The Michigan Daily - michigahdaily.com
Wedesnday, April 10, 2013 - 5A
urassic Park'
keeps magic in 3-D
Re-release of
dinosaur classic as
dynamic as ever
By MAYANK MATHUR
Daily Arts Writer
The re-release of "Juras-
sic Park" in 3-D prompts a very
simple, yet essential question ...
"Why?" Why re-
release the film? A-
Won't it be the
same movie all JUraSsiC
over again? Why Park 3-D
make a trip to
the cinema to At Quality16
see a movie that and Rave
can be viewed in
the comfort of Universal
your room? Why
would a rational consumer be will-
ing to spend money for something
that can now be enjoyed for free?
Why, indeed.
Because, as a movie buff, you
are not a "rational consumer."
Because, when a T-Rex stares
right at you, you still take Dr.
Grant's advice and dare not move
a muscle. Because, watching two
velociraptors stalk two children
in a kitchen is still scary enough
to give you goosebumps. Because,
hearing the words "Welcome to
Jurassic Park" accompanied by
that ineffable music is still one of
the most magical moments you've
experienced as a viewer. Because
that shot of the T-Rex roaring in
the visitor's center as the banner
falls still screams "AWESOME."
Because, "Jurassic Park" is still
"Jurassic Park."
Relish the chance as you are
once again invited to embark on
a fantastic adventure with added
3-D effects, which completes the
experience in a truly satisfying
manner. Given thatthe filmis a re-
release, itwould be extremely sur-
prising if the original cast didn't
reprise their roles. Ride along with
familiar faces: paleontologists
Dr. Alan Grant (Sam Neill, "The
Hunt for Red October") and Dr.
Ellie Sattler (Laura Dern, "Every-
Womp wowsm
Miastering the macabre
He just wants to be your friend.
thing Must Go"), the charismatic
and quirky mathematician Dr. Ian
Malcolm (Jeff Goldblum, "Inde-
pendence Day") and the delusion-
al-yet-lovable John Hammond,
played by Richard Attenborough
("Joseph and the Amazing Tech-
nicolor Dreamcoat"). The plot.
remains the same throughout its
running time of two hours and
unfortunately for all hopefulfans,
the film does not contain any spe-
cial or added scenes.
The phrase "big-screen movie"
does get thrown around a lot more
than it should, and oftentimes
films are unreasonably lauded for
the added impact they have in a
movie theater. However, if there
ever was a movie meant for the big
screen, itis "Jurassic Park 3-D."
The3-Deffectscombine brilliantly
with the extraordinary CGI, add-
ing a new dimension to cinematic
experience, catapulting the thrill
of walking (sometimes, running
and screaming) with dinosaurs
to a new level. Scenes such as the
T-Rex's attack onthe occupants,
of two helpless cars in the middle
of a thunderstorm and the veloci-
raptor's assault on Dr. Sattler in
the dark of a control room base-
ment are especially riveting. If, as
a child, you weren't petrified when
the T-Rex lowered its head to
look at you through a car window,
chances are, you're going to come
out.of this movie feeling a lot dif-
ferent.
Though it might seem like a
pointless excursion, watching
"Jurassic Park 3-D" is truly a magi-
calexperience. Rightfromthefirst
scene, viewers are guaranteed to
shed their reservations and will
ultimately allow themselves to
enjoy the movie that thrilled them
as ayounger audience.
Yes, the film can be seen any-
where else for free and yes, it is
the exact same film ... but that's
what makes the experience so
special. The same story is still so
captivating and the brilliant CGI
effects still hold up to this date.
However, the most endearing
quality about this film is the sense
of joy and excitement you get as
the gates of "Jurassic Park" swing
open and Ian Malcolm remarks,
"What have they got in there,
King Kong?"
That is truly a priceless feel-
ing. So, go ahead, give yourself
a chance to enjoy what you did
as a child; you won't regret it.
Embrace the experience like
never before; just take one word
of advice: "Hold on to your butts."
By KELLY ETZ
Daily Arts Writer
As atired NBC strains to makeit
to finale week - steadfastly drag-
ging its repeated flops, from "Do
No Harm" to the
rapidly dwin- '
dling "Smash"
- viewers are Hannibal
continually left Thursdays
disenchanted.
When the new at 10 p.m.
prequel series NBC
"Hannibal" was
announced, the
initial hype was optimistic, but as
Greenblatt and Co. prove time and
again, the network can't be trust-
ed. Sure, the series boasts incred-
ible acting chops, but how much
more can be picked off the carcass
of the Hannibal legacy?
As a new spin, the series will
take place before the events of*
the 1981 novel "Red Dragon." In
"Hannibal," the renowned psy-
chiatrist Hannibal Lecter (Mads
Mikkelsen, "Clash of the Titans")
hasn't been caught, and the FBI
unwittingly seeks his counsel in
profiling various serial killers. The
series will focus on the relation-
ship between Lecter and Will Gra-
ham (Hugh Dancy, "The Big C"),
an FBI profiler.
At first blush, "Hannibal" ful-
fills expectations stunningly. The
visual world it creates is darkly riv-
eting - a delicate balance struck
between the morbid and the artis-
tic. The overall tone is just off-put-
ting enough to arouse unease until
the bod
young'w
antlers:
blood.
