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    Movie Review

    New 30 for 30 doc Lance gives fallen cyclist a chance to tell his story

    Alex Bentley
    May 25, 2020 | 10:50 am
    New 30 for 30 doc Lance gives fallen cyclist a chance to tell his story
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    In typical Lance Armstrong fashion, the new 30 for 30 documentary Lance starts off fiery and rarely lets up over its 3+ hour running time (part one aired on ESPN on May 24, part two will air on May 31). The hypercompetitive personality that led Armstrong to win at all costs is on display at almost all times, even when he goes into great detail about exactly what he did to get ahead.

     

    Armstrong, of course, is the world-famous professional cyclist who, after a bout with testicular cancer in 1996, came back to win seven straight Tour de France races, the most prestigious event in the sport. From the moment he came back, though, allegations that he was using performance-enhancing drugs dogged him, especially because the sport had just been rocked by a doping scandal the year before.

     

    Directed by Marina Zenovich, who’s taken on such figures as Roman Polanski, Richard Pryor, and Robin Williams, the film feels as close to the unvarnished truth as we are likely to get from a man as complicated as Lance Armstrong. In a film full of interviews from those in and around the cycling world, he is given by far the most amount of screen time, explaining when he cheated, why he cheated, and the lengths that he went to cover it up.

     

    The film takes a vaguely chronological route, with current-day interviews with Armstrong; fellow cyclists George Hincapie, Tyler Hamilton, and Bobby Julich, among others; cycling writers, family, friends, and a host of others. The first half of the film details his rise in the sport from a young gun out of Plano, Texas, his early domination in the professional ranks, his bout with cancer, and his comeback in 1999 to win his first Tour de France.

     

    To his credit, there is absolutely no denial or equivocation about the drugs that he took during his career. He admits that he started doping at 21, well before his Tour de France wins, and makes no bones about his reasons for doing so. As corroborated by almost everyone else in the film, the cycling world at the time was one where using performance-enhancing drugs was a common practice, and if you weren’t doping, you weren’t going to win.

     

    This fact is only one of many with which the viewer must wrestle when watching the film. We build our heroes up onto pedestals, and when they betray us, we are only too happy to tear them down. But no person’s life is black-and-white, and it’s how we deal with the gray areas that demonstrates our ability to accept both the good and bad of the world.

     

    For those who don’t mind profanity, the film is best watched in its uncensored version, as the language that Armstrong uses is essential to understanding the type of person he was and continues to be. Even though he now freely admits to his wrongdoing when for years he would issue lie after lie, he remains a person who still holds grudges and can’t accept those he feels have gone against him or those he loves.

     

    The second half of the film deals with his six other Tour de France wins and the growing suspicion against him, but it also talks about the formation of the Lance Armstrong Foundation/Livestrong and its impact on the world. It can be difficult to reconcile the coexistence of the two seemingly opposite pursuits, but the good that Livestrong has done and continues to do should not be undercut by the actions of the man who started it.

     

    One of the journalists interviewed in the film expresses skepticism that the documentary is only being made as a way to resurrect Armstrong’s reputation. But Zenovich is unsparing, asking all the tough questions, no matter how uncomfortable they make Armstrong or other subjects. In the end, you’re either willing to let an admitted cheater back into society or you’re not. Nothing in the film absolves him of blame, but nothing condemns him to life as a pariah, either.

    Lance Armstrong in Lance.

    Lance Armstrong in Lance
      
    Photo courtesy of ESPN_DLP Media Group
    Lance Armstrong in Lance.
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    Movie Review

    Film sequel Jurassic World Rebirth: stillborn is more like it

    Alex Bentley
    Jul 2, 2025 | 11:49 am
    Scarlett Johannson in Jurassic World Rebirth
    Photo by Jasin Boland/Universal Pictures and Amblin Entertainment
    Scarlett Johannson in Jurassic World Rebirth.

    Given how successful the Jurassic Park / Jurassic World franchise has been at the box office, it’s no surprise that Universal Pictures will find any excuse to keep the gravy train rolling. So here comes Jurassic World Rebirth, a film with all new characters that only has a tangential relationship to the stories that have come before.

    And, man, does it have a lot of characters. Leading the way is Zora Bennett (Scarlett Johannson), a woman who is known for being able to procure hard-to-get things. She’s hired by Martin Krebs (Rupert Friend), who works for a medical company looking to get blood samples from giant dinosaurs to make a life-saving heart medicine. Naturally, they need a dinosaur expert, which they find in Dr. Henry Loomis (Jonathan Bailey), whose work at a natural history museum is coming to an end as the public seems to be growing tired of dinosaurs, five years after the events of Jurassic World Dominion.

    The dinosaurs they need can be found off the coast of Suriname, a subtropical environment that is one of the only hospitable areas left for the creatures. There Zora recruits boat captain Duncan Kincaid (Mahershala Ali), who comes with a crew of three mostly anonymous people. And for good measure, Reuben Delgado (Manuel Garcia-Rulfo) happens to be sailing nearby in the middle of an ocean voyage with his two daughters and his older daughter’s extremely lazy boyfriend.

    Given the recent pedigree of director Gareth Edwards (The Creator, Rogue One) and original Jurassic Park writer David Koepp (returning to the franchise for the first time since 1997’s The Lost World), the film should be an unmitigated success. Instead, the filmmakers and their team stumble blindly through any kind of character development. The fact that they’re trying to introduce no fewer than 11 different people should be a big flashing red light, but still they persist.

    Instead of making us care whether the people in the film live or die (spoiler alert: A lot of them die), Edwards and Koepp seem to lay all of their hopes on audiences being satisfied with yet-more dino mayhem. But dinosaurs rampaging or chomping people in half only works if the human component is compelling, which it is not. They try to gloss over this by having the characters encounter experimental cross-bred creatures, a story device that makes an impact with a monstrous one in the final act, but otherwise fails to land.

    The film also yada-yadas a lot of the plot points, including how Krebs’ company knows they need the blood of these particular dinosaurs when they’ve never had it before. They reference events from previous films in oblique ways, but they run into the same issue every Jurassic World film has had: Not being able to properly explain the main premise of their story, given that previous events should have stopped them from ever happening.

    Any film with an Oscar winner (Ali) and nominee (Johannson) at the top should be one worth watching, but it almost feels like neither actor knew what kind of film they were actually making. They each get by on charm, but even they can’t sell the nonsense they’re asked to say. Bailey, who played Fiyero in Wicked, is given a weird nothing part, while Friend plays the villain with little verve. We hardly get to know anyone else, but Audrina Miranda, who plays the youngest daughter on the sailboat, is super-cute and gets a couple of decent emotional moments.

    As with the Marvel movies, there is bound to come a time when the general moviegoing public gets tired of being served mediocre Jurassic movies. If any of the franchise’s movies deserves to be the stopping point, it’s this one, with a non-starter of a story and little to get excited about when it comes to the dinosaurs.

    ---

    Jurassic World Rebirth opens in theaters on July 2.

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