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A fresh week has come by, for us to go back to the dismal world of movies that curse the already lacking horror genre, and see if it is better to leave them buried. However, there are some brave fil makers who attempt the impossible and end up not as pleasantly surprised, and for now, this column covers the sixth horrifically disgusting fiction that fills them devoid of entertainment value. So far, the clustered issues of feeble scripts, subpar plots, pathetic direction, and other sins against the basic principles of filmmaking are all properly proportioned to the above films previously, in my reviews. At one point in history, the movie Jurassic Prey had a rating on IMDB of 4.8, and it has since then plummeted all the way down to 1.7. In this review, I aim to determine whether that is in fact the right direction to tumble down into nausea or if that was badly tampered with in the votes. People, with no doubt, the gradual guide down is correct, and now for the reasons, in my perspective,e it is garbage which is far too harsh a condemnation from another critic but not very far from the truth.
Having said that, lets focus on Polonia Brothers Entertainment, observing that the low-budgeting style of Mark and John dates back to 1987 Splatter Farm, and went onward to feed the hearts and spoil the eyes of many fans of the b-movies. It is sad how John passed on in 2008 of a heart aneurysm at the age of 39. Although most in the horror genre will never take note or remember his work, it is good to know that he was able to pursue what he loved. I’m sure many of their films will appear in the amusing moments column, low on principle problems, but rich on cheesy moments and fun filled laughs. Having said that, it all falls flatter than wax paper and nothing sticks together.
Regresa el director Mark Polonia a la savana con Saurians (1994) sobre unos camosaurios que son despertados mediante explosivos que usan los construcciones. En este 2015, despues de un intenso retrete, ya podemos llamar a lo que se ha despertado un dinosaurio. A pesar de que Mark estaba metido en Dinosaur Chronicles del año 2004, esto no augura nada bueno. Los Acolorados mas, pero al menos son menos peores. En efecto los motivos del dino se logran superar el terror, y por si esta cinta no tuviera mas, contiene la referencia a Godzilla. Yo soy todavÃa mas feo que este dino chocho. Si doy la nota en algunas de las mejores cantidades sobre el esciso de cinematografia con Raptor Ranch (2013) y hasta el TV-Movie 2010 Triassic Attack, hace mucho que lo presentaba mejor y bueno tocaremos un poco mas sobre la entire b movie en este review un poco mas tarde. Mark, a pesar de como decente, y siendo bastante activo en este campo y teniendo mas de 50 movies de horror a su nombre, el reciente estreno de Amityville Exorcism (2017) y Bigfoot vs. Zombies (2016) demuestra que tiene la capacidad de montar el producto para sus fieles aficionados.
We are going to try to analyze a non- existent plot from screenwriter John Oak Dalton who, just like the Polania brothers with RazorTeeth (2005) and recently Amityville Death House (2015), seems to have a handful of cabin in the woods type subplots layered in his works that all culminate together. So first off, we have two police officers (Um, I don’t think so) busting into a theater and gunning down a maniac, Burleson (Frank Humes) who is running rampant with a bloody hacksaw. Turns out, he has a Dog Man (Richard Rawson). This makes absolutely no sense and has nothing to do with the plot whatsoever because all it serves as is a quick introduction to the police, Culter and Forest (Steve Diasparra and Todd Carpenter respectively, who have both worked with Mark before), then the scene closes to reveal high dark clouds at reverse super speed to transition. Three bubbling friends we have now are trying to tell a cover story to get bank robbed, though these businessmen would do a better job than these fools.
Now, back to the police hounding a gentleman called Meatball (Austin Dragovich), for using a payphone, how they got the information and the why, hmmm, don’t ask, there are no answers. At this point, Jackie meets the thieves, who set off in a truck towards a cabin in the woods, and we have the pleasure of meeting the silly rampaging T-Rex, who has already slaughtered some cows and a hiker. After some more munching moments of dino-mite scenes, Culter comes to battle with an oh, please, first present then not, then back, layer in the shot very badly not funny just more belly punch.
Allowing myself a moment to unwind and analyze the biggest problem the consequences. The dinosaur looks, and performs like a cheap ditto, perhaps because of the budget restrictions To top it all off, the legs are either puppetted or some guy is awkwardly walking stacked in dino-legs. The color the beast shifts from pale green/grey to sometimes deeper brown is Beyond silly. The creature features from the 50s are immensely better than this, the attacks were puzzingly poorly executed. This enormous sized creature remains silent for 90% of the film, not able to se on various unfortunate souls, forced to escape mouths and toss blood in a manner that can barely be called messy. The dinosaur does utilize some stop motion techniques, which are highly regarded and pleasing to many, but the cgi and nonsense presentation overshadow them. Regardless, the abominations known as Birdemic 2 still reign supreme when it comes to the worst blood effects. It’s the kind of sink that the imitation so boldly elicits a groan and not a valid chuckle. The murders infact do border on entertaining, though more for the wrong reasons, the rest of them.
The film’s special effects were done by Brett Piper who is a very skilled individual on many of his low budget projects, which seems harder than one thinks. There is very little money and so the options are often out of the box which forces a creative mind. Piper also had to place himself in different seats in the filmmaking process and indeed did dinosaur movies in the past which fairly do sit above his Jurassic Prey such as Nymphoid Barbarian in Dinosaur Hell (1990), She-Rex (2009), and Bikini Girls on Dinosaur Planet (2005).
A lot of people who love the laughter of bad, yet entertaining movies, which seems to substitute traditional b-movie and exploitation films, might be in for disappointing treats. These creature features were more captivating. The quality of the b-movie constitued the cheesiest of all dialogues, actions meant to elicit laughter, and good ‘ol fashion T&A, but unfortunately this movie embodies both Swiss cheese and moldy cheese that not even a New York sewer-rat would sniff at. One digs into dinosaur films and discovers over 620 of them, then narrows to just over 210 when combined with sci-fi, scaled much further when adding the term ‘horror’ to level out with 30 to 60 films, many of which are far more superior than this flick.
The acting is rather stiff and the wooden performance combined with the writing does not do too much for the plot. Nor does it give any of the actors a break, it is all point and shoot the scene, walk the paces. The sound is fine; wish it wasn’t, but you can hear the lines, which are delivered with such monotone lack of passion that makes me wish I was watching something else I didn’t feel much when the Built to Die taglines were being said, albeit I cannot say they aren’t valid reasoning. Even with the lack of excitement that Polonia flicks usually give, it felt as if that was crammed in with everything else. This picture just seems to be lacking the wow factor, unfortunately there is no view that is favorable from what I saw, no edge of your seat moments, zero drama, and the horror just yawns. With all the blotchy decapitated head, the rest of the special effects I seem to remember is a poorly made severed arm and dumb looking gunshot wounds, and how can you forget all the continuity errors plus lights shining.reflecting shining in the windows.
Jurassic Prey was released and Wild Eye has provided distribution. The cover art; excuse me, none of that is actually in this movie. For better or worse, the movie moves along a quick moving pace (thankfully), and it is a film which permits one to play at the end of party as your feeble mind sets adrift. Raise your glasses, embrace the pandemonium, snipping the contemporary moonshine may also prove beneficial in addition to staving off the groans and ughs as you await for the cheers when the credits roll. The DVD contains trailers, promotional videos, behind the scenes, making of featurette, and director’s commentary. Although it is not unwatchable, it does not improve on further viewings. The best wish Jurassic Prey is to simply never revisit your screen and inflict damage to your already horror ridded mind.
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