Bryan
dizzying
"Pushin
vate wh
FBI pro
of the
of hoist
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intensif
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a-cannil
much w
A, tete
and Le
scrambl
ies are revealed, invariably with intended symbolism. "I don't
romen, shorn through with find you that interesting," Gra-
and drippingclaret-colored ham says. "You will," is Lecter's
counter. Besides straining to hear
n Fuller, known for the anything behind Mikkelsen's
g Technicolor splendor of thick accent and habit of dramatic
ig Daises," manages to ele- murmuring, the whole conversa-
at could have beenaroutine tion is tiresome and overdone. If
cedural into a masterpiece this relationship is the supposed
macabre. Panning shots foundation of the series, the writ-
ed bodies, intricate slow- ers have alongwayto go.
reversals and a stealthy, At least the campy dialogue
inducing soundtrack all doesn't stifle the actors too badly.
y the dreamlike qual- Though it may be hard for sea-
slowly unfolding narra- soned Hannibal fans to separate
ps "Hannibal" from falling this Graham and Lecter from
simple shock factor and those found in "Red Dragon," the
ns every chilling detail. majority of the acting is superb.
Dancy plays a mesmeric Will
Graham, awkwardly brilliant and
? intensely tormented (the series
n t m ess this labels his condition as "pure
up NBC. empathy"), ,while Mikkelsen's
version of Lecter is intriguingly
divorced from Anthony Hop-
kins's Oscar-winning portrayal.
r viewers get past the gor- There is the sense that this is a
grotesque scenery Fuller Lecter not yet fully given over to
or them, the pilot falters a his darker ambitions; he is in com-
e the dubious meat Lecter plete control, the psychotic ele-
tly dishes up, leave the ment pleasantly suppressed under
little too long and there's neat three-piece suits.
ing off about the whole With a prime time slot and
an ,above average pilot, "Hanni-
oluted dialogue is the bal" might just be NBC's Hail
vious problem. The series, Mary pass. But what looks like an
g on prior viewer knowl- unqualified success one week can
f the whole Hannibal-is- plummet in ratings the next. If
bal business, infuses too "Hannibal" is shaping up to be as
reight behind every word. well executed (and not just visu-
a-tete between Graham ally) as "Pushing Daises," then its
cter . over mystery meat biggest threat is imminent cancel-
le is practically dripping lation.
Anne Carson follows up
novel with masterful sequel
By MAX RADWIN
Daily Arts Writer
More than any other living
writer, Anne Carson thrusts
against the confines of genre,
language and
poetic conven- A
tion, generat-
ing something Red DoC>
that, however
dne ad Anne Carson
dense and
difficult, is Knopf
spectacularly
thought-pro-
voking. "Red Doc>," a sequel to
"Autobiography of Red," is yet
another example of Carson's
supreme ability to incinerate
literary preconceptions and, out
of their ashes, produce a mas-
terful piece of writing.
In Greek mythology, Herak-
les's 10th labor was to capture
the cattle of Geryon, a red-
winged giant. In "Autobiogra-
phy of Red," Carson reimagines
them as lovers - Geryon as a
timid, winged photographer
and Herakles as his older,
heartbreaking counterpart -
living in suburban America (or
perhaps, considering that Car-
son is from Toronto, suburban
Canada). "Recently I began to
wonder what happened to them
in later life," Carson writes in
the author's note on "Red Doc>"
's front sleeve. "To live past the
end of your myth is a perilous
thing."
"Red Doc>" begins with
Geryon - now much older and
going simply by the name G -
visiting his sick mother in the
hospital. Later, after being hit
over the head with a two-by-
four, G is reunited with Her-
akles, now named Sad (he has
returned from the army with
PTSD). They take a road trip
together with a girl named Ida,
where they encounter another
volcano and stumble upon an
ice cave containing ice bats "the
gives the book an uncomfort-
able sense of urgency, claustro-
phobia and personality. Getting
through the whole work, or
even just one section, feels like
coming out of a long dark tun-
size of
a car g
they a
hospit
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thesef
especi
Some o
ly sh
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"When
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In a
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a con
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tations
"Autob
will ul
toasters." After a stint in nel.
arage and a mental clinic, Carson has been using genre,
11 visit G's mother in the more or less, to put readers in
al. the dark throughout her writ-
son is at her best during ing career. But it's this not quite
final scenes of the book, being able to see, this grasping
ally in the last 15 pages. a hand forward for a wall or
f the poems are extreme- object to hold onto for balance
ort, though nonethe- but never actually regaining
eautiful and perplexing: it, that makes her writing so
he is there / they lift the effective. In "Red Doc>," Car-
together. / The stones son tends to her words with the
r lungs." The concluding care of a poet but constructs its
of "Wife of Brain," after narrative with the imperfect
ther has died, is maybe hand of a novelist. The resulting
st passage of the entire product is disorienting at times,
It's deceptively simple emotional at others, and almost
uld move you to tears. always sublime.
While "Autobiography of
Red" - with its long lines and
arson crafts plain syntax - seemed like
prose on the verge of verse, it is
erary magic, the poetry that wins out as the
overly dominating force in "Red
ecially in the Doc>." Very often, fragments of
sentences stand alone without a
ilnal pages. verb, without a subject or with-
out providing any expository
information or clear reference
to plot. Every section functions
stark contrast to "Auto- like a poem but is functionally
phy of Red," Carson not a poem; most turn in a pow-
s to pack words into tidy erful way often unseen in the
gular columns that shoot prose-y "Autobiography," but
h the center of the page. their individual existence fully
st, it looks like unused depends on sequence and con-
- all that blank whiteness text like chapters from a novel.
nding the text seems like For this reason, it will be hard
stant reminder of what to return to any memorable pas-
ok is not, that any expec- sage in "Red Doc>" and feel the
going in, having read force of its first reading. It's
iography of Red" or not, kind of bittersweet, and per-
timately be shattered. It haps kind of the point.