Jurassic World: The Devolution of Wonder

Having established in my inaugural piece that I’ll largely be using my shiny new digital soapbox to dissect films with little immediate relevance, I’d like to dedicate the next few pages to a movie that filled me with fear and loathing upon release and continues to gnaw at me today.

That movie is 2015’s Jurassic World, a soft reboot of the Jurassic Park franchise that spent its opening weekend grossing a cool half-billion and the remainder of its theatrical run somehow convincing an entire planet it was something worth seeing.

After the logical yet disjointed walkathon-turned-Godzilla-homage that was 1997’s The Lost World and the poorly-rendered incremental snooze-fest that was 2001’s Jurassic Park III, the series returned to Isla Nublar and its theme park roots with Jurassic World for a brand new adventure that, not unlike The Force Awakens, basically repackaged its first one, minus all the emotional resonance.

Continue reading Jurassic World: The Devolution of Wonder

2016 Top Ten List

Strictly speaking, this list kick-started this entire venture. I had written it on a Sunday afternoon in January of 2017 in a fit of boredom and posted it to Facebook on a whim — the positive reaction from my peers inspired me to take a dip into the sacred waters of scholarly thought and emerge as the SnootyFilmCritic, ready to take on the film industry with naught but my laptop and an intense disdain for stupidity. I post it here affectionately as the post that started it all.

I recall 2016 being a tedious year for films. 2015 satisfied my palate with the likes of Mad Max, Sicario, It Follows, Ex MachinaKingsmen, Inside Out, and the criminally underrated Krampus, among others, but alas, the barren, arid entertainment wasteland that was 2016 forced me to scour every Indie nook and film fest cranny for something actually good to occupy all ten slots on my annual roster. Continue reading 2016 Top Ten List

Get Out: A Lesson in Effective Storytelling


As far back as I can remember I wanted to be a gangster—I mean, film critic. Ahem, yes of course, that’s what I meant (though now that I mention it, it’s relatively easy to confuse gangsters and film critics — both operate within exclusive secret societies, neither can claim to have a legitimate job on their tax returns, and their members are known to die unceremoniously before their time).

This no doubt comes as a shock of defibrillating proportions to anyone in my life who’s ever attempted to watch a movie with me for more than seven seconds, but it’s true – writing professionally for a major website (that may or may not rhyme with PlogerPlebert.plom) is a gig I’d basically kill for. Unfortunately, until some media mogul decides to pay me for my opinions, I’m afraid I have minimal interest in devoting my free time and extra money to reviewing contemporary films in time for them to be relevant to Joe and Jane Moviegoer – even if I did, they already have Rotten Tomatoes or Half in the Bag for that. Continue reading Get Out: A Lesson in Effective Storytelling