard) is expecting her nephews Zach (Robinson) and Gray (Simpkins) who are spending the weekend at the Jurassic World resort. When the I. rex escapes and threatens the safety of the visitors, it is up to Velociraptor trainer Owen Grady (Pratt) and the Jurassic World security team to contain the savage behemoth.

            A fourth Jurassic Park film spent over a decade clawing its way out of development hell following 2001’s Jurassic Park 3. Director Colin Trevorrow, known for the indie comedy-drama Safety Not Guaranteed, was given the responsibility of breathing new life into the franchise, not unlike how InGen’s scientists bring dinosaurs back from extinction. The expectations were massive and Trevorrow’s lack of experience with big blockbusters seemed to be against him, but he has come through, not unlike the Russo brothers with Captain America: The Winter Soldier. The screenplay by Rick Jaffa, Amanda Silver, Derek Connolly and Trevorrow, contains a healthy amount of self-awareness. There are jibes at corporate sponsorship and an explanation as to the focus group origins of the name of the Indominus rex. Visitors to Jurassic World have grown difficult to impress, demanding bigger, more exciting genetically-engineered attractions, not unlike moviegoers and their ever-increasing appetite for effects-laden tentpole extravaganzas. The main difference is it’s unlikely for Avengers 8 to break out of the screen and eat the audience alive.

            A fully-functioning dinosaur theme park seems like the natural place for a new story to unfold and, for a series ostensibly about a theme park, is long overdue. A tourist attraction at full capacity means more potential for things to go horribly, entertainingly awry. There is a lot of effort put into designing the park and the filmmakers have achieved a sense of verisimilitude with the chain restaurants, open-air arenas, monorail systems and bored employees seen in real-life theme parks. While pushing the franchise forward, there is no shortage of very respectful nods to the past and aficionados of the first Jurassic Park movie will find many rewarding Easter Eggs. A sequence set in the derelict visitor’s centre from the first film borders on the indulgent but this reviewer was too busy squealing with fan glee to really be bothered.

            A crucial element of what made the first film so enjoyable was the suspense. The classic T. rex paddock escape and the “Raptors in the kitchen” scene were masterfully staged and dripping with tension. There are several great scenes in this movie that go for the scares and that do have that adrenaline-pumping thrill ride quality to them. One does get a kick out of seeing the Indominus rex make quick work of heavily-armed, highly trained security contractors and a scene in which a swarm of Pterosaurs escapes their aviary to pluck hapless visitors from the park’s grounds is a wonderful “all hell breaks loose” scene of full-on panic.

The Indominus rex is an appropriately formidable creature, but sometimes lacks the tactility of the T. rex in the original. There’s also that classic movie monster pitfall, where the big bad beast is so impervious to anything that it can get a little tedious trying to defeat it. Many were worried that the element of trained Velociraptors would detract from the ferocity of these iconic dinosaurs, but rest assured that they’re still unpredictable and still scary. After all, people train Rottweilers, lions and bears, with sometimes-deadly consequences. The film does slightly disappoint with some of the visual effects work – for the most part, the dinosaurs are adequately convincing, but the scene in which a sight-seeing “gyrosphere” travels amongst herds of herbivorous dinosaurs feels particularly artificial. Animatronic effects are still employed, but this one does lean far heavier on CGI than the earlier movies.

    

        The characters in this film are archetypes and are all relatively simple, but then again, so were the characters in the first movie and in this case, it’s done pretty well. Chris Pratt further cements his A-list action star status as the rugged ex-Navy man Owen Grady, ably carrying the film as a traditional hero. In the scenes in which Owen is interacting with the four Velociraptors under his charge, Pratt displays a knack for acting against nothing, perhaps a skill he honed working with Rocket and Groot in Guardians of the Galaxy. Bryce Dallas Howard plays more of a caricature, the tightly wound career woman just seconds from snapping under pressure, but it’s great that there’s a woman in charge of running things at the park this time around and we are profoundly impressed by how well she can run in heels.

            Vincent D’onofrio’s hard-nosed Vic Hoskins, the head of security operations for InGen, is also one-dimensional, dead set on using Velociraptors in military applications. This may be an in-joke referring to an early draft of the film, which had gun-toting human-dinosaur hybrid mercenaries. Yes, we’re glad that didn’t happen too. Irrfan Khan chews some of the lush jungle scenery as eccentric Richard Branson-wannabe Simon Masrani. Ty Simpkins is the stock “kid in peril” and Nick Robinson is his aloof older brother – a film with as high an “embracing one’s inner child” quotient as this one has got to have kid characters in it, and they do far less shrieking than Lex and Tim did in the original. Jake Johnson’s comic relief techie Lowery gets some excellent lines and is, thankfully, not annoying. It’s also really nice to see B.D. Wong again – his Dr. Henry Wu is the only returning character from the first film.

