Jurassic Park 2009: Dino Trackers: Forest Hunter General VS Tyrannosaurus Rex

Year of release: 2009

Accessories:

-Dino Claw weapon

Description: this General wears a dark grey jacket adorned with lighter grey spots and shapes and revealing a grey shirt underneath, as well as silver tags around his neck. He also sports a black utility belt, dark grey trousers and black boots. His pants and shirt sport some slight tears, like he’s had a run-in with an unpleasant dinosaur. He has brown hair and eye brows, black eyes and a rather grim look on his face. He stands in a very odd pose, left leg stretched forwards and right leg braced backwards, left arm reaching up and right arm pointing down, as if he's startled by some prehistoric vermin in front of him. He comes with a Dino Claw weapon,basically a large hand held contraption which ends in two comparatively small claws than can hook around dinosaur body parts. The claws are operated by a handle on its top side. The Claw is coloured totally black.

The T-Rex stands in an active posture, its head curved to the left and its arms stretched out as if attacking something. The tip of the tail is bent, pointing upwards and to the left. It has small pads on its feet to give it extra support, though it still tends to fall over at times. While its underside (most of the lower jaw, throat, belly, arms, most of the legs, feet pads and lower part of the tail) is painted simply grey, the rest of the body sports a more intricate paint job. The upper jaw and face, neck, back, and top part of the tail are coloured in a very dark shade of brown (which at first glance seems black) with rounded stripes running out of this colour over the flanks, upper legs and sides of the tail. Vague regular brown colouring is applied around the edges of the darker brown colour, while lighter brown spots are found on the head, neck, flanks,upper legs and both sides of the tail. The Rex has white teeth and a red tongue and inside of its mouth, as well as small yellow eyes with black pupils. Its claws are not painted, but it has a black JP logo on each upper leg.

Analysis: JP Dinosaurs 2 might have been able to do without them, but human figures are back for JP 2009 (Hasbro's, unfortunately). A more realistic approach is taken for their paint jobs, as illustrated by this Forest Hunter General and its camouflage army gear (maybe not enough green and brown for forest stealth, but still pretty concealing colours). His outfit looks gritty but fitting on him, much darker than his JPD2 predecessor and his more brightly coloured attire. He retains his idiotic and awkward posture though, which continues to hinder both his playability and his ability to stand up straight. His rocket launcher has been exchanged for what was formerly Alan Grant's grappling claw, still a silly and highly ineffective piece of equipment that looks overly complicated but works very simply (though, generally, not at all). Its new black paint job goes well with the General's sombre new look. The officer has a hard time holding on to it without falling over though, so it would have been preferable if either the weapon was made smaller (which shouldn't have been too hard considering less than half of the thing actually is of use to the clawing action) or the General's overall pose was adjusted, but Hasbro opted for the more simple solution of just not giving a damn.

The military man comes with the same T-Rex whose presence dominates the four dinosaur two-packs of this line, making this its fourth appearance in JP 2009. Though its underside could definitely have used more work and detailing (painted claws and pads would have been appreciated), the upper half of its body features a pretty good new paint job, fairly detailed and original, complimenting the General's darker and grimier new look. Still, this is one sculpt we definitely don't need to see again, ever, and it would have been nice to see this human figure paired with another miniature dinosaur than its original counterpart, for diversity's sake. If they can give him another weapon, they can give him another dinosaur, but it seems we have to make due with the same line-up as before. Which means the General is dead meat, considering his lame Dino Claw is no match for this ravenous little Tyrant King.

Repaint: yes. This set is identical to the Military General set of the JP III line, except for the weapon which originally came with JP III Alan Grant. The General has been repainted once for JPD2, while the T-Rex has already been repainted over a dozen times for Camo-Xtreme, JPD2 and JPD3 and would be used several times again for this toy line. The General would also make an appearance in the Deluxe Electronic T-Rex set of this toy line, with the exact same paint job. The Dino Claw weapon was also repainted for JPD2, and would be featured a second time in this toy line.

