Breaking Bad 5.13, To’hajiilee Review

Published July 22, 2014 by gossipzoo


Rating: 4.5 out of 5 stars

Hug someone you love before watching this week’s Breaking Bad.

To’hajiilee is an action-packed return to form after the last couple of sluggish episodes. A chess analogy continues to invite itself: with all the pieces finally maneuvered into their final positions, the big bang everyone has been waiting for finally happens. Unfortunately, we don’t yet know the consequences. We get to see everything explode, but we don’t get to see who’s still standing. And that’s really not a metaphor.

The neo-Nazis are back in the forefront of the action. They take the entire show down an even darker path than it’s tread before. All the villains used previously have been endowed with a handful of redeeming personality traits, but Uncle Jack’s pure, skeevy malevolence makes the show almost frightening to watch.

In the cold open, Todd cooks his best batch of meth yet: 76 percent pure. Uncle Jack, who doesn’t need to wear any sissy gas masks, and Lydia are both present. Unfortunately, despite the higher grade, Todd’s meth is not blue. Lydia insists that it must be. Bizarrely, Todd has developed a crush on her and is fairly forward about it. Actually, even though this is a man we’ve seen execute a 13-year-old, his advance toward Lydia is one of the most aggressive things Todd’s done. The camera is right up against Lydia’s face to highlight Todd’s invasion of her personal space, but she rebuffs him and tells him to get the cook right, seemingly unaware of his flirtation.

Then we see Walt’s phone call from the end of last episode from Todd’s perspective. Any doubt about who Walt wants Jack to kill is gone. Jesse is the target. While Todd is on the phone, he notices Lydia’s lipstick stain on her coffee mug and puts his lips over it for a drink. Again, it’s a creepy moment, but significant for the characterization of Todd. Up until now he’s been almost sympathetic, portrayed mostly as an order-taking, highly loyal top lieutenant. When he escorts Lydia away from the mass killing at Declan’s lab in Blood Money, it seems he’s doing it because his momma raised him to be chivalrous. In this episode, we see Todd for the first time evince a personal desire, a lustful one. We knew already he’s a murderer, but there is now an even baser darkness to Todd than we’ve seen before.

Meanwhile, Jesse, Hank, and Gomez are concocting their plan to nab Walt, and it’s a good one. When Jesse told Walt at the end of last episode that he’d get him where he lives, it seemed like a clear threat to Walt’s money. Sure enough, the team goes that route. How they do it is actually one of the most interesting schemes the show has ever detailed. They’re met with setbacks but are continually clever enough to make the plan work anyway.


First, Hank brings Huell to a safe house for questioning under the phony premise that Walt is tying up loose ends and Huell is next. Huell isn’t buying the story until Hank shows him a picture of Jesse with his brains blown out. In the previous scene, Hank plopped a raw brain straight from the butcher onto his kitchen floor and poured blood around it. It’s a gas when you find out why – the picture he shows Huell is of Jesse lying next to the mess. After he sees the picture, Huell sings like a canary. Sadly for Hank, Huell is being honest when he says he doesn’t know where Walt took the money.

What he does know, however, is enough for a lead. Walt probably buried the barrels full of money and Huell tells them the rental company. Hank finds out the rental company took its GPS units off their vehicles so there’s no way to track where the van went. It seems like another busted lead until Hank gets another idea.

Meanwhile, Walt negotiates the price for Jesse’s head with Uncle Jack, but it isn’t money the neo-Nazis want. They want Walt to show Todd how to cook. This scene puts a vacuum right on Walt’s already-forfeited soul. For the first time since the Heisenberg side of Walter White fully took over, Walt is small, weak, and holds no leverage. When Jack names the price, Walt initially says no, but he is significantly less confident than in his first dealing with Jack. In that meeting, Walt had all the moxie in the world; this time, he is on a chair in the center of the room and surrounded by neo-Nazis who aren’t interested in taking no for an answer. There is intimidation pouring out of this scene; Walt cannot simply put what he’s asking for back on the shelf and leave the store. He agrees to a single instructional cook with Todd to be done after Jesse is killed. The smiles on Todd and Jack’s faces say it all: Walt is theirs now.

