‘Ted 2′ Review

THOUGH CRAFTED WITH A MORE MATURE HAND, TED 2 FEELS EPISODIC RATHER THAN REINVENTIVE, AND IS ULTIMATELY JUST MORE OF THE SAME.

Ted 2 picks up a year or so after the events of the first film, where we find John Bennett (Mark Wahlberg) and living teddy bear, Ted (voice of Seth MacFarlane), living not-so-happily-ever-after with their lovely ladies from the first film. John has divorced wife Lori (Mila Kunis), and even though Ted is now married to Tami-Lynn (Jessica Barth), the two spend the majority of their time fighting.

The twist comes when Ted and Tami-Lynn decide to start a family. Unable to conceive, the pair file to adopt a child – an action that sets into motion a chain of bureaucratic events, culminating in a federal dispute over whether or not a living teddy bear is considered a person, with inalienable rights, or a piece of property, subject to the mandates of ownership. With an enthusiastic young stoner lawyer named Samantha (Amanda Seyfried) on their side, John and Ted endeavor to take on the legal system and make the world realize what they already know: that Ted is good peoples.

Amanda Seyfried in ‘Ted 2′

Family Guy / American Dad / Cleveland Show / A Million Ways to Die in the West… by now the Seth MacFarlane brand of comedy is well established and known. We return to the writer/director/actor/funnyman/showman’s live-action cartoon world for his first sequel, which stands first and foremost as a test of his ability carve something fresh yet familiar out of established material. Though crafted with a more mature hand, Ted 2 feels episodic rather than reinventive, and in the end is just more of the same.

On both the written and directorial fronts, Ted 2 is, admittedly, better planned and orchestrated than the first film. There is a noticeable increase in MacFarlane’s steadiness and confidence behind the camera (now on his third live-action feature-film), and a more cohesive “big picture” arc to the storyline (which was once again co-written by MacFarlane and his Family Guy collaborators, Alec Sulkin and Wellesley Wild). That’s a marked difference from Ted’s “throw it at the wall” loose improvisational style.

For fans of MacFarlane’s animated works, I’ll put it like this: Ted 2 is to American Dad, what Ted was to Family Guy. Both are funny in their own way, but the former is likely to resonate with more people, as it uses a more traditional, sitcom-style approach to narrative, which in turn helps to balance out the raunchy, crass humor that MacFarlane can’t help but unleash upon every known target in a 360° radius.

A better balance of heart, mind and dirty jokes makes Ted 2 a good film overall; but it’s also, ironically, the same thing that dulls the edge of the humor, potentially robbing some viewers coming to the R-rated comedy (expecting the boundary to get pushed) of what they thought they were paying for: gust-busting inappropriate laughs. There’s plenty of chuckle-worthy humor centered around the usual comedic offenders (bodily fluids, genitalia, race, and gender) – but MacFarlane (ever the loving student of cinema) can’t help but over-ape Law & Order courtroom procedural style, filling Ted 2 with semi-serious courtroom drama that actually manages to echo real themes of discrimination, identity and recognition of rights in the eyes of the state. Again, it’s a sign of maturity in MacFarlane’s storytelling sensibilities as a filmmaker, but the feeling of irreverence that made a foul-mouthed talking teddy bear so fun in the first film is sacrificed as a result. Seeing throwaway moments like Ted playing around with an otherwise serious courtroom judge just lands as more out-of-place silly, than funny.

Still, Mark Wahlberg and his CGI co-star (MacFarlane) haven’t lost a step since the first film. Ted 2changes things up by placing its namesake at the forefront, rather than John; so, this time out, Wahlberg is given the much easier task of playing backboard to his zany co-star. MacFarlane is more comfortable and earnest in the role of Ted, not having to push the concept of a dirty-talking bear so hard – but it’s another improvement that comes with sacrifice. Wahlberg was actually a driving force of the comedy in the first installment; not so much here, since aside from a few quick gags, John is mostly just backdrop for Ted’s journey.

Jessica Barth as Tammi-Lynn in ‘Ted 2′

Amanda Seyfried is in much the same boat as Wahlberg. While it was understandable why Mila Kunis’ Lori was into John, and the love interest felt like a real woman, Sam is, conversely, just a construct. The filmmakers try to inject Sam with some “flaws” (She’s inexperienced as a lawyer, oh my! She knows nothing about movies? Gasp!), but it’s hard not to notice that Sam’s “cool girl” attributes (Smokes weed, plays a mean guitar – can deliver Oscar-caliber courtroom speeches) pretty much transform her into something more akin to idealized male fantasy, rather than an actual character. Seyfried is charming at just being there, and even though she really doesn’t do any comedic lifting, she’s another suitable backboard for MacFarlane’s Ted to bounce one-liners and gags off of (and he gets some good ones at her expense).

