Chris Pratt

Find our Chris Pratt news and articles here. Chris Pratt is known for Star-Lord in the Marvel Guardians of the Galaxy and The Avengers: Infinity War movies, as well as for Jurassic World.

Movie News Movie Trailers

‘Jurassic World Dominion’ Trailer Is Here Starring Chris Pratt

Universal Pictures has released the Jurassic World Dominion trailer which sees Chris Pratt back as Velicoraptor trainer, Owen Grady, along with Bryce Dallas Howard as Claire Dearing. Watch below. “The epic conclusion of the Jurassic era,” teases the video description. Jurassic World Dominion gets released on June 10. Jurassic World Dominion trailer: Jurassic World Dominion synopsis: This summer,

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Nintendo ‘Super Mario Bros.’ Casts Chris Pratt, Anya Taylor-Joy, More

Nintendo has announced the cast of its upcoming Super Mario Bros. animated movie which includes Chris Pratt, Anya Taylor-Joy, Charlie Day, Jack Black, Keegan-Michael Key, and Seth Rogen. Super Mario Bros. animated cast: Chris Pratt will provide the voice of Mario Charlie Day will voice Luigi Anya Taylor-Joy is voicing Princess Peach Jack Black is voicing Bowser

Marvel Movie News

Hemsworth and Pratt Wish Chris Evans Happy Birthday

While on the set of their latest Marvel movie, Thor: Love and Thunder, Chris Hemsworth and Chris Pratt wish Captain America Chris Evans a happy birthday, well sorta. Hemsworth took to his Instagram account to post a selfie of him and fellow Marvel star Chris Pratt. “Happy 40th birthday Chris Evans, you’ll always be number

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‘Jurassic World: Dominion’ 5-Minute Prologue Coming To IMAX

A five-minute prologue for Jurassic World: Dominion, the fourth film in the new franchise, is coming exclusively to IMAX theaters with the release of F9. “We’ve got a 5 minute prologue to Dominion that is going to play in IMAX theaters in front of Fast9 starting June 25. It’ll be in over 40 countries. Hold

Movie Trailers

Chris Pratt Stars In ‘The Tomorrow War’ Trailer For Amazon

Amazon Prime has released the trailer for The Tomorrow War, a sci-fi movie starring Chris Pratt who is known for Jurassic World and Marvel’s Guardians of the Galaxy. “Get ready. We are about to blow up your feeds!! And the trailer, like the movie, is unbelievable,” posted Pratt on Instagram adding in a separate post,

Movie News Movie Trailers

Chris Pratt’s ‘The Tomorrow War’ Teaser Is Here

Amazon Prime has released the first teaser for The Tomorrow War, which stars Chris Pratt, known for the Jurassic World films and Marvel’s Guardians of the Galaxy movies. First look images have also been released. See below. “Just wait until you see what’s coming… The Tomorrow War arrives July 2 [on] AmazonPrimeVideo. My first Executive

Marvel Movie News

Thor 4: First Look At Chris Hemsworth and Chris Pratt

A first look at Chris Hemsworth and Chris Pratt hits the net as filming is taking place on Thor 4 in Australia. The pics also feature Karen Gillan as Nebula and Sean Gunn as Kraglin. Chris Hemsworth and Chris Pratt are seen in full costume for the first time on the set of Thor: Love

Movie News Reviews

Review: Jurassic World (2015)


Dinosaurs and Kids Still Trying to Mix

A Film Review of Jurassic World


Giant f’ing reptiles return in the Steven Spielberg executively produced follow up to the much maligned Jurassic Park III with Jurassic World, a seemingly back to basics with fresh faces continuation of a fictional reality where contemporary human beings continue to bring real life dinosaurs into this day and age.  We already know what kind of a success it is (beating The Avengers for best domestic opening weekend with a $208.8 gross at the box office) and as a result we can presume a trending success for the next few weeks as well.  As a film franchise, Jurassic Park is as close to a sure fire blockbuster as Hollywood can come up with these days without having to knock on any comic book publishers’ doors.  Jurassic World shows off just about everything a casual member of the audience is looking for in an exciting, summer, cinematic adventure that is relatively “safe” family fun for everyone save for parents who are exceptionally sensitive to exposing their children to fictional violence and danger.  Although Spielberg did not direct this film, his imprint regarding childlike fascination for the improbable (E.T.) and “massive scale” (Transformers) combine once again to produce an experience that fills one up with nostalgia and wonderment.