Walt then visits Brock and Andrea in an attempt to draw out Jesse. Unfortunately for him, things continue to not go his way. When Andrea calls Jesse, the phone she dials is actually in Hank’s pocket. After listening to her message, Hank says exactly the same thing Jesse said at the payphone last episode: “Nice try, asshole.” Andrea has no idea what’s gone on between Walt and Jesse so she treats Walt politely, but Brock looks at him suspiciously. After the revelation that Walt poisoned Brock, the two of them have been in the same room twice, but while both meetings have been awkward it’s never been clear if Brock recognizes Walt. I hope the question of who actually fed Brock the Lily of the Valley berry is addressed, because it isn’t clear yet that Walt actually did it. Nor is it clear when, where, or how he could have – sneaking up on him in a playground, perhaps?


Everything is really being pushed to the wire at this point. Walt is growing impatient and concerned that Jesse hasn’t shown himself. Saul shows up at the car wash looking for Walt and has a funny repartee with Walt Jr., who recognizes Saul from his ads and thinks lightly of the unlikely visitor. Bob Odenkirk peels off an especially funny line when he tells Junior not to drink and drive but to call him if he ever does. At one point, Saul, Skyler, Walt, Holly, and Junior are all in the same frame; it’s a weird moment and a comical one as an embarrassed-looking Walt pops in the door, sees Saul, and quickly heads back out. But neither Walt nor Saul know yet that Jesse is working for Hank, and that’s a big advantage for the good guys.

At the car wash, Walt receives a picture message showing a barrel full of money buried in the dirt. Immediately after, Jesse calls and tells Walt he’s found his money and is prepared to burn all seven barrels of it. Walt speeds off to the money, blasting through red lights, while Jesse treats him to a Speed-esque ultimatum: if Walt doesn’t stay on the phone, Jesse is going to torch all the cash. Aaron Paul delivers an Emmy-worthy performance here, sounding like a man in a very serious position of authority. He calls Walt by his first name with a special amount of contempt. It’s a role he’s never played before and he’s incredibly convincing. Moreover, Walt spills the beans about everything, copping to murders and more during the doubtlessly recorded phone call.

Actually, Walt makes a good point during the phone call: Brock is alive. For all Jesse’s anger, I’ve always felt the Lily of the Valley thread seemed like an inadequate nail for Walt’s coffin. The plant is poisonous, but non-fatal; Walt didn’t kill Brock, he only used him. Of all the evil things Walt has done, this action seems to be not among his worst. But only a sociopath could truly rationalize the poisoning of a child, and Walt is unable to get Jesse to see it his way. He drives straight to the desert where he expects to find Jesse waiting.

In my last review, I made what I thought was a snarky comment about the show ending in a hail of gunfire. Turns out it was an accurate prediction.

Upon arriving at the site where he buried his money, Walt figures out pretty quickly that he’s been set up. He braces himself for battle with Jesse and calls Uncle Jack for reinforcements, reading to him the coordinates from his lottery ticket. As Jesse pulls up with Hank and Gomez, however, Walt calls Uncle Jack off. Walt won’t be responsible for Hank’s death. He hangs up the phone with an excited Uncle Jack asking, “What do you mean, don’t come?”


Everything about the next several minutes is profoundly satisfying. With Walt bested and prepared to give himself up, Hank’s voice echoes through the rocks: “Walt! Come on out! It’s over!” The look on Bryan Cranston’s face is extremely emotional, as though he’s trying desperately to stretch his last few seconds as Heisenberg, unbeatable drug lord, as long as possible. Eventually he comes out of hiding and moves toward Hank for a textbook arrest. Hank slaps the handcuffs on him with a dramatic clink. Jesse’s utterly stunned face watches as Heisenberg falls before his very eyes.

But the satisfaction is not to last. Breaking Bad is extremely good at setting up a scene, and the longer Hank and Gomez stand around in the desert the larger and more palpable the specter of the neo-Nazis showing up grows. It’s one of the moments of the show where, as a viewer, you want to slap some sense into the characters: didn’t it occur to them Walt might have called for backup? Why not drive him to the precinct as quickly as possible or at least call the arrest in? What are they standing around so long for? It’s knowledge of what’s coming that you have and the characters don’t that make the scene so intense. When Hank calls Marie to tell her about the arrest and says he loves her, text saying, “Bad things are about to happen” might as well have popped up on the screen. But obvious foreshadowing is a useful dramatic tool when the event is right around the corner.