Jessica Barth’s Tami-Lynn is a bit more comedic and dynamic – for as long as the film allows her to be, before sporadically sidelining her so that the John/Ted/Sam adventure can progress (why a trio was better than a foursome, is unknown).

Mark Wahlberg and Seth MacFarlane in ‘Ted 2′

MacFarlane has a well-established penchant for pop-culture references and celebrity cameos in his projects, and Ted 2 continues that tradition with some fun re-appearances from the first film, as well as some new additions that will be great for fans of films and/or MacFarlane’s animated universe. Flash Gordon star Sam L. Jones is back in the mix, as is Giovanni Ribisi’s Ted stalker, Donny. Early marketing has already spoiled big appearances from the likes of quarterback Tom Brady or golden-voiced actor Morgan Freeman – but there are some additional appearances to discover, or fun Easter eggs like actors Patrick Warburton and Michael Dorn riffing on iconic roles they’ve played. The climax of the film takes place on location at New York Comic-Con, so you can probably guess that geek or pop-culture shoutouts and gags are not in short supply.

In the end, Ted 2 is a fine episode of entertaining, bawdy, comedy from the Seth MacFarlane factory. And, like any good sitcom, it leaves the characters in a place that’s suitably satisfying (should it be our last visit) – though we wouldn’t mind checking in on them again, down the line. Whether or not that level of response is enough to justify a big-budget movie threequel remains to be seen – but overall, there’s no harm in spending an afternoon matinee with your old bud Ted again.

TRAILER

Ted 2 is now in theaters. It is 115 minutes long and is Rated R for crude and sexual content, pervasive language, and some drug use.

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Agree or disagree with the review?

Our Rating:

3 out of 5
(Good)

Luc Besson Planning ‘Lucy 2′ – Will Scarlett Johansson Return?

Marvel may not be convinced, but cinema-goers are certainly sold on Scarlett Johansson as a leading action movie star. Her starring role in 2014’s Lucy was one of the surprise hits of that year, grossing over $458 million worldwide (from a budget of $40 million, no less).

All that “humans only use ten percent of their brains” nonsense is obviously a myth, but who needs logic when you’re watching an action movie? That was clearly director Luc Besson’s thought on the matter, and he’s set to stretch credulity even further with a sequel to the film.

In August of 2014 Besson was insistent a sequel couldn’t happen, saying in a promotional interview: “I don’t see how we can do one. It’s not made for that. If I find something good enough, maybe I will, but for now I don’t even think about it.” He’s certainly changed his tune since, with Lucy 2 more or less officially announced as being in development during a presentation at French film trade expo CineEurope, according to THR.

The first Lucy focused on Scarlett Johansson’s titular ditzy blonde being duped into becoming a drug mule, only for the experimental concoction to seep into her bloodstream and open her up to the full potential of the human brain (as explained by Morgan Freeman in some handy expository lectures). Which, in the case of that film, meant being able to dodge bullets, freeze time, and do any martial art that came to mind.

Besson is best known for directing the likes of Leon: The Professional and The Fifth Element, but in recent years he’s been diversifying with screenwriting and producing work under his production company EuropaCorp, who are responsible for the Transporter and Taken films. Along with Lucy 2, the studio’s presentation at CineEurope also touched on Naomi Watts thriller Shut In, the prequel Transporter Refueled, and Nine Lives, a film where Kevin Spacey swaps bodies with a cat.

Following up Lucy will be a challenge, not only because replicating the success of the first film is a tough job, but also because (SPOILERS) Johansson’s character ceased having a corporeal form at the end of it. There’s no word on whether or not the actress will reprise her role – if she’s just a disembodied voice, does that make Lucy a stealth prequel to Spike Jonze’s Her? – or when the sequel will be out, simply that Besson is actually working on it now.

Before that, EuropaCorp will release The Lake from Titanic and Avatar’s second unit director Steven Quale, an “epic underwater action movie” about Navy SEALS searching for lost Nazi gold. The studio also revealed plans for Colombian drug lord biopic Escobar and blockbuster sci-fi comic adaptation Valerianwith Dane DeHaan and Cara Delevingne.