            Jurassic World hits all the notes expected of a Jurassic Park film without merely feeling like it’s going through the motions. It’s clear that there’s earnestness and passion behind this and that Trevorrow is a fan who wants to do right by other fans. There’s definitely a tip of the hat to Steven Spielberg and the contemporary sci-fi masterpiece that was 1993’s Jurassic Park - at the same time, there isn’t a slavishness to what has come before. If there’s anything today that could come close to inspiring the wonderment and terror that Jurassic Park did in the kids who first watched it in 1993, Jurassic World would be it.

Summary: Well worth the 14 year wait. A new world beckons; come on in!

RATING: 4 out of 5 Stars

Jedd Jong 

Resurrecting the Dinosaurs: the special effects of Jurassic Park

As published in Issue #64/65 of F*** Magazine

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RESURRECTING THE DINOSAURS
F*** goes back to the genesis of the Jurassic Park film series and explores the movie magic that brought the park’s denizens back from extinction.

By Jedd Jong

This June, Jurassic World continues the legacy of a film franchise that has enthralled audiences with its depictions of prehistoric beasts stomping among (and occasionally chomping on) mankind. The first Jurassic Park movie, which was released in 1993, broke more than its share of ground in the realm of special and visual effects that marked a great leap forward in filmmaking technology. In the story, it is InGen’s geneticists who clone dinosaurs from preserved DNA, but behind the scenes, it was Stan Winston Studio, Tippett Studio and Industrial Light and Magic (ILM) who resurrected these titans of a bygone era.

Jurassic Park is based on the 1990 novel of the same name by Michael Crichton. Even before the book was published, a fierce bidding war for the film rights was sparked. Universal Pictures, director Steven Spielberg and Amblin Entertainment won the rights. Spielberg had a tough time working with animatronic creatures on Jaws, which was plagued by constantly malfunctioning mechanical sharks. The plan of action was that the dinosaurs of Jurassic Park would be created with the joint methods of stop-motion puppets and full-scale animatronic dinosaurs.

Spielberg first turned to theme park attraction creator Bob Gurr, who was working on a King Kong attraction at Universal Studios. Upon realising that particular method was infeasible, the director sought the help of Stan Winston, a legendary special effects creator whose studio was responsible for the monsters of the Alien, Terminator and Predator franchises, amongst other films. “Everyone who does the kind of work we do are dinosaur fans,” Winston professed. The puppets, which would be used for wide shots of the dinosaurs in motion, were to be created by animator Phil Tippett. Tippett had devised an improved stop-motion animation technique called “go-motion”, which he used on the film Dragonslayer. The addition of digital motion blurring would reduce the jerkiness that is characteristic of stop-motion animation.

Winston engaged concept artist Mark “Crash” McCreery to begin designing the dinosaurs; McCreery’s artwork informed by palaeontologist Jack Horner, who has been a consultant for all the Jurassic Park films so far. Among Horner’s contributions was the then-recent discovery that dinosaurs were more closely related to birds than they were to reptiles. Initially, the Raptors would’ve been depicted with snake-like flicking tongues, an idea Horner nixed. The intent was that these would be living, breathing creatures that the audience could buy as real animals rather than otherworldly movie monsters. The design process started a full year before actual production began. “We wanted these dinosaurs to be authentic, not ‘Hollywood’ dinosaurs, and so we really did our research,” Winston said.

Over at pioneering visual effects house ILM, famous for their work on the Star Wars saga, visual effects supervisor Dennis Muren was in charge of digitally enhancing Tippett’s puppetry work and exploring new uses for computer graphics in the making of the film. In the midst of pre-production, ILM presented computer-generated test footage to Spielberg, which depicted a heard of skeletal Gallimimus running through a field. It turns out that actors aren’t the only ones who practice method acting as the ILM animators studied under a movement coach and performed the Gallimimus run to provide their own reference material.

Animators Mark Dippé and Steve Williams later worked on animating a walk cycle for the T-rex. Spielberg was impressed, saying “it was so authentic and smooth, I said ‘well that’s the future, that’s the way it’s going to be from now on’…this technology came along and changed my movie forever and in that sense changed the world forever.”