In one of the saddest episode endings yet, Uncle Jack’s gang shows up and opens fire on the hopelessly outnumbered Hank and Gomez. Jesse slinks away, apparently unseen by the neo-Nazis. He is Hank and Gomez’s only hope; they may live if the neo-Nazis don’t want to draw the kind of heat that comes from killing cops and go after Jesse instead, but as the episode ends it doesn’t seem like that’s going to happen. The way Hank is heroically framed with the sun behind him, just after his finest moment and his phone call with Marie, makes the scene completely heartbreaking. Walt’s plaintive, desperate, futile cries from the backseat of Hank’s car make it even more gut-wrenching. Maybe for the very first time, Walt truly seems to care about somebody and fear for their safety, but he is powerless.

Aryan Gunfire

Nobody’s death is shown and the episode cuts to black with bullets still being fired. Actually, this alone is the reason for To’hajiilee’s half-star deduction. Like this season has been in the unfortunate habit of doing, To’hajiilee ends not on a cliffhanger but with an unfinished scene. This time in particular it’s agonizing. If Hank dies, this episode will rank as probably the cheapest cliffhanger the show has used. I can already feel the sucker punch of spending an entire week wondering by what incredible method Hank might escape with his life only to have him die as it seemed he would anyway.

But such is the strength of Breaking Bad, the completeness of its characterizations, that a death like Hank’s is one I feel myself. It’s the kind of emotional impact that is the domain of the world’s great literature, and here it is on American primetime. Last week I lamented the show’s lack of action; now I feel I’d give anything for a dozen more Hank and Jesse-centric episodes where nothing happens and everyone stays safe. It seems pretty clear that these are the events leading to Walt’s “on the run” future. It also now seems clear that, as many fans predicted, the weapon Walt purchases in the season’s flash-forward is for a standoff with the neo-Nazis. Even if Hank, Gomez, and Jesse all die in the desert, there are plenty of others still in danger because of Walt’s actions, not the least of which are his wife and kids.

Roller coasters are often called upon as metaphors for great drama. The past three episodes have been a steady uphill climb, but now the car has free-fallen down a completely vertical hill. Your heart is in your throat and it feels like the car might just crash through the track and into the ground below. It’s an unsettling feeling, but this is Breaking Bad. Nobody said it would be easy.

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TV Review: Dexter 8.10, “Goodbye, Miami”

Published July 22, 2014 by gossipzoo


Rating: 2 out of 5 stars

In my last review I explained how the “Anything can happen” evaluation of Dexter‘s final season is not the praise typically seen among cheap endorsements of common thrillers, but rather about as scathing a condemnation as a supposedly suspenseful show can earn. “Goodbye, Miami” suffers from the same lack of momentum as “Make Your Own Kind of Music,” but feels even more offensive as this time the definition surrounding the plot and the motivation of the characters aren’t so much fuzzy as just plain incongruent. How did Oliver/Daniel go from leaving his mother segments of people’s brains to stopping by for meals? When exactly did Deb stop being in love with Dexter and realize she still has feelings for Quinn? Why does Dexter want to save a woman he was ready to write off so recently? This last question is actually explicitly discussed throughout the episode, but its answer is so phoned in it becomes apparent just how little the writers care anymore.

Dexter claims he “feels” like he needs to protect Vogel from her son. When Hannah questions this claim citing that feelings were never really part of his kills it’s meant to be a big moment. It’s meant to illustrate that Dexter realizes he’s a real boy. The thing is, that’s exactly the opposite of what Vogel believes, which is part of why Dex was ready to walk away from this woman mid-season.

Also, shut up, Hannah. We’ve known Dexter longer than you have and Dexter’s emotions – no matter how much he denied their existence – were evident from the very first kill he ever committed on the show, a scene which was referenced as Dexter set up his kill room for Oliver (plus, I’m petty sure his feelings got in the way when he didn’t kill you and later decided to take out your dad, among many other instances). Unfortunately, Dexter’s arc since that fantastically dark and exciting first scene has been a bit of a farce.

Every season Dexter struggles with his feelings and his need to kill until he doesn’t. This series more than any other has made it abundantly clear that its protagonist is a good guy, a hero, and that his homicidal habit may briefly appear to take a heavy emotional toll, but ultimately it’s always necessary for the greater good and the good of Dexter himself. And that’s the issue that’s become so apparent in “Goodbye, Miami” – the writers have never been able to decide whether Dexter is a bright, shiny vigilante hero or a pained protagonist plagued by his own demons. They’ve always tried to have their cake and eat it too, and playing this circular game has grown tiresome. Is Dexter going after Oliver to protect Vogel? Other innocents? Himself and his family? To satiate his own sense of morality? Or simply because Ghost Harry told him to (and is no longer the counterbalance to the Dark Passenger, just its replacement)? The answer according to “Goodbye, Miami” is apparently “All of the above,” and it’s just too much, too safe, too empty, too little, too late.