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Lucy 2 is currently in development. Transporter Refueled will hit cinemas September 14 2015, followed by Shut In in February 2016, Nine Lives on April 29 2016, The Lake in July 2016, and Valerian in 2017.

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‘Guardians Of The Galaxy 2′ Official Title Confirmed By James Gunn

The Russo Brothers are currently filming Captain America Civil War, while Scott Derrickson has already left for London to go start principal photography soon on Doctor Strange – meaning that the first two film installments in Phase III of Marvel’s Cinematic Universe are moving along, right on schedule. That also goes for the Guardians of the Galaxy sequel, which already has a completed script draft by James Gunn and has tentatively begun casting new characters (with new cast announcements likely to arrive in the second half of 2015).

Gunn’s Guardians followup (which he’s both writing and directing, of course) and Marvel Studios/Sony’sSpider-Man reboot have for a while now remained the only Phase III movies without official titles, since they were initially announced. Rumors persist that new Peter Parker actor Tom Halland is going to wind up headlining The Spectacular Spider-Man in 2017, but the newly-confirmed Guardians sequel title is comparatively less colorful.

Marvel President of Production Kevin Feige off-handedly referred to the Guardians sequel as Guardians of the Galaxy Volume 2 during a recent interview with Collider, but neither confirmed nor denied that he had used the official title. Well, now that the cat’s out of the bag, Gunn has confirmed that yes, that isthe real title – with his Facebook post on the matter reading as follows:

Yes, the official title of the sequel to Guardians of the Galaxy is Guardians of the Galaxy Vol. 2.

Kevin Feige recently let the title slip while doing Ant-Man press, which I’m really happy about because God knows I’ve let more than one thing slip accidentally while chattering away on this FB page.

Also, hats off to some intrepid fans who figured out the title a couple of days after I posted the cover page. More than one person guessed “Guardians of the Galaxy Vol. 2″ – I wanted so badly to give you props at the time, but knew I had to wait. 

For Kevin to mess up. Haha.

PS ANT-MAN PREMIERE TONIGHT AND I AM STOKED!

Most of the Marvel Studios movie franchises to date have gone with subtitles for their sequels, save for the Iron Man films and now Guardians. Using ‘Volume 2′ rather than just ‘2’ will not have any real effect on the general public’s interest in the Guardians’ next adventure, of course, but the lack of a telling subtitle (a la Winter Soldier, Civil War, Age of Ultron, and so forth) does make it more difficult to extrapolate what the sequel will be about from the title alone. Then again, Volume 2 isn’t drawing from aGuardians comic book storyline, so a subtitle might’ve not been all that enlightening, for that reason (whereas ‘Vol. 2′ is a charming reference to Peter Quill’s (Chris Pratt) second mix tape from his mom).

Based on what we’ve heard so far, Volume 2 will not only have as much (perhaps even more) heart as the first Guardians of the Galaxy movie, but may be even weirder and more idiosyncratic – meaning, the sequel may bear an even stronger resemblance to Gunn’s non-Marvel work than Guardians ‘Volume 1′ did (see films like Super or Gunn’s Dawn of the Dead remake script), while still fitting the tone of the MCU, of course. That suggests Volume 2 has the potential to be another satisfying stand-alone cosmic Marvel flick, but one that still sets up key events in future Phase III releases.

Ant-Man opens in theaters July 17, 2015; Captain America: Civil War – May 6, 2016; Doctor Strange– November 4, 2016; Guardians of the Galaxy Vol. 2 – May 5, 2017; Spider-Man reboot – July 28, 2017; Thor: Ragnarok – November 3, 2017; The Avengers: Infinity War Part 1 – May 4, 2018; Black Panther – July 6, 2018; Captain Marvel – November 2, 2018; The Avengers: Infinity War Part 2 – May 3, 2019; Inhumans – July 12, 2019.

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Weekend Box Office Wrap-Up: June 28, 2015

Newcomers had rough sledding at the box office this week, as the multiplex belonged to the holdovers once again.

Coming in #1 for the third week in a row is Jurassic World, which brought in $54.2 million. The film’s domestic total is now at an astonishing $500.1 million, meaning that it is just the fifth film in history to accomplish that feat. Furthermore, the sci-fi sequel passed Avengers: Age of Ultron for the highest-grossing film of 2015 in the States, showing that it’s not just superheroes that can bring in a massive haul. There’s not much left to say at this point. We just have to see how high Jurassic World can go.

