Prehisteria

The life-like miniature dinosaurs are a joy to behold but the humans don't do this film any favours. It's obviously aimed at young children and is therefore awful. The dialogue and acting stinks. So the best way to watch is press the fast forward button whenever the cute dinosaurs aren't in shot. They deserve to be in a much better film. On their account I rate this 5 instead of 1.

We do movie night with my son (8) most weekends. He's always been into dinosaurs and I recognized the kid from Last Action Hero on the poster art. So I thought this would be a fun one for him. I was mistaken.

I can ignore generally bad acting in family movies. This however has a plethora of other major issues. Why are there multiple weird sexual situations and conversations? Why are there unironic threats of gun violence and murder? Why is the dad a total d*ckweed to everyone? But beyond that, it lacks adventure and anything even remotely pushing the plot along. This should really be called "jerky widowed dad yells at kids while he chases after a new girlfriend, while also grunting at her a lot."

The basic premise of the film, family accidentally discovers baby dinosaurs, is an easy setup for something good, but it's never delivered on. The Last Action Hero kid dancing to Elvis is truly the highlight of the film. Skip this one. Go watch We're Back, Journey to the Center of the Earth, or the Flintstones movie. All exponentially better family films.

If your wanting a movie that will inspire you and create new emotions....this is not the one. But it is good if you want to keep your small child occupied for a few hours. I didn't rent this for me to watch, but my 4 year old, and he liked it. I saw enough of it to know that the acting is bad and the jokes are lame, but I don't expect kids movies to be great works of art. I expected it to keep my little boy's attention long enough so I could watch the movie I wanted to see, and that it did. And he wanted to see it over again (5 day rental), so I can't trash it too bad.

In one sense, I kind of liked this movie because of a 'mindless', positive atmosphere it sort of conveys. I had a problem with an aspect of the plot, but more about that later. First, the characters were a little goofy and one dimensional. The 'good people' had similar physical and character traits and the 'bad people' had similar physical and character traits ... hmmm. The basic storyline was OK (pretty simple and standard) - nothing too exciting or objectionable. The main attraction was, of course, the miniature dinosaurs - kind of a nice fantasy element to have. However, they had a very minimal presence in the movie.

Outside of that, the movie kept a brisk pace and didn't get too bogged down in any one place. I liked this about the movie.

The problem I had with the plot had to do with the the idea of "stealing". I think this movie may not have been thought out enough - something's wrong especially if this is a kid's movie. I'll keep the next sentence abstract to not be a spoiler (skip it if you're worried). The 'good guys' do some stealing and they don't have the same info the audience has - so it's just stealing and that's kind of a bad thing for a kid's movie.

Overall, if you have kids, because of a questionable plot aspect I'd consider passing. However, this whole movie is pretty low key anyway so it may not matter. Pass this one if you have any other interesting choices.

Moonbeam is interesting because with it Band finally admits the childish nature of his comic booky stories and his trademark whimsical tone, now without the irruption of sex and violence present in the average Full Moon outing.

A nauseating sitcom family dynamic is at the center of the picture, injected with the derivative dilemmas of children's fiction, even with a trite and underdeveloped backstory of grief that sometimes comes up whenever the script requires it (this whole "missing parental figure" thing also troubled the child protagonist of The Seven Faces of Dr. Lao (1964), where the void was also filled by a showcase of special effects and stop motion). A charmingly naive fantasy tale done in a post-Spielberg/Dante era, with the rowdy spirit found in the tamest scenes from Gremlins (1984) but without the satirical perversion of childish iconography and subjects. Band's film maintains it's purity and childishness without allowing it to be contaminated by dreadful morbidness, grossness or violence of any kind, every punch and firearm shot is clean and harmless, every "adult" joke is safe and restrained, every conventionally attractive adult that's single falls in love with another one, and every piece falls into place without any problem or trouble. There's no place for verisimilitude in the childish fantasy.

The real stars are obviously the David Allen-made micro-beasts, who engage in the typical disastrous misadventures and cutesy little shenanigans these movies require. Dino-puppies extracted from the likes of Beethoven (1992) and its sequels. Perhaps one of the most interesting things is the way the Bands portray the dino-doggies, with a crushing ordinariness, their reveal occurs with the utmost cinematic casualness, from one shot to another, one cut it's all that's necessary to reveal them, as opposed to the typical Spielbergian procedures seen on Gremlins, where the search for a particular effect and emotion forced the direction to employ shots specifically constructed and timed to convey a certain feeling (the tilted and moody shots of the Gremlins hatching for example) but Band opts to dispose of all of that, never even accentuating an emotion. The reactions humans have to seeing the dinosaurs are no different. There's no true questioning of the little creatures aside from simply pointing out their strange appearance in the house. The small reptiles are shot and framed as simply another element of daily life, inhabiting the frame as naturally as any puppy or cat does. Never seen with strangeness or making them disturb the world created. There's no place for the questioning of the fantastical in the childish fantasy.

The old school model seems transported from the 50's and 60's, mostly untouched, perhaps out of the inability of father Band to adapt to the times, or perhaps the son's nostalgia is the one responsible for such backwardness. As with most of Band's catalog, the core is an old model that becomes slightly modified by the popular tropes of the time, but it's mostly undisturbed by modern sensibilities or worries.

Prehysteria has no objective other than purifying the children's film, while Jurassic Park (1993), Gremlins (1984) and Goonies (1985) pushed the limits of the subgenre, maturing and occasionally pouring a few drops of meanness and intensity into their stories, Band brought back naivety to it, a deliberate and shameless naivety, always conscious of it's tone and with total conviction to it, self conscious but not self deprecating, proud of an obsolete cinematic infantilism.

The best and most fitting start for Moonbeam.