Overall rating: 5/10. Not the best sculpts and accessory, but the paint jobs are fairly okay, certainly compared to some of the more zany repaints in this toy line. This set is not rare and can still be found with little effort. Since this set was a Toys'R'Us exclusive that could change over time, but probably not for the next decade.

Today's Review: The Sea of Trees

Another review belatedly posted here:

The Sea of Trees - recensie

If you thought Gus van Sant would be more suited to make an interesting picture about the phenomenon of the Japanese suicide forest Aokigahara than the creators of the recent bland horror movie The Forest would, you thought wrong. Say what you will about The Forest, it had no other pretentions than being an average spooky flick (except maybe for the 'average' part, but then they should have tried harder). The Sea of Trees, not so. It's a bold potpourri of supernatural thrills, Japanese versus Western belief systems, tearjerking drama and philosophical reflections on the nature of suicide. At least, it likes to be. It sadly fails in every respect, making this a prime candidate for the title of 'Worst Gus van Sant Movie'.

The ingredients for a terrific movie are all there. There's a haunting mystery (a forest where people voluntarily come to kill themselves), a shot at emotionally compelling drama (a husband and wife not getting along but coming together over the latter's impending demise), some damn fine actors (McConaughey, Watanabe, Watts, need I say more?) and lots of wonderful cinematography. The movie only succeeds in offering that last bit to our satisfaction. Whether it's the director or the screenwriter who couldn't be bothered with stringing it all together seamlessly into an intriguing whole is hard to tell. It's certainly not the actors, as all of them appear bored or distracted. In Watanabe's case, matters are made worse due to him apparently having been hired as Hollywood's token Japanese man for this occasion, making him rant on about Japanese superstition ad nauseam. We simply can't learn to care about either him or his American companion, who set out to kill himself but had a change of heart in his desire to help his new local friend get home alive. It's seemingly enough of a motivation after the devastating death of his wife to make him find new faith in life and forget all about his suicidal plans, but not for us to go along with his new lust for living.

We simply cannot care about it all, which also stems from Van Sant's odd choice of going nigh 'full Hollywood' in his dramatic scenes set in the States. Usually he opts for what many consider a more European style, but in this scenario, studio tearjerking methods got his preference. And so we have to sit through dull and ultimately predictable flashbacks explaining the protagonist's desire to end his life, even though, illogically, he and his wife never really got along anyway. The scenes in the forest, meanwhile, offer little more captivating moments or surprising twists. Admirably shot and lit as they may be (though much of it not actually filmed in Japan, but rather Stateside) and accompanied for the most part by decently melancholy music, we still grow restless over the lack of empathy triggered at our side of things. It's not so bad that it makes us want to kill ourselves, but it's still frighteningly frustrating to come to realize that a director who often has something worthwhile to share with his audience, really has absolutely nothing noteworthy to say about a fascinating topic of conversation as the so-called Sea of Trees.

Today's Mini-Review: Defiance

Rating: ****/*****, or 8/10

Starring: Daniel Craig, Liev Schreiber, Jamie Bell

Directed by Edward Zwick

USA: Paramount Vantage, 2008

As far as WW II/Holocaust movies go, Edward Zwick's Defiance is basically the Spartacus version of the bunch, as opposed to the likes of Schindler's List (which, if you want to further draw comparisons with Roman epics of old, has more overtones of Quo Vadis or The Robe, in which a man “in league with the enemy” opens his eyes to the shameful horrors inflicted on the minority and turns to their aid). The specific act of defiance this movie revolves around is mere survival in a world where the Jewish minority has been sentenced to death under the ruthless rule of the German Third Reich during the occupation of Poland. As their parents are murdered by the Nazis and their Polish lapdogs, the Bielski brothers retreat into the primordial woods hellbent on revenge. As they are confronted with growing numbers of Jewish refugees also seeking shelter in the forest, the brothers find themselves divided on which course of action to take as those in need of help name them their leaders in the struggle for basic survival. What will it be: vengeance at all costs, or the needs of the many over a personal vendetta?