The #2 film this weekend is Inside Out, which made $52.1 million during its second weekend. The latest hit from Pixar held well, as it only suffered a 42.4 percent drop from its record-setting debut. The universally positive word-of-mouth is certainly playing into its favor, and the lack of other family programming means this one is set to enjoy the next couple of Minions–free weekends before business really starts to go down. In the meantime, Disney executives will be making new memories of Joy counting their money.

Coming in third is new arrival Ted 2 (read our review). The R-rated comedy managed just $33 million over its first three days, which was a sizable decrease from how the original opened in 2012 ($54.4 million). Compared to its competition, Ted 2 didn’t have the buzz, as its critical reception ranked far below films like Jurassic World and Inside Out. That was probably the biggest culprit in it performing so low, even though a very visible marketing campaign ensured that awareness wouldn’t be an issue.

And that’s the difference between the two installments of this franchise. The first Ted came out at a time when the marketplace wasn’t so cutthroat, whereas Ted 2 was dealing with two massively popular movies that had widespread appeal across multiple generations. When you look at it from that perspective, it isn’t surprising that the raunchy laugh fest is down here. Yes, 22 Jump Street was able to beat How to Train Your Dragon 2 last summer, but that comedy sequel scored much better reviews. Just goes to show how important reactions are this time of year.

Coming in at #4 is Max, the family film about a military dog and the boy who cares for him. Even though the film had a decent sized ad campaign, it clearly couldn’t contend with the higher profile films that were also playing. During its first three days, Max made $12.2 million, which played in line with expectations, but isn’t anything to write home about.

Rounding out the top five is Spy with $7.8 million. The Melissa McCarthy vehicle is now at $88.3 million domestically.

The #6 film is San Andreas, which brought in $5.2 million. The disaster thriller has made $141.8 million in the States.

Indie film Dope was #7, making $2.8 million in its second weekend. So far, the film has made $11.7 million during its run.

In at #8 this week is Insidious: Chapter 3 with $2 million. The horror movie has made $49.8 million in theaters so far.

In at #9 is Mad Max: Fury Road, which made $1.7 million. George Miller’s latest has grossed $147 million in the States. It has received a big boost internationally, as its global total is currently $356.3 million.

Finishing off the top ten is Avengers: Age of Ultron. The superhero sequel made $1.6 million this weekend, bringing its domestic total to $452.4 million

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‘The Flash’s Robbie Amell Talks ‘Arrow’ Team-Up, His ‘Batman’ Hopes & More

It’s safe to assume that actor Robbie Amell will look back on 2015 as a particularly good year. Not only did it see him star opposite Mae Whitman in the critical success The DUFF, or become a full-fledged DC Comics superhero in The CW’s shared Flash/Arrow universe, but landed him a role opposite Kevin Spacey in Barry Sonnenfeld’s high-concept comedy Nine Lives.

That’s quite a turn of events from the failed CW series The Tomorrow People,  and packed with no shortage of personal moments – not the least of which being the twist of fate that brought him from sharing a night of television programming with cousin Stephen Amell, but sharing the screen as two Justice League members. We recently had the opportunity to discuss that team-up with Amell, along with other tales from The Flash set, working opposite Mae Whitman (Parenthood), his hopes for DC’s TV and movie universe, and much, much more.

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A month ago you’re on TV playing a DC Comics superhero. Now you’re filming a Barry Sonnenfeld film in which Kevin Spacey plays a cat. How surreal is your life at this moment?

Robbie Amell: [Laughs] Kevin has been shot out. He shot the first three weeks of filming. I can’t tell you how cool it was. I’m such a huge fan of his for the weirdest reason: I thought K-PAX was such an awesome movie. I told him that. I was like, “By the way, the whole House of Cards, Usual Suspects, that’s all great. But I’m a huge K-PAX fan.” He thought that was pretty funny.

But it’s unreal. I’m getting to work with people I grew up watching and I’m such huge fans of. Christopher Walken’s in this movie. My dad brought me up on Pulp Fiction and Get Shorty and now I’m working with a guy from each of those movies, or the guy who directed one of them. I’m just very happy to be where I am and I’m very excited about it.

One of the most pleasant surprises of The DUFF was that you weren’t playing the bumbling obnoxious jock, or the sweet best friend; you were playing a combination of both. Were you eager to play Wesley because of his dual nature, it being so against type for that type of movie?

