‘Jurassic World: Dominion’ review: A stupid big animal that deserves extinction
With Jurassic World: Domination, it’s clear: Colin Trevorrow is the worst thing to happen to dinosaurs since that asteroid knocked them all down in the past. The writer/director/producer who participated in each jurassic world the film has repeatedly failed to recapture the magic of Steven Spielberg’s 1993 blockbuster, jurassic park. Instead of wonder, terror, and gripping characters, Trevorrow gave audiences the cynicism and cliches that make them dark action films devoid of a soul.
Trevorrow directs Jurassic World: Dominionwith a screenplay written by himself and Pacific Rim: Uprising writer Emily Carmichael. It doesn’t matter if you saw or don’t remember jurassic world or its sequel Jurassic World: Fallen Kingdom, as an opening newsreel montage sets the stage: after another failed attempt to build Jurassic Park, dinosaurs are on the loose all over the world, threatening life as we know it. Also, a clone girl named Maisie Lockwood (Isabella Sermon) has gone missing. But don’t worry, this new(ish) character – whose role is mostly to sulk and run in terror – is supported by dino activist Claire Dearing (a wide-eyed Bryce Dallas Howard) and whisperer raptor Owen Grady (a frowning Chris Pratt) (aka the least compelling romantic couple ever). Well, that’s until a group of poachers kidnap Maisie and Raptor Blue’s baby Beta for evil scientific reasons.
To explain all this and many, many, a lot Additionally, Trevorrow floods his audience with a series of exhibit dumps that talk science phrases and buzzwords about GMOs (genetically modified organisms), animal rights, science ethics, and their global impact. But Jurassic World: Dominion has nothing to add to these debates, treating them simply as hooks to lure into the trio of classics jurassic park characters.
Dino mayhem reigns in ‘Jurassic World Dominion’ trailer
Sam Neill, Laura Dern and Jeff Goldblum are back, but lost
Credit: Universal Pictures
Yes! Jeff Goldblum, Sam Neill and Laura Dern return as Dr. Ian Malcolm, Dr. Alan Grant and Dr. Ellie Sattler. And while each of these stars is as dazzling as ever, they’re given little criminal work for the first two hours of this sixth installment in the franchise. Dern is seductive as the cheerful, beautiful Ellie, who has never encountered mischief that hasn’t intrigued. Neill is a dependable and lovable curmudgeon, but his Grant is treated like a loser who never made a living in the excavation pits. Meanwhile, Goldblum struts across the screen in Ian’s signature skinny black jeans and an unbuttoned shirt, but his Malcolm has lost that spark that made this fun chaotic. Now, when he lectures on how humanity leads to its own end, it doesn’t seem bold. It’s like, well, duh.
Laura Dern is 20 years younger than Sam Neill in Jurassic Park
Jurassic World: Dominion fails in an impressive spectacle
Credit: Universal Pictures
Trevorrow’s lack of vision is evident from the OG trio’s introductions. What should be great moments, reuniting us with these beloved heroes, are handled with a pragmatism that undermines this stunt cast. Unfortunately, this lack of flare continues through the action sequences. It should be fun to watch dinosaurs run amok in the human world. There’s plenty of action set-pieces that look entertaining on paper, from a massive sea beast flipping a fishing trawler to Owen’s motorbike race away from atrociraptors unleashed to Claire crawling out of reach of a creature with ferocious claws. But in execution, most of the action scenes are a murky mess.
Where jurassic park used its masterful special effects to satisfy our lingering gaze at the miracle of the resurrected dinosaurs millions of years later, Jurassic World: Dominion constantly obscures its wonderful monsters. Snow, water, darkness, and quick cuts are all used to cover up the finer details of these CGI beasts, perhaps to hide the seams and reduce post-production costs. Combined with a dull color palette of sickly browns and grays, the effect is dinosaurs that don’t evoke the majesty and terror of those from the 90s, precision be damned.
“Jurassic World: Dominion” earnestly expects audiences to believe that a megalomaniacal billionaire’s dinosaur research facility has less stringent security than your local bar.
Besides spoiling those action sequences, a cover that cuts roughly, spoiling geography, readability, and flow. Maybe Trevorrow is hoping to cover those rough edges with intimidating sound design because this movie is excruciatingly loud. Engines roar. Humans scream. Dinosaurs below. Metal bends and breaks. This film is neither interesting nor exciting, but of course it is loud. Perhaps her helmsman figured that if something – be it man, beast, or machine – squeals in our ears, we won’t notice the many intrigues created by the chattering but meaningless dialogue. No chance. Jurassic World: Dominion sincerely expects the public to believe that a megalomaniacal billionaire’s dinosaur research facility has less stringent security than your local bar.
Trevorrow embraces his worst impulses. Still.
Credit: Universal Pictures
One of the strongest reviews of Trevorrow’s first jurassic world was the cruel violence exerted on minor characters, as he thought the audience would appreciate the Graphic death of a so-called “bridezilla”. This average sequence persists in Jurassic World: Dominion, where human victims suffer grisly fates that are practically mocked in video montages that pair them with stupid social media news. It’s like watching a botched slasher sequel, where the assumption is that audiences are showing up for high body counts, not any kind of character development. As an avid horror fan, you can do both!
It’s no wonder, then, that franchise newcomers Mamoudou Athie and DeWanda Wise, as Biosyn’s head of communications Ramsay Cole and pilot Kayla Watts, have little backstory and thin character development. primarily exist to mirror the pre-established characters and help leads out of trouble. Still, props to Athie and Wise for bringing a resilient charisma that makes their roles far more compelling than the script deserves. Even poor Sam Neill is damned by silly dialogues like “Paleontology is science. Science is truth. Truth is in the rocks.”
Really, what’s an actor supposed to do with lines like that?
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Jurassic World: Dominion is a merciless retread of jurassic park
Credit: Universal Pictures
Colin Trevorrow just can’t help himself. Just like he did in the first two movies of this rebooted sequel series, it full on steals action sequences, beats, and even props from the first film. Ellie will stroke a dino with uncontrolled fear. Alan will give a lecture on the death of raptors. But a Dilophosaurus will also hunt down a sneaky villain in a broken down vehicle for a carnivorous reward and a dropped box of shaving cream. Don’t call it an encore when you repeat beat-for-beat dinosaur attack sequences to the point where the finale feels like you’re tracing the original with a broken pencil. When it gets to the point where Trevorrow recreates the franchise’s roaring logo, I was moaning and encouraging the dinosaurs to finish us off. All mankind. Just stop.
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There is a caustic lack of curiosity in Jurassic World: Dominion. Trevorrow talks buzzwords, big stars, and expensive CGI dinosaurs, but with little interest in showing audiences anything new. He sails on nostalgia, even when he presents species the public may not be familiar with. Instead of giving us something to chew on and savor, it slaps monster meat for battles, races, and destruction, like a toddler running amok in his block-built village. Hilariously, the villain of this film is a pretentious man with “big ideas”, who dehumanizes Maisie by calling him the “world’s most valuable piece of intellectual property”. Yet Trevorrow rebuilt this IP with a similar attitude, selecting its DNA to create something without caring about character or what such a project might actually mean. To paraphrase a prophetic chaotician, perhaps he was so preoccupied with whether he could or not, that he did not stop to think whether he should.
JUrassic World: Dominion hits theaters on June 10.