Naturally, Tippett and his go-motion animation team were devastated by this change of approach to the wide shots. “It was a big emotional moment, like when your dog dies,” Tippett recalled.

“We’re extinct, we’re the dinosaurs, and that irony wasn’t lost on any of us,” said dinosaur motion supervisor Randal M. Dutra. This was given a nod in the dialogue of the film, when palaeontologist Dr. Alan Grant says “we’re out of a job” and mathematician Ian Malcolm corrects him by saying “don’t you mean extinct?” However, the work that Tippett and his team had developed did not go to waste – the elaborate go-motion puppets were used to create animatics (moving storyboards) that helped Spielberg plan the action beats precisely and served as a guide to the other animators and puppeteers involved. Tippett’s team also designed a telemetry system called the “Dinosaur Input Device” that could project tactilely manipulated movements on a scaled-down armature onto the full-sized animatronic dinosaurs, lending a hands-on element to the way the digital dinosaurs were controlled.

Years later, Tippett became a minor internet meme due to his credit as “dinosaur supervisor”, with posts on tumblr jokingly berating him for the mayhem brought about by dinosaurs as depicted in the film. In 2013, he sent out a tweet in response, playing along with the joke: “Everyone on the internet thinks they could be a better dino supervisor - BUT YOU WEREN'T THERE.”

Principal photography began in August 1992 on the Hawaiian island of Kuai. The first dinosaur to be filmed was the sickly Triceratops, built full-size by Winston’s shop. The Triceratops was sculpted by Joey Orosco, who used reference photographs of elephants and a white rhinoceros taken at a local zoo. The Triceratops puppet was positioned over a pit that could accommodate up to 11 puppeteers.

Prolific human actors like Sir Richard Attenborough, Sam Neill, Laura Dern and Jeff Goldblum were cast in Jurassic Park, but the biggest star was undoubtedly the full-size animatronic Tyrannosaurus rex used to film the main road attack. “It’s one thing seeing a great big model, [but] a model that moves and breathes and works with you was something else,” Neill noted. The hulking animatronic creation was set up at the largest soundstage in Warner Bros. Studios, dressed to mimic the T-rex paddock and main road that had been built in Kuai.

Even after being up to the task of designing and building a mechanical behemoth that had to act opposite the human cast, Winston and his crew had another major hurdle to overcome. Spielberg thought that having the scene take place in the rain would be more exciting and that it would enhance the atmosphere. The T-rex was calibrated for weight and not designed to be waterproof. After spending some time under the rain machines, the giant robot would begin to vibrate uncontrollably because the foam rubber skin had started soaking up water. The crew had to dry the T-rex off by slapping it with shammy towels.

The other signature sequence from the movie is the “Raptors in the kitchen” scene, in which two Velociraptors stalk Tim and Lexi into the visitor’s centre’s industrial kitchen. Actor Joseph Mazzello, who played Tim, called the Velociraptors “the scariest thing I’ve ever seen.” The way these creatures moved had to be deliberate and reflect a frightening intelligence. “I remember being on set for the kitchen scene and looking behind a counter and seeing about 15 people all operating a different part of the Raptor,” Mazzello added.

For McCreery and art department coordinator John Rosengrant, their work on Jurassic Park wasn’t restricted to sitting behind desks. In addition to designing the dinosaurs, McCreery and Rosengrant got to play them, getting into specially designed Raptor suits to portray the two dinosaurs in the kitchen sequence. To simulate Raptor anatomy, the performers had to assume an awkward pose inside the suits, as if they were skiing. “My back would go out after about 30 minutes,” Rosengrant recalled, “and that was after having trained a couple of hours a day for weeks.”

“It was exhilarating but torture at the same time,” McCreery agreed. “It’s kind of scary because there’s that claustrophobic-type feeling. You’d have a little monitor in front of your face and then that would go out and you’d be blind and hoping you were doing the right thing.”

For the moment in which the Raptor leaps up onto the countertop and when there’s fast running involved, it’s handed off to a CGI Raptor to allow for more fluidity. “That’s a great, great sequence showing basically all the tools working [together], every one of ‘em,” said special effects supervisor Michael Lantieri.