Robbie Amell: First off, thank you. I appreciate that. To be honest with you, I read the first 30 pages and I put the script down and I almost didn’t pick it back up, because the character was that stereotypical douchebag. I know that guy. I grew up with that guy in high school. I didn’t want to do that. And my fiancé convinced me to read the rest of it. You found out that this guy does have a heart, he’s just young, and he’s just a bit of an idiot and says some things he probably shouldn’t. But it just takes somebody like Bianca [played by Mae Whitman], just a friend, to kind of call him out on his sh*t to change a little bit.

The nice thing was, reading it, I definitely saw a version of myself in the character where I could just have a little more fun. I like the relationship between he and Bianca. The people at CBS Films were very cool, and in the meeting they said, “We want this movie to feel real and grounded and we’re going to give a lot of room for improv.” I’m such a huge fan of Mae’s, and I was before. I knew her work from Arrested Development and Parenthood. I knew there was a lot of improv background, so when I went in to chemistry read with her, I brought in a bunch of alternate lines. She never missed a beat. She was always right on top of them. But I made her laugh at one really inappropriate joke. We just got to kinda do that for five weeks, just try and make each other laugh and make it feel like these two people could actually have a relationship.

You mentioned how important chemistry is, and you spoke in the past about the challenge of joining The Flash, stepping into an existing cast to play Ronnie Raymond in a flashback that required sort of instant chemistry with Danielle Panabaker. How did that challenge evolve over the course of the season? Had you become a member of the family by the end, or did you have to find a place for yourself alongside the other cast members?

Robbie Amell: No, the nice thing about Danielle is we have a mutual friend – Aaron Yoo, who was on The Tomorrow People with me the year prior – he was like, “You guys are going to get along so well.” And Danielle is so sweet. I can’t say enough really nice things about her. And again, the producers were great, because we hadn’t had any time together. When we got to set we just hung out a little bit and they were like, “Feel free to just change up the lines. Make it feel like you guys have this history and this relationship.” So we tried out a few things in the first couple scenes.

What I always liked about Ronnie Raymond was that he doesn’t take things too seriously. He’s kind of goofy, which I thought was a trait that… it’s something I can relate to. I really like playing a little bit of goofiness. Chris Pratt does it really well. I just think it makes him feel more real and more like a buddy. So they let me goof around with that. The nice thing is they have such a great cast over there. It’s like 80% the same crew as The Tomorrow People. So it really felt like I was going back for Season 2 with some new faces.

Then when Victor Garber was cast, he and I had worked together a year prior on a little TV movie. He is such an incredible actor and just as incredible a friend. When I first met him, I was talking him to about my fiancé loving Titanic. When she came to visit set, before she could even get on set to come say hi to me, he had sought her out and sat her down and talked her ear off about Titanic and made her feel like family. Victor is incredible. We go out for dinners whenever we’re in town together. It’s just a nice family over on Flash. It’s a really nice place to work.

Now that you’re on set with Barry Sonnenfeld, moving from TV to film and back, people have said so often said that these superhero TV shows are almost akin to making a feature film. Has that been your impression?

Robbie Amell: Yeah. The only main difference is on The Flash you’re making a feature every eight days. When you are working on an actual feature, you have… on Nine Lives I think we have 47 shooting days. On one episode of The Flash you have eight shooting days plus a second unit day. So the only difference I really see is time. You have that freedom in features to take more time with scenes, but with that being said, those shows – Flash, Arrow, I’m sure some of the other ones – they just move so smoothly. And to do that much work in eight days, it really says something about the cast and crew and everybody involved. Those are really huge, huge productions. And you are doing a brand new small feature every eight days.

It now seems that Victor is going to be playing a more substantial part of Firestorm, which is nice for him, since you did get all of the glory shots as the superhero. He’s also said that you’ll both be returning for the next season premiere of The Flash. But you have yet to be confirmed for DC’s Legends of Tomorrow. I know you’re going to be cryptic, but as the immense Firestorm fans we are, is there any tease you can give us?

Robbie Amell: I can’t tell you anything other than I will be in The Flash next season.

Well, that’s a relief.

