{"id":4564,"date":"2017-03-21T21:58:00","date_gmt":"2017-03-21T21:58:00","guid":{"rendered":"http:\/\/www.thewildeye.co.uk\/blog\/?p=4564"},"modified":"2017-03-06T21:58:13","modified_gmt":"2017-03-06T21:58:13","slug":"killersaurus","status":"publish","type":"post","link":"http:\/\/www.thewildeye.co.uk\/blog\/reviews\/killersaurus\/","title":{"rendered":"KillerSaurus"},"content":{"rendered":"<p>Director: Steve Lawson<br \/>\nWriter: Steve Lawson<br \/>\nStars: Julian Boote, Adam Collins, Helen Crevel<\/p>\n<p>You have to frankly applaud anybody who tries to make a dinosaur movie on a budget of half a takeaway pizza and a couple of postage stamps. So the writer \/ director Steve Lawson &#8211; a familiar figure in the world of contemporary British horror thanks to his similarly shoestring productions <strong>The Silencer<\/strong> and <strong>Nocturnal Activity<\/strong> &#8211; deserves considerable kudos for having the sheer chutzpah to take on the task with his 2015 film <strong>KillerSaurus<\/strong>. It&#8217;s just a shame it&#8217;s not all that good.<\/p>\n<figure id=\"attachment_4565\" aria-describedby=\"caption-attachment-4565\" style=\"width: 250px\" class=\"wp-caption alignright\"><a href=\"http:\/\/www.thewildeye.co.uk\/blog\/wp-content\/uploads\/killersaurus.jpg\" ><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-4565\" src=\"http:\/\/www.thewildeye.co.uk\/blog\/wp-content\/uploads\/killersaurus.jpg\" alt=\"Killersaurus\" width=\"250\" height=\"353\" srcset=\"http:\/\/www.thewildeye.co.uk\/blog\/wp-content\/uploads\/killersaurus.jpg 250w, http:\/\/www.thewildeye.co.uk\/blog\/wp-content\/uploads\/killersaurus-62x88.jpg 62w\" sizes=\"(max-width: 250px) 100vw, 250px\" \/><\/a><figcaption id=\"caption-attachment-4565\" class=\"wp-caption-text\">Killersaurus<\/figcaption><\/figure>\n<p>Kayleigh Ma (Helen Crevel) is a geneticist who was part of a team working on a top secret project which has been axed after some kind of fatal incident. Her pushy journalist boyfriend (Kenton Hall), motivated more by the prospect of a good story than concern about her repeated nightmares, encourages her to go and visit the old laboratory &#8211; or, to be more precise, warehouse &#8211; and look up her former boss Professor Peterson (Stephen Dolton). Gradually the truth becomes clear: they have managed to use &#8216;laser printing&#8217; to create a Tyrannosaurus Rex, which is now locked up behind a flimsy shutter in the basement. What&#8217;s more, the arms developer nitwits who financed the project are on their way, intent on forcing Peterson into creating a half man, half dinosaur hybrid; supposedly the first in a new breed of super-soldiers.<\/p>\n<p>In all fairness, the fact that this is rubbish isn&#8217;t really Lawson&#8217;s fault: there&#8217;s absolutely no way he could have been expected to make something half decent with the extremely meager funds available. To put it into context, think of the difference between <strong>Jurassic Park<\/strong> and <strong>Carnosaur<\/strong>, then multiply it several times and that&#8217;s just about the difference between <strong>Carnosaur<\/strong> and <strong>KillerSaurus<\/strong>. This is most evident in the titular creature itself, which is realized using what looks like a plastic children\u2019s toy and a lot of dry ice, but also in the limited sets and even more limited cast, just about all of whom have that over-emphatic style that\u2019s familiar for semi-professional actors. Although it\u2019s hardly a rollicking affair it\u2019s never exactly boring thanks to the curt seventy five minutes running time; and it\u2019s actually assembled with some skill by Lawson and his team.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>You have to frankly applaud anybody who tries to make a dinosaur movie on a budget of half a takeaway pizza and a couple of postage stamps. So the writer \/ director Steve Lawson &#8211; a familiar figure in the world of contemporary British horror thanks <\/p>\n","protected":false},"author":1,"featured_media":4566,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1214,8],"tags":[1193],"_links":{"self":[{"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/posts\/4564"}],"collection":[{"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/comments?post=4564"}],"version-history":[{"count":1,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/posts\/4564\/revisions"}],"predecessor-version":[{"id":4567,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/posts\/4564\/revisions\/4567"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/media\/4566"}],"wp:attachment":[{"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/media?parent=4564"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/categories?post=4564"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/tags?post=4564"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}