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REVIEW:
- Release date: June 12, 2015 (USA)
- Director: Colin Trevorrow
- Running time: 2h 5m
- MPAA rating: PG-13
- Film series: Jurassic Park
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CAST:
Crew
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STORY
JURASSIC WORLD IS A BIG, SHINY, AND ENTERTAINING ROLLER COASTER RIDE, THOUGH THE ‘WORLD’ IS MORE INTERESTING THAN THE PEOPLE.
Jurassic World picks up twenty-two years after the events of Jurassic Park, at a time when the late John Hammond’s dream of a fully-functional dinosaur amusement park on Isla Nublar has finally been realized. However, the reality of keeping such a massively expensive business afloat means having to maintain high-security measures, appeal to multiple corporate investors, and continuously unveil new products (read: dinosaurs) to keep the public from losing interest in the park and its various “biological attractions.”
Jurassic World operations manager Claire Dearing (Bryce Dallas Howard) is charged with overseeing the launch of the park’s latest attraction: the Indominus rex, an extremely dangerous hybrid dinosaur that was designed by the park’s chief geneticist, Dr. Henry Wu (B.D. Wong) and his team of engineers. Before everyone knows it, the Indominus rex has escaped its pen and is running wild around the park, leaving it to Claire, velociraptor handler Owen Grady (Chris Pratt), and Jurassic World security forces to stop the creature… before it reaches the unsuspecting customers.
Steven Spielberg’s Jurassic Park sequel The Lost World and Joe Johnston’s Jurassic Park III were commercially successful, but at the same time, neither film is generally regarded as having reached artistic heights similar to those scaled by Spielberg’s original 1993 installment. Jurassic World doesn’t come close to reaching (much less clearing) that high bar either, though what it lacks in inventiveness and innovation, it makes up for by being a fun work of crowd-pleasing blockbuster entertainment.
Colin Trevorrow and Derek Connolly, the director/writer team behind 2012 indie breakout film Safety Not Guaranteed, co-penned the Jurassic World script, while Rick Jaffa and Amanda Silver (Dawn of the Planet of the Apes) are credited for their work on an earlier screenplay draft. The film often plays as a mix tape of the best elements from the previous Jurassic Parkinstallments, be they variations on iconic sequences (as well as major action set pieces) or familiar plot developments. As a result, Jurassic World frequently walks the line between homage and knock-off, but solid pacing and tight execution allow the film to avoid feeling like reheated leftovers.
Trevorrow, as the co-writer/director, does more than assemble good action sequences that involve (what else?) dinosaurs on the loose. He also sketches a clear and carefully-designed map of what life is like in the Jurassic World universe. The first half of the film is devoted to that world-building process, which allows Trevorrow to quickly bring longtime fans up to speed (since the last Jurassic Park movie), while at the same time clearing the table enough so that any future installments do not need to keep looking back over their shoulder. Jurassic World is a successful “soft reboot” of the franchise, on those grounds alone.
Directing-wise, Trevorrow succeeds at letting Jurassic World steadily gain momentum over the course of its three-act narrative, and the cinematography by John Schwartzman (The Amazing Spider-Man) allows the story to unfold like an amusement park ride. Obstructive camera angles and shots are used to build up a sense of intrigue as details are gradually revealed, before more expansive visuals of the actual Jurassic World establishment (and its prehistoric beasts) are employed to generate a sense of awe and wonder. The same is true once the plot kicks into full-gear, as brightly-lit sequences showing majestic dinosaurs in motion (brought to life via a solid combination of CGI and practical means) are juxtaposed with visually dark and claustrophobic action scenes of the Indominus rex (among other predators) on the hunt. 3D isn’t so much of a necessity, but your Jurassic World viewing experience will be enhanced by watching the film on an IMAX screen.
Jurassic World frequently references Jurassic Park visually (by way of “Easter eggs” and set pieces that bring iconic JPmoments to mind), while at the same time invoking Spielberg’s film with the score by composer Michael Giaccchino (Up,Star Trek), which blends John Williams’ classic Jurassic Park leitmotifs with exhilarating (and original) material to efficiently set the mood. Thematically, Trevorrow’s installment carries on ideas and issues addressed in Spielberg’s film adaptation of Michael Crichton’s Jurassic Park novel, by expanding upon them with subplots that revolve around dinosaurs being viewed as property (the kind that can be used for a variety of purposes). These elements are secondary to the special effects and action, but are developed enough for Jurassic World to avoid being completely brainless.
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