Robbie Amell: That’s all I can tell you. Sorry. [laughs]

It’s funny to even discuss, since we were expecting a small supporting role for Ronnie in the first season, not wanting to get our hopes up. Fast forward a few months and there’s Firestorm, right off the comic book page – a full-blown superhero. Were you aware of that plan going into it? Was it a big secret you managed to keep, or were you surprised to learn how substantial a role it would turn out to be?

Robbie Amell: No. I mean I never underestimate Greg Berlanti and Andrew Kreisberg and Geoff Johns, because they’re so unbelievably good at what they do. But when I read the episode that I burst into flames and fly away – first of all I was laughing like the teenage– no, the 10-year-old version of myself – but I asked them, like, “Is this too soon? Do you want to save me flying away?” They’re like, “Oh, no. we’re just getting started.”

I’ve had a blast getting to play this character. The sad thing is there was a moment in the finale that had to be cut out just because it was such a massive episode and it didn’t actually have anything to do with plot where they introduced matter manipulation. There’s a scene where Danielle’s character is checking my temperature and giving me the once-over. I call Victor in the room and we merge, and I turn her thermometer into a daffodil. It was just like a really nice, sweet way of showing… because she’s asking if we’re going to be OK, and I’m like, “Actually, we’re getting pretty good at this whole Firestorm thing.” And we merge without even missing a beat and turn that into a flower. It was a nice moment, but ultimately it just didn’t hold any bearing on the plot.

So, matter manipulation I’m sure will be reintroduced, or maybe it will be available on the DVD director’s cut of the episode. But there’s so much they can do with this character. My biggest fear with the character was that he was too powerful. I think that sometimes that can be an issue. I feel like that’s the only problem I ever have with the Superman comic book, is other than kryptonite, how do you stop this guy? But they’ve done an unbelievable job.

How much of a rush was it getting to actually share the screen with your cousin as two DC superheroes?

Robbie Amell: That was so cool. They told us they were going to try and figure out a way to do it. The funny thing was there were a bunch of different versions written where we have lines to one another and ultimately, they just said, “We don’t know how to do this without nudging the audience and giving them a wink.” So they just left it as, like… we don’t address each other [Laughs]. We’re both there on business and that’s it, which I thought was actually pretty funny.

Stephen has become the cheerleader for just about every DC Comics adaptation, saying that the way he sees it, this is the beginning of the golden age of superheroes on TV. Are you of a similar mind?

Robbie Amell: Oh, absolutely.

If that is the case, how will you look back on being a part of that?

Robbie Amell: I’m getting to live out my dream every time I get to set and shoot on The Flash. But he’s absolutely right. I mean technology is now at a point where visual effects can look incredible on television. You don’t need $200 million for an hour and a half for it to look good. Not only that, I mean the filmmaking level on television is just beyond what it used to be, from the shows that are on The CW with Arrow and Flash to the trailer for Supergirl, which was absolutely massive. I ripped through Daredevil in a week. It was unreal. He’s absolutely right. It’s a really incredible time to be working in television.

Alright, I’m hoping you can surprise us here. Because you are now officially a member of the DC Comics Universe, what are you most looking forward to from DC in the next few years?

Robbie Amell: Oh, man.

It doesn’t have to be one.

Robbie Amell: I’m very interested in Ben Affleck as Batman. I actually think he’s a great choice. I’m a little worried about a Batman versus Superman movie just because it’s… I just think it’s really tough to pull off. I’m very excited about seeing it, but I think it’s really tough to balance those two characters in the same movie. But I’m a huge Ben Affleck fan. I think he’s a great choice for Bruce Wayne. As long as he doesn’t have a Boston accent, I think he’s going to be awesome.

Great. Thank you again for taking the time to talk with us, and good luck with the rest of production.

Robbie Amell: Thank you. My pleasure. Good talking to you.

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The Flash‘s Season 2 premiere is scheduled for Fall 2015. The DUFF is available on DVD and Blu-ray now.

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‘Jurassic World’ Easter Eggs, Trivia & ‘Jurassic Park’ References

Given just how monumental and beloved the original Jurassic Park turned out to be for an entire generation (if not more than one), it went without saying that those tasked with bringing Jurassic World to life weren’t just facing incredible pressure from the outside, but from their own investment and affection for the property. However, it also gave director Colin Trevorrow and the assembled crew the opportunity to show their love for the original film and sequels in ways too numerous – and tiny – for fans to catch on their first viewing.

