Jurassic Park (1993)

19 years ago a film came out that would change cinema in many ways. Not only did the film exhibit extraordinary family-friendly narratives and showcase some of the finest Hollywood's actors of the time but it pushed the boundaries of CGI and taught film-makers that computer graphics could be integrated into a film without hindering the storytelling but rather enhancing it. During the film Jeff Goldblum's character exclaims, " You did it. You crazy son of a bitch, you actually did it", which I think can also appropriated to Jurassic Parks incredible director; Steven Spielberg.

Obsessed with dinosaurs since childhood, Spielberg had been nursing Jurassic Park for some time. However, in 1992, Spielberg had been intending to make Schindler's List his next project but having convinced to big studio executives to gamble on a three hour, black and white holocaust movie, Spielberg was happy to abide by the one condition made by the studio: he must make Jurassic Park first. No wonder people call 1993 Spielberg's miracle year.

To bring you back up to date on the story, the film follows the investigation of the zoological Jurassic Park and just how safe a South Pacific island that has free-roaming prehistoric dinosaurs (brought back to life through the magic of DNA retrieval and mind-boggling science). In for the ride are prehistoric world experts Alan Grant (Sam Neil), the role could've gone to Harrison Ford, but he turned down the opportunity to play Dr Alan Grant. Ellie Setter, who is played by Laura Dern is also accompanied by mathematician, Ian Malcolm (Jeff Goldblum), and park owner, John Hammond's grandchildren Lex (Ariana Richards) and Tim (Joesph Mazello). Of course, Jurassic Park, being a hypothetical theme park, things go wrong and before long the characters go from awry situations to ones of life and death.

Coming off the back of Hook's troubled shoot - Jurassic Park managed to come in on budget and ahead of schedule. Some of of the human performances seem hurried, but Spielberg's definitely didn't rush the making of the dinosaurs and inspired a technical achievement on a scale that represented an entire visual revolution. In their early script meetings author Crichton was anxious to know how Spielberg was planning to tackle the technical challenge of the dinosaurs. Spielberg however, wanted to talk about dinosaur character. Spielberg took on board advice from some specialists but brought in lessons learned from his previous creature feature: E.T.. Eventually all this came together on the big-screen: The T-Rex eyes blinking in the flashlight, the velociraptor breath snorting against the kitchen door. These little details are what make the dinosaurs believable.

The film is remarkable in its ability to consistently juggle the many different themes and character paths without ever appearing clunky or tiring. From start to finish, Spielberg supplies us with varied sequences of horror, family, comedy, action and adventure. Jurassic Park reeks of Spielberg's incredulous charm and awe that makes you want to watch the film again and again.

Jurassic Park feels like a film that gets better with age, never feeling out-dated but just getting better and better with every nostalgic moment. Jurassic Park is one of the biggest and best summer blockbusters ever made, and a giant leap for cinematic effects.

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War Horse (2012)

In the nicest way possible, War Horse is old fashioned. It’s a film that could have been made – perhaps not with the technology but definitely with the heart – in Hollywood’s heyday. War Horse is an epic film that has Steven Spielberg doing what he does best. He takes the audience on an emotional journey through World War 1 and the other side. It wears its emotions on its sleeve, and there is no place for cynicism in that world. JJ Abrams payed tribute to Spielberg movies he grew up watching as a kid with Super 8. I feel Spielberg is paying tribute to the films he grew up watching with War Horse.

War Horse is set in England – 1914. Devon lad Albert Narracott (Jeremy Irvine) tames, trains and bonds with a stubborn farm horse he names Joey. When times get tight, Joey is sold into the British cavalry and begins an adventure that takes him across France and onto battlefields of World War 1 – with Albert in pursuit.

War Horse is adapted from the Tony-award winning play, as well as a children’s novel by Michael Morpurgo. The film opens with Landscape shots of Devon, where the story begins. If Tintin was made so Spielberg could try out the latest technology in film making, War Horse sees the director returning to his storytelling roots. There’s certainly no doubt that Spielberg is using the style of his childhood heroes, John Ford, David Lean, to name a couple, but he also brings his own cinematic intelligence to the film.  It may not stand up to some of his most applauded work (E.T, Schindler’s List and Saving Private Ryan), but his direction is as good as ever, the performances are strong (especially by Jeremy Irvine) and is, for want of a better word; a proper movie.