At the heart of the movie is the ideological conflict between the three brothers. The oldest, Tuvia (Daniel '007' Craig), unwittingly finds himself given command over this group, which soon numbers in the hundreds, and first and foremost aims to keep them safe as he feels it is his moral responsibility, like it or not, to do so. His younger brother, the hotheaded Zus (Liev Schreiber) instead feels attacking their persecutors and killing as many Germans as possible takes precedence, and as their rivalry deepens he leaves the camp to join local Soviet resistance cells to do just that. Their younger brothers, including Asael (Jamie Bell) opt to stick with Tuvia. As the forest community grows, so does the risk of being discovered, which soon leads to an all-out assault by the German forces which the refugees have to fight off with little means at their disposal, nor the help of Zus' band of partisans, who will not risk their lives to save Jews. Can Tuvia save “his” people from annihilation, or will the Bielski Jews be massacred despite all their efforts? Only a reconciliation of the brothers seems like it might stay their doom.

Defiance proves a chilling war epic (albeit on a smaller budget that most, since this is a more confined movie in terms of characters and locations) making ample use of the assembled talent in front and behind of the camera. Not to mention appropriating the beautiful forest environment to such great effect that it's not hard to conceive of it as a character in itself: lush and warm in summer, but unforgiving and uncompromising in the cold Polish winter, which is as lethal as the human enemy. Against all odds, the community flourishes, but the fear of being rooted out and brutally killed persists. And Zwick doesn't flinch at showing that this new formed society is far from idyllic, as hunger, disease and most of all, basic human behavior, continue to threaten their survival.

A story that focuses on the ordeals of man living with man through a period of intense crisis is incomplete if it wouldn't address the issue of man's darker side getting the better of him. Defiance too tells of the strong in the group exploiting the weak, taking their food, sexual integrity and if they resist, their lives. Tuvia soon rises to the occasion of exorcising such immoral behavior from his people by exacting 'zero tolerance' type punishment upon the perpetrators. The Bielksi Jews are not living in a democracy and freedom is still a rather abstract concept, but fortunately Tuvia accepts a role of the benevolent leader who generally has his people's best interest at heart, despite his continuing desire for vengeance. Meanwhile, even among his new brothers in arms, Zus is still an outsider because of his status as a Jew, despite being a formidable fighter. Defiance isn't afraid to admit that antisemitism wasn't limited to the Germans, as the Jews are shown to also suffer under the hands of their Polish neighbours, offering a less black and white view than simply stating 'Germans are bad and all others are good'. As the Germans exploit the Polish population, Poles exploit Jews and even among the refugees Jews are found exploiting other Jews. Tuvia's main act of defiance is rising above such base humanity for the greater good. It does at times make him feel overly saint like, but when he unhesitatingly shoots troublemakers amongst his own people, you know he's still as human as the rest of them.

With Defiance, Zwick once again proves himself a certified craftsman of effective historical drama, the kind that encompasses a fine mix of solid acting throughout (though not avoiding the use of the occasional off-putting foreign accent), dynamic action and thematic value, but for some reason just doesn't stick with you as much as similar movies from better known directors tend to do. Defiance is unmistakably an excellent film, but not in the same league as similar entries in the Holocaust subgenre like Schindler's List or The Pianist, movies with which it cannot avoid comparison because of the subject matter. On the page it all should work, and when watching the movie it does, but afterwards Zwick's movies for some inexplicable reason just seem to slip from mind somehow. Likewise, even though his films have been awarded their fair share of Academy Award nominations, actual wins are few and far between. Nevertheless, upon viewing Defiance defies all sense of whatever shortcomings might plague Zwick's body of work to stand out despite their undeniable quality.