If you’re headed back for a repeat performance, or simply eager to see the easter eggs, trivia and references to past films that slipped by, then our list should cover the bases. To be clear, it’s unnecessary to point out each way in which the original film’s action is recreated or directly referenced – instead, we’re pointing out the connections most viewers are likely to have missed. Needless to say, there will be SPOILERS in our list, so, read at your own risk.

MAJOR SPOILERS FOLLOW

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VIEW-MASTER

When audiences first meet young Gray (Ty Simpkins), his eyes are glued to a View-Master, taking in 3D images of dinosaur figurines embroiled in combat. Though some have reported these images as being taken from The Lost World (1925) based on Sir Arthur Conan Doyle’s original novel, they are not. The first image is found in a very real View-Master cartridge titled “Prehistoric Animals,” with the second image pulled from Warner Bros.’ The Animal World (1956) as a nod to the earliest stop-motion days of big screen dinosaurs.

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GOD CREATES DINOSAURS

B.D. Wong may be the only member of the original film’s cast to make an appearance in the flesh (as Dr. Henry Wu), but Ian Malcolm (Jeff Goldblum) does the next best thing. His book entitled “God Creates Dinosaurs” was teased through viral marketing ahead of the film, but appears in the hands of the boys’ chaperone, Zara (Katie McGrath). When the kids are shown riding the Jurassic World monorail, Malcolm’s face on the rear of the book can be seen between them in the row behind, then later on Lowery’s (Jake Johnson) desk.

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THE GATES

The park now known as Jurassic World is a long way ahead of the original resort/safari planned by John Hammond, but it hasn’t forgotten where it came from. Though the differences between the original film’s entry gates and those of the updated resort are obvious, the monorail’s PA system claims that they are – at least in the film’s fiction – the very same gates, restored (and potentially upgraded). We’ll overlook the changes for the sake of nostalgia.

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SPARED NO EXPENSE

Speaking of the monorail, the voice informing guests of the gate’s legacy is that of director Brad Bird (The Incredibles, Mission: Impossible – Ghost Protocol). After acting as something of a mentor for director Colin Trevorrow in his leap to blockbusters – allowing him to observe the production of Tomorrowland – he requested Bird record the voiceover for the monorail welcome. The director was all too happy to oblige.

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WINSTON’S STEAKHOUSE

Not every person responsible for making Jurassic Park the success it was actually lived to see Jurassic World‘s release, including Stan Winston, the visionary practical effects and animatronics expert who brought the dinosaurs of all three Jurassic Park movies to life. After passing in 2008, Winston’s top four supervisors founded a new studio – Legacy Effects – in memory of his lasting impact on the industry. Putting their efforts to work on Jurassic World, Winston is directly commemorated in the form of Winston’s Steakhouse, a restaurant visible in the park’s main strip.

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MR. DNA

Another somewhat-cameo from the original film comes once Gray and Zach (Nick Robinson) arrive in the Hammond Creation Lab, named for the man who originally dreamed of recreating dinosaurs to delight child and parent alike. The appearance of ‘Mr. DNA’ on a computer screen is a brief one, but impossible to miss. What even die-hard fans might miss, as /Film discovered, is that the genetic mascot is voiced by Trevorrow himself. the original voice actor Greg Burson having also passed away, Trevorrow recorded a temporary read in his best impersonation. With a few effects added, the impression was so accurate, it was simply left in the film.

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HAMMOND CREATION LAB

It was a strange twist of fate that after John Hammond was made the namesake of Jurassic World’s most exuberant and impressive facility, actor Richard Attenborough’s own failing health finally gave out. The statue intended as a monument to the fictional figure – visible when Claire (Bryce Dallas Howard) first meets the boys, then later as raptors pursue them out into the street, also allowed Attenborough to return, if only in spirit.

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JURASSIC TENNIS

Not every easter egg or nod to the original has to be a substantial one. As Alan Grant, Ellie Sattler and the rest of the cast debate the morality of genetically engineering dinosaurs over a dinner of Chilean sea bass, projectors surround them with financial estimates, future attractions, and more. One screen manages to stick out for the detail-obsessed fans – and while “Jurassic Tennis” may sound like a trivial re-branding of tennis, a large video screen in the Creation Lab shows that Jurassic Tennis has, indeed, been made a reality.

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SISTER, SISTER

When it becomes clear that Gray and Zach aren’t the priority for their Aunt Claire that their mother had hoped, the sisters share a tearful phone call about the importance of family (a regular theme for the movie series). In an odd twist of industry fate, it’s not the first time that actresses Bryce Dallas Howard and Judy Greer have appeared as sisters, having played siblings in M. Night Shyamalan’s The Village.