As much as Dexter’s plethora of weak motivations bothers me, Vogel’s been a terrible disappointment as well. Much like the dreaded sixth season, Vogel kicked things off with plenty of promise for an exploration of what makes Dexter who he is, but any such promise turned out to have died early on so Dex could chase a bunch of red herrings until these last few episodes of plot, plot, plot (or more accurately, doing nothing while feigning action), until, “Oh, it’s the finale? Where does the time go?” Specifically, in “Goodbye, Miami” Vogel first begs Dex not to kill her son because he, while angry, clearly isn’t actually trying to kill her so much as seek her rehabilitation and attention and care, things which she is willing to provide (crazy as it is). But then, because Dex shows Vogel a video of something she already knew, Vogel isn’t so willing and asks that Dexter just kill her son without making him suffer. Which is it? I guess audio/visual presentations do go a long way. And does it bother anyone else that if Dex just hopped on a plane then Oliver never would have slit his mother’s throat?

The sloppiness isn’t confined to Dexter and Vogel. Deb has essentially been trudging in circles since her apparent epiphany after failing to kill herself and Dexter over four episodes ago. Gone is her potential romance with Elway, or the fact that she killed a man for frightening her, or that Dex killed her mark/boyfriend, or that she killed LaGuerta, or that Hannah tried to kill her, or her confused romantic feelings for Dexter, or pretty much any of the arcs the writers have at one point started to send Deb on but eventually forgot about. None of these have had any actual resolution (except for the borderline misogynistic notion the writers haven’t abandoned that Deb needs a man). Despite what she tells Deputy Marshal Clayton, Deb is nothing more than her brother’s reluctant keeper.

Speaking of Clayton, why is he around? Is it his pursuit of Hannah which is going to keep Dexter from getting away? If so it’s going to be a crowded party as Elway is also still looking to take down Hannah, which confuses me as both these characters have only been around for a blink of an eye compared to Quinn whose function I had hoped would have been to accidentally expose Dexter (since Doakes and LaGuerta are dead and Angel is, well, Angel), especially since Quinn was all about catching Zach Hamilton, but it looks like Quinn’s only function is to essentially look at the camera while shrugging and saying, “Chicks, amiright, brah?” Regardless, this is another one of those examples of “Anything can happen,” not because this show is so deft at navigating through its well established world to surprise its audience, but because the writers pretty much just throw everything at the wall and even they don’t seem to know what’s going to stick.

Obviously Dexter’s never going to make it to Argentina, but the real question is whether Masuka’s adult daughter whom he did not raise and just met, like, a week ago will stop smoking pot on Saturdays. Wait…

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Ukraine vs England – Team News, Match Preview & Likely Line-Ups

Published July 21, 2014 by gossipzoo

Media Image LTD

Media Image LTD

Date: Tuesday, September 10 Venue: Olympic Stadium K/o: 19:45

England manager Roy Hodgson will be hoping Rickie Lambert rescues him from his striking crisis against Ukraine in tonight’s Group H World Cup qualifier.

Team News

The Three Lions will be without Wayne Rooney, Daniel Sturridge and Danny Welbeck for tonight’s clash in Kiev.

Hodgson will make only one change however to the side that won 4-0 at home to Moldova last Friday, meaning midfielder Frank Lampard will earn his 100th cap.

Manchester City’s James Milner is expected to replace the suspended Welbeck.

Ukraine are set to start with striker Marko Devic, while Yevhen Konoplyanka is set to keep his place on the left flank and Andriy Yarmolenko on the right in a 4-4-2 formation.

The home side are coming into this game in superb form having previously thumped San Marino 9-0.

(source: BBC)

Key Stats

Ukraine’s 9-0 win over San Marino last Friday was the biggest win in their history.

England top Group H on goal difference and with a game-in-hand on second placed Montenegro, but can be overtaken by Ukraine tonight with a defeat.

The last time these sides met was the first stage of this World Cup qualifier double header, with the game ending 1-1 at Wembley Stadium.

Of the last six encounters, dating back to 2000, the Three Lions have been victorious four times, with one defeat and a draw.

Likely Line-Ups

Pyatov, Khacheridi, Shevchuk, Fedetskiy, Rakitskiy, Tymoshchuk, Yarmolenko, Konoplyanka, Edmar, Seleznyov, Devic


Hart, Walker, Cahill, Jagielka, Cole, Lampard, Gerrard, Wilshere, Milner, Walcott, Lambert

Now click “Next” for our Match Preview.

