Jurassic World (SF, biggie, sequel, 2:04, PG-13, Imax, 3-D) — 8
Now THIS is what Imax, 3-D, and Dolby stereo were invented for — pure spectacle, voluminous in both senses, immersive without being overwhelming. And spectacle is what it delivers, with both barrels, all cylinders, and every flag flying. A worthy sequel to Steven Spielberg's 1993 classic Jurassic Park, this summer blockbuster likewise envisions a 22-year time gap, during which time the theme park on Isla Nublar has grown huge, attracting over 20,000 people at a time, deserving the new "world" label.
There are plenty of resonances with the earlier film. Spielberg himself is executive producer, tho the directing has been turned over to Colin Trevorrow. Michael Giacchino, in charge of the music, has the eminent good sense to use a full-throated reprise of John Williams's magnificent theme at appropriate moments. We still get platoons of lightning- fast velociraptors, now rendered even more realistically. And B. D. Wong is back as ace geneticist Dr. Henry Wu. My only disappointment in the nostalgia department was the absence of a scene in corporate HQ with a large portrait of visionary John Hammond (the late Richard Attenborough) hanging at the front of the board room.
But, for all its harkbacks to Park, this World truly achieves its goal of being "bigger, louder, with more teeth". There's nothing at all wrong with the action, adventure, or pacing.
The one thing that prevents it from achieving 9-hood on my 9-point rating scale was that the human interactions were slightly off. Unlike Mad Max, here we are given 4 characters we can readily relate to: Chris Pratt as Owen Grady, ex-Navy, trainer of and surrogate father to 4 velociraptors; Bryce Dallas Howard as Claire, buttoned-up, all-business director of operations for the park; and Ty Simpkins as Gray and Nick Robinson as Zach, her 2 nephews, whom her sister naively expects will be getting the personal touch from their Aunt Claire. Unfortunately, these 4 relate to each other just a little too stiffly, with supposedly humanizing quirks more glued on than integral to their characters. Claire's slavish adherence to her stiletto heels, for example, just comes across as stupid, and their improbable cleanliness distracting. And the brothers' brief foray into the subject of their parents' possible divorce comes out of left field, lingers awkwardly like an unwashed guest, and then vanishes as pointlessly as it came. These aren't fatal flows, tho; the dialog isn't blatantly bad, just could've used more polishing.
The example they should have aspired to is the cinema's all-time greatest sight gag, the exquisitely timed glimpse of the phrase "Objects in Mirror Are Closer Than They Appear" from the original. There's no equivalent here.
The plot trigger is the escape from containment of the one and only specimen of a new species of dinosaur, the Indominus rex, created from a variety of predecessor species by means of genetic engineering, since the money guys behind the park evidently didn't think that regular dinosaurs were cool enuf all by themselves. (Totally wrong there; they are way cool!) Every time a new attraction has been introduced, we are informed, attendance has spiked. And they're overdue for another spike.
An unexpected side effect is that Indominus (Latin for "untamable") isn't just big, hungry, and ferocious, it's also smart, cunning, ruthless, and equipped with a cuttlefish's camouflage genes. When Owen discovers that it's loose, he doesn't hesitate for a second: He advises hitting it with every lethal weapon available. Claire and her staff, of course, are reluctant to just blow away a scientific wonder, a unique creature that they've invested heavily in and are counting on for the park's future income. But, despite these differences, all concerned agree that they've got to work together to keep the monster away from the paying customers.
About that word "monster". In one of the few reflective, philosophical moments of the film, one of the characters muses about whether it's appropriate to apply it to the big guy. "To a canary, a cat is a monster. We're just used to being the cat." Um, yeah. Yeah, you may be right. But check out all the former canaries around here. Now let's hit that monster with everything we've got.
In pursuit and attainment of a PG-13 rating, there's no gratuitous gore and violence here. People are obviously being slautered left and right, but very little of it occurs on screen, and only the occasional splash of blood on a wall or off-screen crunching sound gives any hint of the extent of the carnage.
