Jurassic World Dominion Movie Review

Jurassic world dominion

Jurassic world dominion Twenty-nine years ago, upon the release of Jurassic World Dominion the cinematic landscape witnessed a groundbreaking convergence of computer-generated imagery and digitally composited effects. Director Steven Spielberg and his adept team elevated these nascent technologies to unprecedented credibility, employing them judiciously, often within nocturnal and inclement settings, seamlessly intertwined with traditional practical special effects, notably encompassing meticulously crafted puppets and expansive scale models. The outcome evoked primordial awe and trepidation within the audience’s minds.

Particularly noteworthy was the ingeniously constructed T-Rex attack sequence, which held the power to ensnare this writer’s senses, prompting an instinctual physical response—his arm instinctively poised in a protective stance against the virtual menace. In a masterstroke of cinematic artistry, Spielberg swiftly transitioned from this tumultuous spectacle to a peaceful interlude, allowing the collective auditory canvas to capture the aftermath—a myriad of startled shrieks and startled gasps, a testament to the palpable fright experienced by the attendees. This ingenious interplay, a hallmark of a consummate showman, catalyzed a symphony of laughter and the liberation of pent-up tension.

Amid this atmosphere, a young girl, seated proximate to this awestruck observer, cast a contemplative gaze upon his still-contorted visage, a residual vestige of terror. Puzzled yet compassionate, she inquired, “Sir, are you well?”

Jurassic World Dominion may fall short of capturing the iconic intensity of the initial T-Rex encounter from “Jurassic Park,” as well as the captivating sequences within Spielberg’s follow-up, “The Lost World.” The latter adeptly transformed its position as a sequel into an opportunity to present a succession of awe-inspiring, grand-scale action scenes, even elevating Jeff Goldblum’s portrayal of Dr. Ian Malcolm into the role of an action hero. In “Dominion,” Goldblum is joined by original cast members Sam Neill and Laura Dern, rekindling their roles. Goldblum’s earlier performance in “The Lost World” ingeniously infused a blend of wry yet astute commentary on the realm of corporate capitalism.

The latest cinematic offering, unfortunately, falls short of achieving the heights reached by the most captivating segments of “Jurassic Park III,” “Jurassic World,” and “Jurassic World: Fallen Kingdom.” Notably, the latter installment masterfully executed unexpected narrative turns reminiscent of the franchise’s inception, evoking the enchanting essence akin to Spielberg’s directorial finesse — exemplified by the poignant image of the forsaken brachiosaur on the pier. This entry adeptly interwoven elements of gothic horror and the haunted house genre into its latter portion, showcasing a deftly woven tapestry of suspense. Rooted in Michael Crichton’s seminal inspiration for “Jurassic Park,” namely Mary Shelley’s “Frankenstein,” allusions to this thematic underpinning surfaced through the character of Maisie Lockwood (portrayed by Isabella Sermon), a cloned creation designed by John Hammond’s associate to fill the void left by his lost daughter.

Within the expansive tapestry of “Dominion,” Maisie emerges as a prominent figure among numerous significant characters. Her profoundly tragic circumstances have been endowed with unsettling and novel intricacies. However, the challenge lies in the hands of Colin Trevorrow, the returning director and co-writer of the franchise, recognized for his directorial prowess in “Jurassic World Movie.” Alongside his accomplished team, Trevorrow grapples with fully delving into the profound implications that underscore Maisie’s predicament. Regrettably, the narrative fails to bestow upon Maisie the requisite depth and complexity demanded by the realm of exceptional science fiction and horror cinema.

The sequel’s narrative deficiencies extend beyond the mishandling of the character Maisie, becoming emblematic of its broader shortcomings. The opening sequences introduce us to Claire Dearing (Bryce Dallas Howard), once the capable manager of Jurassic World movie and now a prominent figure in the Dinosaur Protection Group, an activist organization. The film’s inception sees her undertaking a daring mission: liberating young herbivorous dinosaurs from a ranch. This impulsive act sets the stage for a captivating tale.