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Ukraine vs England – 5 Key Battles

Published July 21, 2014 by gossipzoo


Tonight, the nation will hold its collective breath as England take on Ukraine in Kiev.

The crunch Group H World Cup qualifier will likely have a deciding say on which side tops the table and makes it through to next summer’s tournament in Brazil.

Both sides go into this encounter in varying moods.

England, despite rolling over Moldova in a 4-0 win at Wembley Stadium last week, had their feelings tempered by the suspension to Danny Welbeck and injury to Daniel Sturridge.

Ukraine meanwhile are flying having battered shoddy San Marino in a thumping 9-0 win, a national record for the Yellow-Blues.

They also have the home advantage and the knowledge that they held tonight’s opponents to a shock 1-1 draw in their own stadium almost a year ago to the day.

Then, Frank Lampard rescued the Lions with an 87th minute penalty, and, with the Chelsea veteran set to make his 100th cap tonight, will he be similarly influential over proceedings?

As with any game, this one will be decided in certain key areas and here, we take a look at the 5 Key Battles that could decide the outcome of this fixture.

Click “Next” to begin.

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Blackout Banquet – Thames Festival 2013

Published July 20, 2014 by gossipzoo

If someone were to attempt a London-set remake of Woody Allen’s Manhattan (Heaven forbid!) then Tower Bridge would surely be a firm favourite to feature as the iconic feature on the poster and backdrop for the end of the couple’s first romantic engagement. The regal bridge is without a doubt one of the most breath-taking feats of design and engineering in the capital and was the backdrop of D & D London’s Blackout Banquet, which forms a part of The Thames Festival and runs daily until the close on the 15th.

Blackout Banquet

The concept IS not dinner in the dark, but rather an attempt to capture the beauty of a candlelit dinner of a bygone era when light pollution was not as rife in the capital. So from 8:30 the group heralding the scheme made up of Le Pont De La Tour, Cantina Del Ponte, Blueprint Caf , turn off all their lighting, plunging the area into a state of darkness never before experienced and allowing diners a unique opportunity to savour the grandeur of the Thames and views of the river simply by candle light. Sadly the local council’s refusal to turn off the lamps and lights along the riverfront meant that it was not exactly the “blackout” as advertised. However, certainly gave me the clearest view of the London night sky I can recall from such a central location; and sat at one side of a 140-seater long banquet table opposite my dinner companion, we basked in a stunning end-of summer sunset, whist preparing for our meal.

To quench our first we were treated to a rather unique cocktail, A Swim and Tonic. Translated, this is a gin and tonic, in a plastic bag with a colourful, plastic goldfish inside. I’m not a G and T, man, but my companion was very pleased with it. Much more on my pallet-length was the espresso martini, which I had for an after dinner treat.

The starter of blackened crayfish on a bed of segmented plum tomatoes with a pesto garnish was a dish that aesthetically was worthy of its surroundings. Fresh, light and appetising, it was very much a summer dish, worthy of the warmth of an evening that was clinging desperately to the dying embers of summer. Had the crayfish been a little more seasoned, its contrast with the sweetness of the tomatoes would have created a much more palatable dish.

The main, however, satisfied any feelings of wanting that I had from the starter. A succulent, roasted slab of pork with a crunch crackling rind intact was complimented perfectly with a bold pairing of yellow plum slice and cranberry jus. Call me traditional, but despite my satisfaction with the tangy, slightly tart cranberries and juicy plum, you can’t beat apple and pork. This said, I was pleasantly surprised by the combination. Completing this was a black potato? This was a first for me and left mixed feelings. What it lacked in presentation it made up for with its nutty taste and texture, more akin to a chestnut – which is a nut that can do no wrong in my book – than the noble spud.

Finally a syllabub with berries and shortbread biscut was served after a pleasant interval which allowed the night to completely draw in and envelope the riverfront. The berries that formed a base provided a sharp sour contrast to the sweet, creamy syllabub, while the shortcake’s rich, buttery flavour and crisp texture meant a spoon was merely an option for the consumption of this divine pud’. Perhaps blackberries would have been nice to continue the theme, but that’s merely a nit-pick on a great dessert.

