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Just try the pterodactyls
18 July 2001
Alright, do i even need to say it? It's something i'm sure you have already heard before: NO this isn't as good as Jurassic Park. NO this isn't Spielberg and Chrichton anymore. NO it doesn't have a moving storyline, nor complex character development. Did you really expect it to?

I'll admit I'm a bit of a movie elitist, often looking down on my friends when they jet off on a Friday night to see the brand new blockbuster. And they look down on me when i try and convince them that subtitles aren't all that bad. But i was excited about this movie. I was excited because i had no expectations whatsoever (after The Lost World, who could?). No, wait, i did have one expectation: i wanted to see dinosaurs run amok and eat people. If you go to the theater expecting that, i promise you won't be disappointed. Let's face it folks, Jurassic Park is dead. With the first film an action film icon, and the second one the butt of all sequel jokes, Joe Johnston had quite a job ahead of him. How could a director pit his action scenes up against the same man who did Jaws, Raiders of the Lost Ark, and Jurassic Park? It's impossible. So instead of going to this film and constantly comparing every nuance to Chrichton's dinos, or Spielberg's directing, just relax, pop a few Valium, and watch dinos attack things and munch on people. I did, and i came away feeling ok.

I enjoyed the pterodactyl scene very much, it was probably the best action sequence in the film. Johnston manages to orchestrate some suspense while at the same time introducing a new dinosaur that doesn't try to out do the others. That was the reason the new Spinosaurus lacks some chutzpah, because he's just a meaner T-Rex with a different snout. Ah, but flying dinosaurs we haven't dealt with yet. There's several lighter moments which actually don't hurt the film, as well as a handful of references to the past two films which keeps the fans interested. True, the plot's thin, as well as the characters, but Alan Grant (Sam Neill) is a much more enjoyable (and believable) protagonist than The Lost World's Ian Malcom (Jeff Goldblum). I would say that a rugged paleontologist has a better reason to be facing off against dinos than a quirky mathmatician.

So if you're dead set on spending the afternoon watching something intellectually stimulating and though provoking, better not see this movie. But if your eyes have started to hurt from subtitles, and you've had a strange desire to see large lizards create panic and terror, then this is the movie for you. Remember, no expectations, and there will be no regrets.
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Show Me Love (1998)
Teaches you how to love again
8 July 2001
For me, when watching this movie, one has to keep in mind any other teen-love movies you might have seen. Heck, ALL teen movies are fair game. Then, when watching this movie, notice how those other movies begin to crumble under their own stupidity, and jump off large cliffs like celluloid lemmings. Now THAT'S great filmmaking. Great films go straight for the jugular of other films; thinning out the herd.

Fucking Åmål takes adolescence, and instead of portraying how wonderfully blissful it all was, it shows how it was a time in everyone's life for over-dramatizing and acting mostly petty. But then, out of these ashes rises something that was great about those awkward years: love. Because you didn't stop being dramatic when it came to love, but you celebrated it. Like the characters in this movie, everyone who fell in love in high school spent time brooding over class pictures, or waited by the phone for that one call. Moodysson uses the scenes at the school and the parties to allow viewers to reflect on how awkward and cruel being in high school was. But instead of carrying this effect into the lovely land of high school crushes, he instead raises them up on a pedastal. It made me wonder if i can't love like that again: with no hesitation, no complications, and with all my heart.

What makes this film great though (and not just good) is by bringing the issue of homosexuality into it, but he slowly begins to make the issue hazy and unclear so that it no longer becomes an issue except for the less developed, and unliked, characters in the film. By the end of the movie, it doesn't matter that Agnes and Elin are to GIRLS in love, but that they are two girls in LOVE. In an age where media has transformed homosexuality into more about sexuality and less about love, Moodysson flips the scales. By the end of the movie, you start to realize that Agnes isn't a lesbian, because that title is worthless. She's just a person who loves. She celebrates what she finds beautiful (Elin). Of course, Elin is the main character of the film because she is the one who changes and matures. She elevates herself out of the social stratosphere of high school lunches, and into a world without personal boundries.

Last, one has to admire the fact that Moodysson doesn't take the film over the edge, and make it too much about how girls need to look for love just amongst themselves because all teenage boys are immature. First, he portrays most all of the other kids (regardless of sex) as immature except for Agnes and Elin, not just boys in particular. Then, he allows the viewer to sympathize with Johan. Johan maybe confused and unsure of himself, but he was just as much in love with Elin as Agnes was. How easy it might have been to make him mean, stupid, and worthless, so that viewers would be happy to see Elin flee him and go to Agnes. But he's not, he's kind-hearted and genuinely seems to care about Elin. Once again, this is Moodysson using love to blind the issue of heterosexualty and homosexuality and concentrate on love itself.

Definitely a movie for the romantic, and one that will teach you how to correctly fall in love again.
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