The last three entries of Jurassic Film franchise –Jurassic world (2015) and Jurassic World Dominion (2022), both directed by Colin Trevorrow, and Jurassic world: fallen kingdom (2018), from JA BAYONA – may have been big laws at the ticket office, but they all lack an essential ingredient: affection, or at least respect, for the very creatures that made them possible in the first place. The three films are filled with dinosaurs – the dinosaurs flowing, the dinosaurs being sad and victories, the dinosaurs showing a ruthless contempt for human life. And yet, these poor giants have proven little more than background noise afterwards, thunderous and expensive for the boring human stars of the films. In one way or another, Chris Pratt playing an Ace Dinosaur Whisperer was supposed to be more interesting than the magnificent mysterious creatures to whom he whispered – they were left to trip in a fog of rigid dialogue and twisted ploting. What choice did they have? They have been without work for years, since 2001 Jurassic Park III. Unlike Munchworthy foliage, the good roles for dinosaurs are not content to push on the trees.
But again, these desperate losers from the extinction lottery have a worthy Hollywood vehicle: Jurassic World Rebirth, Directed by Gareth Edwards and written by David Koepp (adapted, of course, of ideas originally generated by the novelist Michael Crichton), presents sympathetic humans as well as pleasant caricaturists and a lot of dinosaurs who make their thing. The film takes place in the future, or a gift, where humans have disinterested in dinosaurs and theme parks they used to. Dinosaurs are only nuisance, doing things like walking in urban traffic at annoying moments. Most remaining bestties now live on remote islands near the equator, and most humans would easily like to forget them.
But not the big diagram of Rupert Friend, Martin Krebs, on the mission of extracting Dino DNA which will be used in a revolutionary vital medication. DNA cannot come from cute and harmless small dinosaurs; It must be extracted from large and drools with massive helicopters, while they are still alive. Krebs hires the Ops Covers Covert Zora Bennett (Scarlett Johansson) to help this dirty work, offering her a salary with so many zeros who have nailed it that she can barely refuse. In addition, she is still in shock from the recent traumatic loss of a colleague. What better way to recover from sorrow than to return to work? While Johansson cheek, Zora is pleasantly intelligent and ruthless, eager to obtain the best offer for herself. She is also afraid of facing apparently insurmountable circumstances, which is why she makes the big dollars.
And she knows the right people: she enlisters an old friend and cohort Duncan Kincaid (Mahershala Ali), who has a boat that can bring the group to the island where the three essential dino breeds, carrying the necessary DNA for Krebs miracle drugs, live in relative peace. Krebs and Zora have also obtained the services of Dr. Henry Loomis (Jonathan Bailey), a dreamy paleontologist who loves dinosaurs so much that it hurts – at some point, he has the chance to touch the fractive leg of a living brontosaurus, and that brings tears to his eyes with his eyes. You may be tempted to laugh, but Bailey plays straight and is somehow adorable.
The adventures of these mercenaries on a mission will admire with those of a small family, who were sailing in the ocean for kicks when an unpleasant prehistoric beast overturned their boat. (Papa Reuben is played by Manuel Garcia -Rulfo; Audrina Miranda plays her younger and fearing daughter – she is cute without having her welcome.) Edwards (Director of 2016 Rogue One: A Star Wars story And 2014 Godzilla) and Koepp (which wrote the scripts for the first two Jurassic Films) Know what they are doing here: they locate the perfect relationship between human buffoonery and puffing, promoting dinosaurs in the event of doubt.
And the dinos are great: there are swimming, sharp in the water with their magnificent spines of shell, only to emerge from the surface like frightening cards with angry faces; Fly, swinging from the sky to capture prey in their ruthless greenhouses; A harmless and adorable baby dino with a inclination for liquorice (and lives); And a very upset mutant giant who looks from his head in the shape of a melon through a set of too fast eyes – he is a barney who went wrong, with nothing to do with his anger but trample on his island prison on an outburst. But Jurassic World Rebirth Isn’t that all terror and chaos. Glorious moments of beauty abound: the Brontos family who enchants Dr. Loomis is particularly royal, their tails swirling around them as ribbons while they graze in a sunny field.
There is a moderate endangered of children in Jurassic World Rebirth, And although I and maybe you could do with less of that, it would not be a film Jurassic Park without him. And warnings of the imminent disappearance of humanity may be more pronounced here than they were in the previous episodes. At one point, Dr. Loomis, the wisest of all these characters, solemnly pronounces: “When the earth gets tired of us, it will shake us like a summer wind.” It is the language of cinema for sure – real humans do not speak like that. But then, the language of cinema is part of what we are going to in the cinema, and sometimes it presents the unruly truth of things to which we prefer not to think. Meanwhile, we have time – time to stem at least some of the damage that we have caused as a species, and time to engage in the fantasy of large and small prehistoric creatures, carnivorous and vegetables, deadly and friendly, risen of sleep. It is also something that films can give us, at least until they themselves follow the path of dinosaur.