However, the one criticism I’ve always had regarding these dino-destruction films, shamelessly rears its ugly head once more in Jurassic World.  How are the all owners, scientists and corporate sponsors involved with anything “Jurassic” so incredibly stupid to continue to taunt (not tempt) fate once again by putting dinosaurs and contemporary humans in the same space?  From a basic plot perspective, Jurassic World is pretty dumb in acknowledging and admitting the tragic failures of its fictional past, yet still marches forward with the delusional concept that people could and somehow should “walk with the dinosaurs” in a zoo-like environment.  Despite his zeal and ambition, Dr. Hammond was proven to be woefully wrong by the end of the first Jurassic Park and guess what?  It is still unsafe and generally speaking, a bad idea. 

The script of Jurassic World, written by the combined efforts of Rick Jaffa, Amanda Silver Derek Connolly and director Colin Trevorrow, comes up way short in explaining how we got from the chaos and anarchy of the past to the Disney World stability of Jurassic World in the present.  Plot holes run amok as people who are supposed to be in charge don’t seem to have a clue and security somehow seems more lax than in the first film.  We get no sense of how long this establishment has been operating peacefully, nor are we privy to any new system, technology or process that allows this iteration of “Jurassic Park” to be successful where others failed.  Those details are apparently irrelevant as the audience is immediately thrown into the thriving business of Jurassic World as it continues to push “size” and “teeth” to continue draw in massive tourist dollars.  Of course, dinosaurs are massive, unpredictable, wild animals and man’s inability to control nature results in a lot of rinsed and repeated death and destruction that the audience has seen in every Jurassic Park film: people manipulating nature for profit, super-dinosaur is the big bad, children have 1000% increased luck in avoiding being eaten, stomped, smashed and otherwise bloodied by massive reptiles.  It’s all there.

The only thing new and worthwhile regarding the story of Jurassic World is the underdeveloped and under-featured angle regarding Chris Pratt’s character, Owen, and his project with Raptors.  These moments are easily the most interesting as it presents the concept of partnership with nature as opposed to domination.  Not only are these sequences relatively hopeful, but they also set the audience up for a very satisfying and electric final conflict that wraps everything up. 

Jurassic World may attempt to pawn itself off as an adventure with important things to say about family relationships or a thought provoker regarding science’s ability to go too far; but ultimately it is an action film, through and through.  Jurassic World easily boasts the highest body count of any Jurassic film.  People are mercilessly chewed, skewered and crushed as effectively as previous films, but the fact that there are so many more potential victims really raises the stakes.  Camera angles and movement of the frame (not simply inside the frame) produce a fairly exhilarating observation of all the action in general.  What helps the audience retain this visual information is cinematographer John Schwartzman’s excellent framing and staging, but also his reluctance to enhance or exasperate the frame rate to make everything we do see, feel more hectic than it is.  Not once is there a moment where the constant running and chasing amidst all the danger seems less adrenaline-filled.  Extreme close-ups are not abused with sharp flashes of movement across the screen to fake a sense of added tension.  The action in Jurassic World represents some of the most effectively captured sequences of many recent Hollywood blockbusters.

The visual effects were a bit hit and miss for me.  CG dinosaurs looked great for the big boys, but not so much for the petting-zoo sized ones.  Aerial dinos looked less menacing than those featured in JP III, but that may have more to do with the fact that they were captured more as flocks rather than one on one.  Explosions and general destruction are nothing to write home about here.  Gunplay is rather dry as security forces in Jurassic World are essentially mall cops with automatic weapons and tasers (again, people aren’t threats to dinosaurs, even though they could be with larger and more appropriate weapons).  Dinosaur combat and battles are very well done and desperately needed to be extended because that’s what we really want to see.