The film can take its time in certain passages; Spielberg seems to be enjoying his time with the characters, but spends too much time with some, and not enough time with others. But the cinematography is simply stunning. Janusz Kaminski’s work here is much different to the work he did on Saving Private Ryan. It’s shot in the style of a classical film, with long tracking shots. You won’t see many handheld shots here, especially in the more intense War scenes, and is definitely the most gorgeous work they’ve done together so far. War Horse calls on films from the 20’s and 30’s and feels like its come straight from that era.

The movie has Spielberg using his imagination, whether is entrance shots from the reflection of Joey’s eye, a regimental pendant as a telling narrative motif, or a strategic use of a windmill sail. Finally we have the use of the horses in the film. Much of the magic and enjoyment of the stage show comes from the excellent puppetry used to bring the horses to life. Of course, this wasn’t an option for Spielberg (it’s a bit too ‘old school’ for Hollywood). But somehow, Spielberg still manages to tell the story almost entirely from the point-of-view of the horse. Once the bonding session with Albert is over, we pretty much stay with Joey throughout the rest of the film, a decision that makes the journey of Albert less important, but the audience has came to see the story of Joey more than anything else. Spielberg definitely knows how to film horses, be it crafty camera moves or expansive tracking shots of Joey as he gallops through the war, in these moments in particular, there’s no more impressive camera movement.

The acting is top-notch with great performances from Emily Watson, Benedict Cumberpatch and Tom Hiddleston. Their performances are very old fashioned and works very well with the style of the movie. Of course the stars of the show are the horses. How Spielberg managed to get these performances from Horses is nothing short of amazing.

War Horse is fantastic family film making that does what all good films should do, which is take the audience to another world that either doesn’t exist or never will again.

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The Adventures Of Tintin: The Secret of the Unicorn (2011)

Herge's young hero with a ginger quiff gets the big screen treatment from two Hollywood heavyweights Steven Spielberg and Peter Jackson. First up to direct is Spielberg with Jackson as Producer (Jackson has just confirmed he will be directing the sequel) of the planned trilogy of films.

Uniting elements from Herge volumes The Crab with the Golden Claws, The Secret of the Unicorn and Red Rackham's Treasure, valiant Belgian reporter (with the English accent of Jamie Bell) Tintin, along with brainy dog Snowy, is on the trail of a lost family fortune. Along for the ride is new best friend Captain Haddock (Andy Serkis) who is somehow involved in the history of the lost treasure.

It was Jackson who was the big Tintin fan from a young age. Spielberg got addicted to the stories after a French reporter likened The Raiders Of The Lost Ark to an adventure that Tintin could've quite easily had. Herge himself said that if anyone could make a Tintin movie, it would be Spielberg. Whether your a fan of Motion capture or not, Spielberg is back to his best after the disappointment of Indiana Jones And The Kingdom Of The Crystal Skull. Spielberg has brought Tintin to life using the same tricks of the trade that has made him one of the best directors around. Visually dazzling from the cut-out cartoon opening sequence (very similar to Catch Me If You Can) to the breathless action, Spielberg turns a smart script (co-written by Edgar Wright, Joe Cornish and Steven Moffat) into a rollicking high-adventure film.

The performance capture is at its best here and is far from the 'Dead-Eyes' of Robert Zemeckis' Polar Express. Through Spielberg's direction, Tintin has bags of charm, warmth and the illusion of life with these characters Herge created.

Jamie Bell does well as Tintin giving him a neutral British accent and boyish charm. His face is handsome (in a blank look kind of way), with the iconic hair that is as famous as Superman's cape or Indiana's fedora. Most people know that Tintin is the straight guy, with Haddock being the funny man. Andy Serkis again proves he is the king of Motion capture. Playing Haddock, Serkis gives the movie its heart and the funnier moments in the film.

Away from Haddock the film isn't as funny. Simon Pegg and Nick Frost do well as Thompson and Thompson, providing the slapstick comedy fans of the comics will be familiar with, but unfortunately they don't always strike gold with the material given to them.


Motion Capture films these days wouldn't be complete without a chase sequence and Tintin doesn't disappoint, producing a scene that is truly spectacular and one of the best action sequences you'll see this year. That scene in particular shows Spielberg is firing on all cylinders. The pace throughout is very fast and you'll do well to keep up with it. The film wants you to join in and enjoy the adventure and you would have to be a moody chap (or lady) not to want to jump on board.

With its dizzying spectacle and fast-paced action, The Adventures Of Tintin is top notch entertainment that's enjoyable for the whole family.

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