The narrative then takes us to the serene expanse of the Sierra Nevada mountains, where Claire finds herself in the company of Owen Grady (Chris Pratt), the former raptor trainer of the park. Their lives intertwine with that of Maisie, residing in an isolated cabin. Here, the trio’s bond morphs into an unconventional yet heartfelt familial dynamic, fortified by their shared resolve to safeguard Maisie from the clutches of those who seek to exploit her genetically and financially.

Within this familial sphere resides the semi-domesticated raptor, Blue, a testament to humanity’s ability to establish bonds with even the most primal creatures. Interestingly, Blue has given birth without a mate, paralleling Maisie’s unique genetic heritage. The narrative weaves these thematic threads together, albeit with a degree of subtlety that suggests a missed opportunity for more profound exploration.

The film marries the tension of genetic manipulation and ethical dilemmas with the warmth of an evolving surrogate family, all set against the backdrop of prehistoric wonder. Yet, as we delve into this world, the plot’s intricacies leave us desiring a more coherent and polished narrative, ultimately detracting from the potential grandeur of the sequel.

The narrative also intricately weaves a corporate espionage scheme, a recurring motif across the franchise, wherein a seemingly benevolent yet ultimately self-serving corporation exploits the enchanting allure of magic and wonder. Though ostensibly fascinated by the dinosaurs and the revolutionary technology behind them, the corporation’s true motives lie in their exploitation. The lineage of the park’s visionary founder, John Hammond, takes a darker turn since “The Lost World,” as his successors evolve into Machiavellian figures driven by greed. At the center of this intrigue stands Dr. Lewis Dodgson, a character carried over from the original film, now elevated to the position of CEO at BioSyn — a name laden with symbolism (“bio sin”).

Dodgson orchestrates a nefarious scheme, enlisting the services of Dr. Wu, a recurring figure whose actions arguably cast him as the central antagonist throughout much of the series, albeit unwittingly, reminiscent of Hammond’s obliviousness. In this installment, Wu’s scientific prowess is employed to engineer prehistoric locusts, genetically programmed to voraciously consume every agricultural crop except those meticulously crafted by the company. This monopolistic control over sustenance perpetuates the corporation’s power while posing a formidable threat to global food security.

Actor Campbell Scott delivers a captivating portrayal of Dodgson, the mastermind orchestrating the abduction of Maisie and Blue’s child. Through inventive body language, artfully unpredictable phrasings, and well-placed pauses, Scott imbues the initially underdeveloped character of Dodgson with a remarkably distinct personality. To create a nuanced and compelling figure, he deftly melds the traits of two generational archetypes – the Baby Boomer and Generation X tech-bro capitalist luminaries.

Dodgson presents himself as a benign, peace-embracing hippie, yet his true identity as an insatiable yuppie capitalist becomes evident, further deepening his intriguing persona. Behind his facade lies a strategic manipulator who discreetly maintains associations with black market operatives and hired enforcers. Scott’s skillful rendition of Dodgson’s “caring” demeanor is particularly noteworthy, characterized by a velvety tone juxtaposed with an almost lifeless gaze reminiscent of a spectral Steve Jobs. This unsettling blend creates an aura of disquiet, leaving an indelible impression on the audience.

Scott’s portrayal of Dodgson is the film’s second-most imaginative performance, rivaled only by Goldblum’s. Goldblum’s character exudes an unexpected spontaneity, consistently defying anticipations through unscripted quips and actions. A memorable instance involves Goldblum’s character admonishing colleagues for their sluggishness with an offhand yet memorable retort: “Why are you skulking?”

In this cinematic tapestry, Campbell Scott’s interpretation of Dodgson emerges as a tour de force, embodying a fusion of generational influences and enigmatic traits. Alongside Goldblum’s mesmerizing performance, these portrayals collectively elevate the film’s allure and narrative intrigue.