One often-overlooked element in making the dinosaurs convincing as actual animals is sound design. Sound designer Gary Rydstrom was tasked with creating vocalisations for the T-rex that weren’t the usual monster movie roar. The T-rex’s roars were a combination of recorded samples from baby elephants, alligators, tigers, whales, and Rydstrom’s own pet Jack Russell terrier, Buster. The Velociraptors’ signature screech came from combining noises from geese, horses and dolphins. In addition, there was a bizarrely risqué source for the Raptors’ calls: "It's somewhat embarrassing, but when the Raptors bark at each other to communicate, it's a tortoise having sex," Rydstrom revealed.

 Jurassic Park was a box office smash and a hit with critics as well, spawning three further sequels, the latest of which is this summer’s Jurassic World. Stan Winston Studio and ILM continued to collaborate on The Lost World: Jurassic Park and Jurassic Park III. After Winston’s death in 2008, Lindsay Macgowan, Shane Mahan, John Rosengrant, and Alan Scott, who had worked at Stan Winston Studio for over 20 years, founded their own company, Legacy Effects. Legacy Effects is in charge of creating the animatronic dinosaurs for director Colin Trevorrow’s Jurassic World, with Tim Alexander supervising the visual effects at ILM. Tippett Studio is involved in the process as well. While the trailers for the film have drawn some flak for a supposed over-reliance on computer-generated imagery, it is encouraging that several key behind-the-scenes figures from the original Jurassic Park are returning for the fourth go-round. We trust that these movie magicians’ handiwork will thrill new audiences and remind long-time Jurassic Park fans of how they first became spellbound. 

Jurassic Park (3D)

Written for F*** Magazine, Singapore

JURASSIC PARK (3D)

Director: Steven Spielberg
Cast: Sam Neill, Laura Dern, Jeff Goldblum, Richard Attenborough, Samuel L. Jackson, Wayne Knight, Ariana Richards, Joseph Mazzello
Genre: Adventure, Thriller
Run Time: 126 mins
Opens: PG
Rating: 30 May 2013

It’s an adventure 65 million (+20) years in the making: two decades after Spielberg’s groundbreaking creature feature first stomped into theatres, it’s time to dust off those amber-encased memories to make a return trip to Jurassic Park. While the powers that be are struggling to keep Jurassic Park IV from fossilizing in development hell, a 3D re-release of the original has been trucked out. While we hope those glasses make us look as cool as Dr Ian Malcolm (Goldblum), that’s not likely.

Wealthy magnate John Hammond (Attenborough) creates a theme park on an island off Costa Rica, populating it with dinosaurs created through cloning technology. An accident necessitates a safety inspection of the park before it opens, and three experts are called upon to sign off on it: Palaeontologist Dr Alan Grant (Neill), Palaeobotanist and Grant’s girlfriend Dr Ellie Sattler (Dern) and chaos theorist/mathematician Dr Ian Malcolm. They are joined by lawyer Donald Genarro (Martin Ferrero) and Hammond’s grandchildren Lex (Richards) and Tim (Mazzello). However, trouble is brewing behind the scenes as the park’s computer systems architect Dennis Nedry (Knight) plots an act of industrial espionage, leaving chief engineer Ray Arnold (Jackson) helpless as a hurricane hits the island and its savage star attractions are unleashed.



There are many for whom this movie holds sentimental significance. Just as Spielberg’s Jaws was a landmark film for those who came of age in the 70s and E.T.: The Extraterrestrial defined the childhoods of many an 80s kid, Jurassic Park had a similar effect on the children of the 90s. There is no doubt that Spielberg has become a master of the art of the blockbuster, crafting films equally heavy on the spectacle and the heartstrings-tugging. While some may decry his style as schmaltzy, it’s indisputable that the “inner child” aspect of the director is an asset he puts to good use at the helm of films such as this one.



Jurassic Park was an industry game-changer, transforming the way big blockbusters were made. Twenty years ago, computer-generated imagery was newfangled and yet to be thoroughly proven as a filmmaking tool. In fact, Spielberg had originally planned to use go-motion puppets and models built by Phil Tippett but was won over by early CGI tests. Jurassic Park’s mix of digital dinosaurs and stunning animatronics work by Stan Winston Studios resulted in a film populated with what felt like living, breathing animals. While the lack of texture compared to those created using modern digital effects is evident especially on the big screen, the film’s visuals still hold up relatively well.

3D re-releases have been generally regarded as a money-grubbing studio move, and not without reason. However, the conversion job on this film has been competently handled; the effect of the added depth fairly noticeable. Majestic wide shots, such as the one in which the helicopter nears Isla Nublar, benefit the most. Does it add a great deal to the movie? No, not really. But perhaps it enhances the novelty of the experience and helps with the feeling of being a kid again, this feeling being one of the main reasons to revisit the flick.