The overall cast’s performance in Jurassic World is so bad that I experienced veiled levels of glee when dinosaurs dispatched or harmed them in any way.  I understand that this movie (much like any Transformer film) is not about the people or the characters they play per say.  We all know what it’s really about.  However, people cannot be deleted entirely from Jurassic films (unlike any Transformer film) because their presence is vital to the story and regardless of how any of you may feel about Sam Neil or Jeff Golblum as individual thespians, their performances in the past are academy award winning in comparison.  Bryce Dallas Howard as corporate tool #1 demonstrates no ability as an effective administrator and comes off as rather bumbling in her fluency of Jurassic World as a theme park.  Nick Robinson as annoying child #1 and Ty Simpkins as annoying child #2 are yawn inducing for their stereotypical portrayals as siblings more interested in girls vs. more interested in giant f’ing dinosaurs respectively.  Vincent D’Onofrio as the token (pseudo) bad guy is very disappointing because he’s a much better actor than the effort he gives here.  Irrfan Khan as the cocky billionaire owner effectively channels what I presume was the director’s desire to mimic Sir Richard Branson charging in to save everyone with the hubris of his helicopter flying skills.  BD Wong is the only returning cast member from a previous Jurassic film reprising his role as Dr. Henry Wu and is as memorable as any actor can be in a single, 2 minute scene for an action film.  And then there’s Jimmy Fallon …

Chris Pratt is a different story, and it has less to do with his exceptional performance from Guardians of the Galaxy and more to do with his natural charisma as an individual actor.  No, he’s not redefining what it means to be a leading man in a Hollywood blockbuster because he isn’t the prettiest and he isn’t the buffest (both of which are still requisites).  What he does have is an everyman’s appreciation for decency and pragmatism for whatever character he plays in ridiculous situations.  This is what allows audiences to root for him and it’s all one really needs to make a connection with viewers.  This is precisely the reason why he would make for a great Indiana Jones, but there is no reason whatsoever why Indy needs to be rebooted in any way and for any reason unless it were a continuation of his adventures in a younger man’s body. 

Jurassic World has made and will continue to make a ton of cash around the globe.  It is more than a worthwhile expense for your time and wallet to check this adventure out at your local cinemas.  If you have the opportunity, try to check it out in IMAX 3D.  However, I would not necessarily recommend spending more on a regular, REAL 3D ticket on a standard displays because dinosaurs need as much screen as possible to show how awesome they are.  I didn’t like spending half the film chasing around with the stupid brats that get lost in the park, but Chris Pratt represents the other half and he takes the audience home with some great action and comedic timing.

Movie News Reviews

Movie Review: Zero Dark Thirty (2012)

Not Quite Dark Enough and Not What You’re Expecting

A Film Review of Zero Dark Thirty

By: Lawrence Napoli


How do you fight a war on terror?  Conventional warfare waged by the US government would have you believe that attacking the enemy on their home turf is not only the key to victory, but also a means of keeping the front lines of the fight far away from civilians in the homeland: the primary target for terror.  Unfortunately, the war on terror has been proven to be anything but a conventional conflict and so other strategies were employed such as targeting the leadership of terror cells and none were regarded as nefarious as Osama bin Laden.   Of course, terror cells exist to operate outside the influence of leadership so this strategy doesn’t directly prevent the loss of innocent lives.  However, the leaders have influence and information about their networks and the elimination/capture of these individuals provide a much needed morale booster because progress can’t exactly be disclosed to the media the way it has in wars past due to the classified nature of all operations.


The new weekend research project.

Zero Dark Thirty is a film based on accounts from several sources concerning the pursuit of OBL and it has been recognized as an Oscar front-runner due to the issues it raises concerning torture, the nature of terrorism and the various methods used to combat it.  It has also been maligned for inaccuracies, which appears to be the theme for this year’s Academy worthy film productions seeing how both Lincoln and Argo have been singled out for their dramatic skewing.  The fact is that nobody should be going to the cinema for a history lesson and anyone accepting dialogue from a Hollywood star as the gospel truth of what happened in real life ought to have their heads examined, but with the ever increasing sentiment of ignorance and apathy in American society, it’s a legitimate concern that some people might.  The fine line between fiction and fact is not going to be explored in this review, but my primary criticism to Mark Boal’s script is the severe lack of action and the fact that it grinds the overall pacing down to a slow crawl.  Granted, the central idea of this story is depicting how the importance of information gathered through interrogation, interviews, office work, data review, fact checking and various other unglamorous tasks were vital in revealing OBL, but if blurring the details was the order of the day, throwing in a couple more spec-ops sequences would have helped.