The culmination of various narrative threads occurs at the BioSyn headquarters’s central hub. Here, Dr. Alan Grant and Dr. Ellie Sattler, portrayed by Neill and Dern, respectively, seek the aid of Dr. Ian Malcolm to access classified information that holds the key to resolving the ongoing prehistoric locust infestation. Simultaneously, this location is the focal point for significant genetic secrets, housing Maisie and the offspring of the remarkable raptor, Blue. Among the fresh personas introduced, the enigmatic and Han Solo-esque pilot Kayla Watts, portrayed by DeWanda Wise, initially reluctant to engage with the protagonists’ predicaments, ultimately becomes intricately involved. Additionally, Ramsay Cole, portrayed by Mamoudou Athie, a disenchanted disciple of Dodgson, enters the fold, potentially signifying a torch-passing to a new era of franchise leadership.

While the central focus on BioSyn headquarters could have risked overwhelming the narrative, director Trevorrow expands the scope by infusing the film with global exploration. Each sequence unfolds like interconnected snapshots, occasionally reminiscent of a lesser espionage thriller. A rooftop pursuit, drawing inspiration from a scene in “The Bourne Supremacy,” takes a thrilling turn with the inclusion of a raptor, adding a distinctive dimension to the suspense.

The extended sequence set in Malta within the film serves as a poignant example of its missed opportunities. Here, Claire and Owen embark on a mission to liberate Maisie from her captors. The scene brims with intriguing concepts, notably a clandestine marketplace centered around dinosaurs—a concept evocative of the exotic underworlds portrayed in iconic franchises like “Star Wars” and Indiana Jones. Within this market, criminals engage in transactions involving the trade, sale, and consumption of forbidden and endangered species.

However, the potential of this captivating premise is undermined by a regrettable strain of superficial cultural representation reminiscent of comic-book Orientalism. This aspect detracts from the scene’s ability to engage entirely with the thematic depths it hints at. Additionally, the filmmakers need to mine the material’s richness fully.

While undoubtedly skillful, the musical score composed by Michael Giacchino incorporates elements that perpetuate clichéd associations with Arabic and African cultures. This choice creates an atmosphere that aligns more with an R-rated prison thriller, evoking memories of films like “Midnight Express,” wherein Owen’s character finds himself in a Turkish prison due to hashish possession.

In summary, the Malta sequence in the film presents a blend of promising ideas that need more cultural nuance and a missed opportunity to fully explore the wealth of narrative possibilities at its disposal.

The action sequence wherein Owen and the lead kidnapper are inadvertently thrust into an arena hosting dinosaur battles exhibits a regrettably lackluster composition and editing, echoing the underwhelming nature of similar action scenes throughout the film. This missed opportunity is especially poignant when considering the creative potential that renowned filmmaker Steven Spielberg or the adept second-unit director Joe Johnston (noted for “Jurassic Park III”) could have brought to such a scenario.

What might have been a small-scale tour de force blending action, physical comedy, and insightful social commentary instead needs to catch up to its potential. The envisaged scenario could have transitioned from an initial audience outcry due to the interruption of their anticipated dinosaur clashes to an enthusiastic engagement with the spectacle of two humans locked in combat. This shift in audience reaction could have been skillfully woven into the narrative, creating an immersive experience where the onlookers evolve from expressing shock to fervently wagering on the outcome of the human confrontation. This, in turn, would have allowed for the establishment of evolving odds, accompanied by the exchange of wagers and a boisterous chorus of demands for a visceral showdown.

In the eyes of director Colin Trevorrow, however, this complex setup has been distilled into a simplistic depiction of a hero battling a henchman within a confined arena. The richness of potential social commentary and the layered dynamism of the situation has been overshadowed by a more straightforward interpretation of the action.

