Illinois Entertainer June 2015 | Page 16

PARANOIA PARADE TOYS OF SUMMER ByBy Rob Fagin Rob Fagin Chris Pratt in Jurrasic World I t's doubtful that Jurassic World will muster anything near the hysteria on June 12 that Steven Spielberg's nightmare/fantasy landmark of special effects, Jurassic Park, did in 1993. Jurassic World will likely be a far cleverer, more visually spectacular flick than its distant predecessor, sure. That's how blockbusters are built these days - with an instant sophistication, like the artificial intelligence exhibited in another Spielberg flick. The original Jurassic Park, however, just wanted to be a fun ride, showcasing the coolest representation of dinosaurs we had ever seen. The visual team's innovation of the prehistoric beasts and Spielberg's masterful staging of their majesty and terror overcame thin characterizations to inspire 22 years of gargantuan nostalgia. But, of course, nowadays we can see anything at all we can imagine (sometimes it feels like we have seen it all) thanks to photo-real, computer- generated magic. That's not to say that it's not possible that Jurassic World director Colin Trevorrow (whose 2012 indie hit, Safety Not Guaranteed, was awesomely plaintive and wily) has created something special in this world of reboots, sequels and prequels. Just last month we were treated to one of the most insanely inventive megabudget franchise installments ever made with Mad Max: Fury Road. So anything is possible. Right now, I'd rather put my money on Pixar's June 19 release, Inside Out – the story of an 11-year-old girl forced to uproot her happy life and move crosscountry. With help from her conflicting emotions, personified by the likes of Amy Poehler (Joy), Mindy Kaling (Disgust), Bill Hader (Fear) and the great Lewis Black (as Anger, naturally) she learns to navigate her new life. The Hollywood Reporter has already said that this is one of the "trippiest" big budget family flicks ever made. But what is even more noteworthy is that this is the second attempt by Pixar to turn its “boys' club” reputation around. So, for your in-home viewing pleasure here are two films that exemplify this theme. First up: Monsters, Inc. (2001) Rated G, 92 minutes Director - Pete Docter You could almost say that this movie kicked off the era of the “bromance” comedy - four years before The 40-YearOld Virgin. Two guys, Randall and Sully, whose friendship is based on shared wit and passion for work, are torn apart by an outside (female) threat, the irrepressibly cute human girl, Boo. As they make lifestyle changes, it seems that their relationship could disintegrate. Sounds like a Judd Apatow movie to me. Except that the main characters are animated monsters. The bromance deluge of “the aughts” was important because it brought a more conversational fluidity to comedies and dramas. It put relationships in the center of the storytelling. But art must always move forward and now we're seeing a major push by filmmakers to put female and minority lives at the center of many stories. Monsters, Inc. was a particularly important film for