Now THIS is what Imax, 3-D, and Dolby stereo were invented for — pure spectacle, voluminous in both senses, immersive without being overwhelming. And spectacle is what it delivers, with both barrels, all cylinders, and every flag flying. A worthy sequel to Steven Spielberg's 1993 classic Jurassic Park, this summer blockbuster likewise envisions a 22-year time gap, during which time the theme park on Isla Nublar has grown huge, attracting over 20,000 people at a time, deserving the new "world" label.
There are plenty of resonances with the earlier film. Spielberg himself is executive producer, tho the directing has been turned over to Colin Trevorrow. Michael Giacchino, in charge of the music, has the eminent good sense to use a full-throated reprise of John Williams's magnificent theme at appropriate moments. We still get platoons of lightning- fast velociraptors, now rendered even more realistically. And B. D. Wong is back as ace geneticist Dr. Henry Wu. My only disappointment in the nostalgia department was the absence of a scene in corporate HQ with a large portrait of visionary John Hammond (the late Richard Attenborough) hanging at the front of the board room.
But, for all its harkbacks to Park, this World truly achieves its goal of being "bigger, louder, with more teeth". There's nothing at all wrong with the action, adventure, or pacing.
The one thing that prevents it from achieving 9-hood on my 9-point rating scale was that the human interactions were slightly off. Unlike Mad Max, here we are given 4 characters we can readily relate to: Chris Pratt as Owen Grady, ex-Navy, trainer of and surrogate father to 4 velociraptors; Bryce Dallas Howard as Claire, buttoned-up, all-business director of operations for the park; and Ty Simpkins as Gray and Nick Robinson as Zach, her 2 nephews, whom her sister naively expects will be getting the personal touch from their Aunt Claire. Unfortunately, these 4 relate to each other just a little too stiffly, with supposedly humanizing quirks more glued on than integral to their characters. Claire's slavish adherence to her stiletto heels, for example, just comes across as stupid, and their improbable cleanliness distracting. And the brothers' brief foray into the subject of their parents' possible divorce comes out of left field, lingers awkwardly like an unwashed guest, and then vanishes as pointlessly as it came. These aren't fatal flows, tho; the dialog isn't blatantly bad, just could've used more polishing.
The example they should have aspired to is the cinema's all-time greatest sight gag, the exquisitely timed glimpse of the phrase "Objects in Mirror Are Closer Than They Appear" from the original. There's no equivalent here.
The plot trigger is the escape from containment of the one and only specimen of a new species of dinosaur, the Indominus rex, created from a variety of predecessor species by means of genetic engineering, since the money guys behind the park evidently didn't think that regular dinosaurs were cool enuf all by themselves. (Totally wrong there; they are way cool!) Every time a new attraction has been introduced, we are informed, attendance has spiked. And they're overdue for another spike.
An unexpected side effect is that Indominus (Latin for "untamable") isn't just big, hungry, and ferocious, it's also smart, cunning, ruthless, and equipped with a cuttlefish's camouflage genes. When Owen discovers that it's loose, he doesn't hesitate for a second: He advises hitting it with every lethal weapon available. Claire and her staff, of course, are reluctant to just blow away a scientific wonder, a unique creature that they've invested heavily in and are counting on for the park's future income. But, despite these differences, all concerned agree that they've got to work together to keep the monster away from the paying customers.
About that word "monster". In one of the few reflective, philosophical moments of the film, one of the characters muses about whether it's appropriate to apply it to the big guy. "To a canary, a cat is a monster. We're just used to being the cat." Um, yeah. Yeah, you may be right. But check out all the former canaries around here. Now let's hit that monster with everything we've got.
In pursuit and attainment of a PG-13 rating, there's no gratuitous gore and violence here. People are obviously being slautered left and right, but very little of it occurs on screen, and only the occasional splash of blood on a wall or off-screen crunching sound gives any hint of the extent of the carnage.