[7] Five young dinosaurs are separated from their tribes during an earthquake in this animated adventure from Don Bluth (The Secret of NIMH, Anastasia). The unlikely band must square off against a ferocious ‘sharp tooth’ (Tyrannosaurus rex) while searching for a lush new feeding ground where they hope to be reunited with their families — overcoming prejudice and learning the value of cooperation along the …
[7] It’s best to go into The Rise of Skywalker knowing that this third Star Wars trilogy has never had a strong guiding hand. It’s not the result of a carefully premeditated creative effort. Creator George Lucas was not there watching over everything for these three films — and for good and for bad, it shows. Episode 9 is the result of a studio panicking …
[7] J.J. Abrams (Lost, Super 8) takes the directing reigns from creator George Lucas and delivers a better film than any of the prequels. Original core cast members join new players in a script co-written by Abrams and Lawrence Kasdan, who penned The Empire Strikes Back and Return of the Jedi with Lucas. The story takes place thirty years after the events of Return of …
[7] Episode III is far and away the best of the Star Wars prequel trilogy. Everything I don’t like about the previous two films remains true, namely that it’s over-produced and the characters aren’t very interesting or engaging. But at least George Lucas and co-screenwriter Jonathan Hale finally cash in on some of the story’s dramatic potential. As the Emperor (Ian McDiarmid in a starring …
[6] Part two of George Lucas’ Star Wars prequel trilogy is still cluttered and over-produced like the previous installment, but it’s a modest improvement over part one, thanks in large part to a solid final act. But man, oh, man, do you have a long tedious slog to get to that third act. Lucas and co-screenwriter Jonathan Hale bank on cross-cutting story lines (ala Empire …
[6] It’s shiny and exciting to look at, a gorgeous smorgasbord of fantastic sets, wardrobe, make-up, and visual effects. But it’s also grotesquely over-produced, almost turning these assets into something garish and distracting. It’s a shame the considerable talents of Liam Neeson, Ewan McGregor, and Natalie Portman couldn’t be put to better use. All three appear insufferably constrained in their roles. Jake Lloyd as young …
[6] This may be a guilty pleasure, but I also think it inherited an unfair reputation, too. George Lucas wanted to produce a comic film noir. No matter how well it was done, it would never be a huge hit. His name proved cancerous to the movie, unintentionally promising universal appeal for what is really a niche movie. The critics took their best shots and …
[8] After impulsively wishing her baby brother away, a teenaged girl must brave a dangerous labyrinth and rescue the tot from a nefarious Goblin King in Labyrinth, the product of a bizarre but winning combination of creative talents. Director Jim Henson reunites with Dark Crystal conceptual designer Brian Froud for a comic fantasy adventure scripted by Monty Python’s Terry Jones. The movie is further energized …
[9] George Lucas produces and Ron Howard directs this fantasy adventure about an unlikely band of heroes who protect a prophetic baby against an evil queen who seeks to destroy them all. Willow is its producer’s baby and has a lot in common with the Star Wars movies. It’s characters are broadly drawn, the drama never scrapes below surface level, and it’s full of visual …
[9] It may not be as clever or well-crafted as its predecessor, but the first Indy Jones sequel (which is technically a prequel) is still loads of fun. In place of the Nazis, we get a blood-drinking Indian cult, and in place of a tough-as-nails heroine who can hold her own, we get a blonde screaming mess. Temple of Doom is both darker and cornier …
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