KING-KONG

You know what the only dinosaur to eat anyone in the original King Kong is? An apatosaurus, which, if you may remember, is the dinosaur that was voted Least Likely To Eat Flesh in its Jurassic High School Class of Oh Shit It’s A Fucking Comet yearbook. And it does more damage than any other animal in that movie, eating people in the swamp, and then chasing a dude down specifically to defeat its basic biological instincts and eat him, too. We had a lot of weird opinions in 1933, but you’d have to go out of your way to put a tyrannosaurus, a giant snake, and a pteranodon into your movie, and then say “Scrap all of our former plans, boys. Give me that long-necked fella. That sucker looks mean.”

One Million Years B.C. pits man not only against the allure of Raquel Welch’s Mesozoic lingerie, but against a sea turtle that is apparently getting pre-emptive revenge for all the soda can rings that will eventually invade its descendants’ homes. There’s no other way to justify that kind of action. When sea turtles are attacking you, maybe it’s time to rethink some shit.

In Unknown Island, both the main villain of the movie and the biggest dinosaur in the land are killed by a rampaging “giant sloth.”

Got to make a prehistoric movie, but creatively drained from figuring out all the non-dinosaurs you’re gonna use? Throw in a giant plant, or something vaguely plant-esque.

What I’m trying to say is that I don’t know why we keep having all of these conversations about the deadliest dinosaurs when we’re probably going to end up being consumed by a large snail, or a weirdly antagonistic rock.

5 Silly Rules That Old Dinosaur Movies All Seem To Follow

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A little something I’ve always wanted to do- Special effects from the 1920’s to the 1940’s.

For the sake of sanity, I left off some details of the traveling matte processes…. them’s pretty complicated things!

(Hm I gotta work on my graphic design chops…. gettin kinda rusty)

ifc.com
Hollywood, It’s Time to Retire the ‘Loveable Misogynist’ Movie Hero
Thanks Max Rockatansky for showing us there can be another way.

I love Mad Max.  The character, that is, and yes I mean the version as portrayed by too-pure-for-this-world precious cinnamon roll Tom Hardy.  This version of Max Rockatansky was a game- changer, a turning point, and it’s not so much because of what he does do in the film (tortured gun-toting loners like Max are common) but what he doesn’t do. And the most important thing Max doesn’t do in Mad Max: Fury Road is be a dick to women.

This is remarkable because Max spends almost his entire movie surrounded by women.  While there is some debate as to who is the protagonist of the piece, Max is the main character as the audience views the story through his lens, the Nick Carraway to Furiosa’s Jay Gatsby.  So in a movie with a male lead, it’s an extreme rarity to see a supporting cast that’s even half female, let alone mostly female.  And the most revolutionary element in Fury Road isn’t necessarily the quantity of female characters (though that is certainly extremely noteworthy, considering the relative paucity in most other movies that aren’t romantic comedies), but that gender doesn’t inform character interaction.  Max doesn’t alter his language or actions when he’s interacting with any of the women.  He doesn’t need to remark on girls doing non-girl things like shooting or punching, he doesn’t need to second guess anyone’s abilities and his ego isn’t bruised when Furiosa is his better at certain skillsets.  Here’s a male lead who isn’t driven by insecurity about his masculinity.

Why is that so rare?

The release of Jurassic World several weeks later, and the subsequent eye-rolling at the dull, played-out Beavis and Butt-head-level way that Chris Pratt’s character treated his female co-lead was placed into even more stark contrast by how people embraced Hardy’s Max.  Loveable wink-wink, nudge-nudge misogyny in your male lead isn’t a problem unto itself.  The problem is sheer volume.  It seems like with tentpoles and franchise properties that aren’t aimed at children, the lovable misogynist is a handy stock character if you want your protagonist to be flawed but relatable.  After all, if the Hollywood bro-club presumes the audience doesn’t respect women, why the hell should your protagonist?

These things seem to come and go in waves, but it’s nothing new.

“Lovable misogyny rarely furthers a narrative or builds interesting characters; it’s just there because it’s normalized.  And, again, this is not an issue of volume, it’s an issue of the pervasiveness for that being the go-to Thing when you want to give your male lead a character arc.  It usually doesn’t add anything (I’m looking at you, Age of Ultron “prima nocta” joke that everyone hated), it’s just set dressing that’s placed there for no reason other than the assumption that the drooling caveman audience will get confused at its absence.  It’s 2015, it’s not weird for women to have jobs and fix cars and punch faces anymore, move on!“