Beyond the chased-by-dinosaurs thrill ride aspect of the film, some attention has been given to the themes explored in the novel on which the film is based, written by the late Michael Crichton. This is a cautionary tale of man playing God as told by an idealist; Spielberg delivering a masterful mix of wide-eyed awe and pulse-pounding tension. Perhaps this is why Hammond is rendered as a more benevolent figure, whereas he was an amoral opportunist in the book. While Jeff Goldblum may have stolen the show, it is Sir Richard Attenborough’s performance as a creator who witnesses his paradise slipping through his fingers that is quietly compelling and affecting. It’s comparable to François Truffaut’s appearance in Spielberg’s Close Encounters of the Third Kind. An actor/director of Attenborough’s stature could have easily phoned in the performance, viewing this as nothing more than a bills-paying blockbuster – but he doesn’t, lending the character warmth and amiable naïveté.



While the stars of the film are undeniably the dinosaurs (the raptors in the kitchen and the T-rex bursting out of the paddock both as thrilling as this reviewer recalls) the human supporting cast isn’t half-bad either. None of the characters are really drawn with a lot of depth, but that’s just fine. Sam Neill plays an old-school palaeontologist who dislikes kids – naturally, he eventually becomes a father figure to Tim and Lex as he chaperons them through the park. Laura Dern plays off both him and Goldblum well, and the dynamic between the three doesn’t feel forced or unnatural. Bob Peck’s hammy gamekeeper Muldoon (the lines “SHOOT HER!” and “clever girl” come to mind) has become something of a pop culture icon and it’s fun to see Samuel L. Jackson before his evolution into the total cinematic badass we know him as today was complete. And while Wayne Knight has become better known as Newman from Seinfeld, to a large chunk of moviegoers, he’ll always be the greedy, duplicitous Nedry who falls victim to venomous spit.



Jurassic Park is a film that has aged considerably well, which is more than can be said for a number of 90s sci-fi action films. It’s one of those films that aims straight for the inner 12 year-old in most everyone, and it’s one of those movies you share with your kids; this re-release being a good way to do so. Monster movies have mostly been relegated to low quality straight-to-DVD shlock along the lines of Jersey Shore Shark Attack and Mega Python vs. Gatoroid, so a movie like Jurassic Park really makes one long for more straight-faced takes on such material, with real characters and emotion in addition to mayhem and destruction. It’s also the kind of movie that makes one wish Spielberg would make more popcorn entertainment in addition to the loftier films he has turned his focus to as of late.

SUMMARY: Jurassic Park is far from the worst contender for a 3D conversion, yielding satisfactory results and giving movie-goers a chance to relive a genuinely entertaining and well-made blockbuster on the big screen.

RATING: 4 out of 5 STARS

Jedd Jong

The Movie and Me - an Introduction

One of the actual Tumbler Batmobiles used during the filming of "The Dark Knight". And me.

Hello everyone, Jedd here. Singaporean, mid-late teens, nerd through-and-through, movie buff, erstwhile writer, action figure collector, originally from Krypton, Vulcan or Tatooine. My parents change the story every time I ask.

I've been writing movie reviews for the longest time, I generally write reviews only for films that I see in theatres. They've been collecting dust, seen by no one, read by no one. In fact, few can verify the existence of these reviews. Everyone I've spoken to says the same thing.

"Start a blog".

So after some delay (I was busy writing a virus to take down those spaceships over LA, Washington DC and other major American cities) here it is. A blog. Here is where you'll find my reviews, new and old. Think of it as Roger Ebert-lite. Very lite.

I will use pictures as often as I can to break up the monotony of the text. When I get halfway through a movie novellisation, I'm very thankful for those eight pages of glossy movie stills. Especially when it's a junior novel. Same logic here. These pictures are either my own or, more often, sourced from the internet, and used for illustration purposes only. If you happen to own the photos and would rather I not use them, contact me and I will remove them.

Also, typographical errors do not mean I'm not interested in what I'm writing and am therefore doing so lazily. More often than not, typos occurr when I'm too excited to actually write properly.

This blog will also be used to showcase other things that escaped from my mind in the hopes of never being caught. Art, customized action figures, film-related musings and trivia, violin-playing that I've posted on YouTube and dung sculptures. I was kidding about that last one.

So, welcome...to Jurassic Park.

Just don't blame me if/when the T-rex escapes from her pen. I'm just a writer.