Every facet of the film contributes meaningfully to its overall narrative, showcasing the mastery of the “Jurassic” franchise in crafting lifelike prehistoric creatures seamlessly fused with live-action sequences. However, despite the evident skill, the final product lacks meticulous assembly, resulting in stalking, chase sequences, and dinosaur confrontations that often miss the intense life-or-death suspense characterizing previous franchise installments. The storyline’s construction leaves much to be desired, excessively relying on serendipitous events and fortunate timing. Furthermore, the film retroactively engineers personal connections between newly introduced and existing characters while also bestowing the protagonists with significant triumphs with an air of casualness rather than allowing these victories to stem from their resourcefulness and inventiveness.

Trevorrow adeptly incorporates a recurring motif, utilized dramatically throughout his work, that cleverly alludes to the evolving cinematic landscape of summer blockbusters. The motif involves a wittily conceived reference to the budgetary and spectacle inflation over four decades, prominently featured in his earlier “Jurassic World” production. In this cinematic gesture, a magnificent white shark, emblematic of Spielberg’s groundbreaking 1975 masterpiece “Jaws,” undergoes a mesmerizing encounter with mosasaurs of towering proportions.

Upon each iteration of this motif, Trevorrow appears to interlace an element of yearning, perhaps even a touch of urgency, to rekindle the exhilaration that “Jurassic World” aspired to offer. The original film, admittedly not a pinnacle of cinematic achievement, intermittently relied on the allure of revived cultural elements. Trevorrow’s ingenious repurposing of this motif arguably serves as a deliberate endeavor to rekindle the enjoyment that may have been experienced during the initial “Jurassic World” installment.

In summation, Trevorrow’s subtle yet deft manipulation of this recurring motif bespeaks a cineaste’s finesse in acknowledging the ever-evolving nature of the blockbuster domain. It simultaneously serves as a tribute to the thematic lineage of summer cinema while beckoning the audience to rediscover the essence of their cinematic voyage with “Jurassic World.”

The film also presents scenes in which characters, primarily centered around Malcolm but occasionally involving others, draw parallels between the greedy tendencies of the BioSyn corporation and the cinematic narrative before you. However, these instances lack the clever and spirited execution that lent a vibrant quality to similar thematic elements in “The Lost World.” Instead, they appear disillusioned and self-aware about the hollowness that permeates the entire production.

At a particular juncture, Malcolm admonishes himself for accepting monetary compensation from the company to serve as their in-house philosopher and guru, despite his acute understanding of their exploitative corporate motives. There’s a palpable self-critical undertone in Jeff Goldblum’s delivery, suggesting that it might be the actor rather than the character candidly confessing to a lapse in personal standards. Moreover, instances arise where Sam Neill, akin to Goldblum, seems to grapple with a sense of unease or perhaps bewilderment regarding his presence on screen. In fairness, the screenplay never convincingly rationalizes Allan’s departure from the dinosaur dig site, where Ellie discovers him. This decision appears rooted primarily in his association with the earlier films, seemingly driven by a nostalgia-driven marketing motive.

Regrettably, the series again falls short in exploring a profoundly intriguing question: the potential repercussions of introducing dinosaurs to our modern world. The initial sequences swiftly condense any captivating or humor-laden insights that “Dominion” could offer on this subject into a dynamic TV news montage. Scenes depict a young girl playfully pursued by hatchling dinosaurs on a beach, a pair at their wedding startled as a pterodactyl snatches a released dove from the sky, and Pteranodons establishing nests within the iconic World Trade Center. These visual vignettes may indicate cinematic influences such as “The Lost World” and “Q: The Winged Serpent.” A cinematic tapestry consisting solely of these spectacles, devoid of characters or intricate plots, might have utilized the multimillion-dollar budget more artistically. Yet, Jurassic World Dominion is poised to follow the pattern of its franchise predecessors, projected to achieve significant box office success. However, the film offers little beyond the anticipated essentials typical of such productions, and it does so without remarkable finesse.