Blackout Banquet Butlers Wharf

An ideal evening for a romantic engagement – many doe eyed couples were staring across the candles – or a group outing, as exhibited by the “merry” group who tried to initiate a Mexican wave of fashions, substituting full wine glasses for arms.

Meals at the Blackout Banquet banqueting table are priced at 35 per head for three courses including an arrival drink and coffee. Reservations can be made by visiting or by calling 020 7940 1833.

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8 Great Movies About Film Making All Directors Must See

Published July 20, 2014 by gossipzoo

Lost In La Mancha

The track record for movies about movies is not particularly fantastic, to be frank. The appeal is pretty obvious – if great art comes from passion, it makes sense that a cinematic artist would be inspired when making a movie about movies, right? – But all too often films about films tend to fall into one of two ludicrous extremes, either painting filmmaking as a soul crushing toil in the salt mines, or as a jolly frolic where there’s no pressure and no pain, and inspiration flows from a tap. (Cue laughter from anyone who’s ever tried to make a movie, ever.) No wonder the best movies about film making tend to be documentaries – it’s harder to BS an audience about the process of making films when you’re showing actual footage from a working film set.

All of which is a long winded way of saying that when a film comes out that really captures something about the dynamics of filmmaking, it’s a special thing indeed. Here’s eight films – some documentaries, some fiction, some romanticized, some anything but – that anybody looking to work in the art form should see:

8. The Snowball Effect


OK, to be fair, citing a DVD making of documentary on this list is probably cheating – but honestly, if you’re looking for inspiration as a young filmmaker, what better source? In the past, knowledge about “how movies are made” only came from classic Hollywood films, which by and large offered a ludicrously sanitized fictionalization of the filmmaking process; now anyone with a DVD remote has direct access (sometimes perhaps a little too direct?) to the process by which films are made.

Few filmmakers are more honest and forthright on this score than Kevin Smith. Open and honest about his own failings as a director (“Throw a rock, you’ll hit a better director than me,” he once told a crowd of fans), Smith has also been quite open about the making of his films, with DVD and Blu-ray platters that sometimes seem awfully opulent for movies about a bunch of dudes standing around talking. The Snowball Effect, a documentary about the making of his debut film, Clerks, is probably the finest of these supplements, and honestly might be one of those rare beasts – a documentary about the making of a film that is better than the film itself.

Obviously there’s plenty of wit (vulgar, but still) in The Snowball Effect, plenty of ribbing and joshing and juicy behind the scenes tales; but for any filmmaker, The Snowball Effect is the most valuable form of filmmaking heroin imaginable. If you’ve ever needed the inspiration to get off your ass and just make a movie, then it’s required you see The Snowball Effect, which charts – in granular but fascinating detail – how Smith, a college drop out, pulled together a bunch of his friends, some untried community theater actors and a few buddies from his brief time in film school to make a movie. The film is refreshingly blunt, with most of the participants admitting that they had little or no idea what they were doing, and that the fact that the film turned out watchable was probably a miracle; it’s also inspiring, in that Smith and his rag tag operation seem to prove Quentin Tarantino’s assertion that if you love movies enough, regardless of time or budgetary constraints, you will probably make a good one.

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Jurassic Park World To Open June 12, 2015

Published July 19, 2014 by gossipzoo

Jurassic World

Jurassic Park 4 now has an awesome new title and a release date…

Universal Pictures will release Jurassic Park World on June 12, 2015, the distributors have revealed. The summer blockbuster will be shot in 3D and will be the first Jurassic Park film to be released since Jurassic Park 3 stunk up theatres in 2001.

The plot will revolve around a working theme park called Jurassic World which, once again, goes tits up in logistics but this time there’s a park full of tourists that are in danger.

Steven Spielberg will return to the franchise, but as a producer rather than director, a job which falls to Colin Trevorrow this time. Trevorrow was the director of last year’s Indie hit Safety Not Guaranteed but will be working with a significantly bigger budget this time out! Meanwhile, Frank Marshall and Pat Crowley join the team as fellow producers.

The cast is so far unconfirmed, however, earlier this year, Sam Neill revealed it is unlikely he will return to the series as Dr. Alan Grant.

However, original stars Richard Attenborough and Jeff Goldblum are rumoured to return to their parts as John Hammond and Dr Ian Malcolm, respectively.

So a clever title from Universal and due to how long it’s been since the last Jurassic Park movie a real sense that this one should be taken more seriously than the last entry. We still can’t be sure whether this will be seen as a franchise reboot (looking likely given the title) or how it’s going to shape up, but we like what we hearing so far.

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