VERIZON WIRELESS PRESENTS…

Claire’s revelation that the genetic hybrid dinosaur will be unveiled to the world with branding courtesy of Verizon Wireless, Lowery responds by wondering why the park doesn’t sell out completely, and allow private companies to purchase naming rights to dinosaurs as they would an arena or stadium. Despite what viewers may think, the reference to Verizon, like the presence of Starbucks, IMAX, and more scattered throughout Jurassic World was NOT a request made by Universal. Instead, it was the filmmakers who felt that rampant corporate sponsorship fit with the film’s themes of ownership and big business.

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FISH FOOD

The sheer size and ferocity of Jurassic World’s mosasaurus is made perfectly clear when it is shown to clamp its jaws around a great white shark in a single bite (apparently, more than once a day). The parallel to producer Steven Spielberg leaving his first movie monster, Jaws behind in favor of even more terrifying monsters is clear, and was the direct intention of Trevorrow. Oh, how times have changed.

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CHAOS THEORY

It was Ian Malcolm who exposed millions to the notion of Chaos Theory, and the unpredictability of complex systems. Though Malcolm was using the lesson to woo Ellie Sattler in Jurassic Park, his demonstration that two drops of water landing in the same spot will rarely behave the same was sound. In Jurassic World, the experiment is recreated – in blood. Specifically, blood dripping onto the arm of one Asset Containment soldier (played by Brian Tee) from the Indominus rex’s removed tracker.

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JIMMY FALLON

Less an easter egg, and more of an explanation here: it’s hard to miss NBC late night host Jimmy Fallon as he appears during Gray and Zach’s Gyrosphere ride to offer a safety video, along with a few slaptick gags. It may seem a completely odd inclusion to those who have never taken a tour of Universal Studios, in which Fallon also appears to perform the same task.

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NOT JUST ANY JEEP

When Gray and Zach flee the Indominus rex on foot, they come across the Visitors Center from the original park. After picking through the “When Dinosaurs Ruled The Earth” banner and familiar murals (along with the night-vision goggles from the first movie), they discover and set to resurrecting a gas-powered Jeep. But the vehicle isn’t one which randomly survived for the intervening two decades: it’s vehicle “029,” the same Jeep Wrangler that drove John Hammond and Donald Genarro (Martin Ferrerro) from the helicopter pad to the Visitors Center in Jurassic Park‘s first act.

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MARGARITAVILLE

Eagle-eyed viewers will have noticed that one of the previously-mentioned corporate sponsorships visible in the film is Jimmy Buffett’s Margaritaville, the chain of restaurants created by the singer-songwriter, having branched out with an Isla Nublar location. One of the film’s stranger laughs comes during the Pteranadon and Dimorphodon attack, when a man can be seen fleeing the flying dinosaurs – careful not to spill either of his margaritas. Look a bit closer, and his dedication becomes clear: that’s Jimmy Buffett himself, in a second-long cameo.

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AN OLD FRIEND

As it should always be in a story bearing the Jurassic Park name, it’s the Tyrannosaurus rex who emerges to remind all newcomers who the reigning king really is. Casual viewers may not realize the the T. rex which arrives in the film’s climax – and is previously seen chowing down on a goat – is the exact same one that appeared in Jurassic Park, saving the day by killing a handful of raptors. That battle was a more decisive victory, but look closely, and scars from that encounter are visible on the beast’s sides.

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THE SPINOSAURUS

If the T. rex throwdown wasn’t enough proof that Trevorrow holds the dinosaur above all others, then another not-too-subtly easter egg should do the trick. Both the T. rex and Velociraptors returned in theJurassic Park sequel, The Lost World, but with Jurassic Park 3, director Joe Johnston tried something different. The villain of that film was the spinosaurus aegyptiacus, distinguished by its long snout and large sail. The shift away from the rex proved divisive among many fans, but it returns in skeletal form in the park’s main strip. Whether intentional or not, the T. rex smashing it to pieces before taking on Indominus sets the record straight, once and for all.

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CONCLUSION

Those are all the tiny easter eggs and references we’ve been able to spot so far, but if you have more, be sure to leave them in the commets. If you’ve seen the movie and want to discuss details about the film without worrying about spoiling it for those who haven’t seen it, please head over to our Jurassic World Spoilers Discussion.

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