Don’t be fooled, there’s not much of this to be seen.

I don’t seem to find any exceptional artistic merit to this film outside of its subject matter.  Just about everything from the production value, to the cinematography, to the format of the story and the performance by the cast is standard fare.  That’s not to say that Zero Dark Thirty isn’t less than perfectly adequate, but when it comes to communicating the emotion this film left me with when I walked out of the theatre I can’t say anything other than “I saw it, I got it and now I’d like to see something more interesting thank you.”  It’s the same feeling of being unimpressed that I felt when I left The Hurt Locker.  There are simply better political thrillers out there (Enemy of the State, No Way Out, andAll the President’s Men).  There are more graphic depictions of torture (Hostel, The Last House on the Left, and Ichi the Killer).  There are more disturbing depictions of psychological trauma (Misery, Memento, and the original Manchurian Candidate).  Zero Dark Thirty is not any of these types of films, yet it has been celebrated and skyrocketed to the top of the Oscar contenders for somehow doing all these things well.  I disagree and I do not understand the enhanced credibility afforded to Kathryn Bigelow’s films because I find them to be lesser versions of other films involving similar subject matter.  Perhaps the Academy is catching wind of this seeing how she is not amongst the best directors nominated this year.  I put my money on there being less members of the Academy with an axe to grind with James Cameron.


Who’s directing whom?

The only performance worth getting into is the one belonging to Jessica Chastain.  This actress has been coming out of the woodwork over the past 3 years with noteworthy performances in films such as The Help (2011), The Tree of Life (2011) and Lawless (2012).  I always said there seems to be a lack of serious American film actresses that can compete with the English K/Cates or anyone else from the UK, but Chastain certainly has the potential to take up Meryl Streep’s mantel.  However, her full skill set is not, I repeat NOT on showcase for Zero Dark Thirty.  The character she plays, Maya (who probably doesn’t really exist) is an enigma due to her lack of emotions outside of anger and petulance.  This makes her very difficult to identify with as a protagonist, but when it comes to seeing her as an anti-hero she lacks any semblance of charisma. 


“A” for effort, but a “B” for execution.

The reason she is nominated for best actress in this film is her keen ability to portray solemnity and frustration, two emotions in abundance for any in pursuit of OBL over the years.  The problem with this is that Maya undergoes zero transformation despite the ups and downs and the fluctuation in circumstances does not reflect any deviation in the character’s demeanor.  I sense there is more depth to Maya, but it seems as if that was too classified to show on the big screen.  As a result, Maya gives the distinct impression of being a very intelligent and capable woman, but is really just a spoiled, little brat with exceptional tunnel vision.  Perhaps these are the ideal characteristics to join the spook patrol for the CIA, but does not a compelling fictional character make for a dramatic film.      


Maya doesn’t mingle with the jarheads much.

Zero Dark Thirty is easily the most underwhelming Oscar nominated film this year which is a jagged little pill to swallow considering the mystery and intrigue surrounding the hunt for OBL.  We, the people will never get the full story or anything close to resembling the actual truth regarding this situation, but it is an interesting fiction the powers that be have allowed the mob to indulge in that it’s not particularly interesting in the first place.  There are several instances where I sense any of the Jack Ryan films attempting to be channeled, but these moments ultimately come up way short when it comes to entertainment value.  What’s interesting to note is how its box office performance reflects the decent, but not great quality of this film.  Budgeted at $40 million with earnings just over $89 million is far from failure, but equally far from phenomenal.  I would have thought more Americans would have been more interested in a story about how public enemy #1 was finally dispatched.