Skip to main content

REVIEW: Jurassic World - Dominion


    Film director and victorious fanboy Colin Trevorrow has justified Jurassic World: Dominion and his trilogy by saying it's not just a continuation but a culmination of all the "Jurassic" movies that came before. I suppose it's for each viewer to decide whether Trevorrow and the team he's assembled have pulled that off. We each come to the franchise bringing something personal to the conversation. 

As for me though, come the series' twilight moments, I was moved by the way that it made somberness and hope sit next to each other so gracefully. If watching the brachiosaurus tromping across Jurassic Park makes me feel like a kid again, beholding the dinosaurs travailing across the savannah with such dignity took me to a more mature place.


    Now that dinosaurs have proliferated across the globe, Owen Grady and Claire Dearing have secluded themselves in their woodland cabin, where they keep their adopted daughter, Maisie, safe from a world that would jump to exploit her and the genetic marvel she represents. Meanwhile, Blue, the raptor Owen raised from infancy, is back, this time with a child of her own. Their haven is disrupted when the bad guys take both Blue's child as well as their own, prompting both Claire and Owen to chase after them, inspiring an adventure that will unite them with some very familiar faces ... 

        The stakes in this film are at once more personalized and more wide-reaching than it was in films past. Owen and Claire's mission is to rescue their loved ones from the evil corporation, but if they fail, it won't just be their home that is broken. Planet Earth will fall prey to widespread devastation. 

    How does our evil man on top plan on bringing the world to its knees? Well ... the answer is bugs. He plans on conquering the world with bugs. Giant bugs, mind you, but bugs nonetheless ... On the one hand, genetically modified locusts are technically in line with the series' fear of not just dinosaurs but of biotechnology as a whole. On the other hand, that's not a mosquito silhouette on the franchise poster. Give us what we want, Trevorrow!


    Make no mistake, the film follows through on its promise of delivering lots of dinosaurs for the curtain call. We have dinosaurs jumping over buildings, fire raining from the sky, dinosaurs attacking airplanes, etc. This finale goes out of its way to provide high volume and high-stress thrills. 

    Yet despite the firework show, there's a maturity, even dignity to the world of "Dominion." Owen and Claire have moved on from quarreling lovers trapped in a fiery mating ritual and planted roots in the home they share their daughter. Even the color palette is more somber, more mixed with shadows, than we've seen in previous films. The park is closed for good, and it's a grown-up world now. 

    
The film takes a big bite entertaining a cast this large. "Dominion" blends our current cast with the '93 heroes, while also introducing newcomers played by DeWanda Wise and Mamoudou Athie. All of our players bring their A-game, and there was something deeply moving about seeing all the members of this multi-generational team trusting one another and working together.

    When it became clear that the film would blend casts of both generations, the question became whether one set would outshine the other. Each of our heroes get their shining moments, but neither the legacy characters nor the rising stars overshadow the other because this film belongs mostly to Maisie, brought to life with intelligence by Isabella Sermon.

   In this landscape, it's Maisie whose journey drives the story. She's the one who wrestles with questions about where she as a living clone fits into this world. Children have always been a central focal point of the series since Dr. Grant was carrying Hammond's grandchildren across Jurassic Park, and so there's something very poetic about this generation's youngest protagonist becoming our guiding star during the franchise's final stretch. 


    With the filter of mass media, there's always a distillation of complex systems. No single film is going to provide the answer to today's societal hurricanes. Yet Jurassic World: Dominion doesn't end by assuring the audience that the good guys have won, per se, and now there's no more reason to fret over the future. I hope it's no spoiler to say that the series doesn't end comfortably, but it remains an ending full of hope. In that space between the formidability of the future--a future we made in part ourselves--and the human capacity to keep climbing whatever the circumstances, the Jurassic World films find their grace. 

    Thanks for the ride, Trevorrow. 

                    --The Professor







Comments

Popular posts from this blog

REVIEW: HOPPERS

     In the 1950s under the threat of nuclear warfare, Hollywood premiered such exercises as The Day the Earth Stood Still or War of the Worlds where an alien power would pass judgment on humankind, holding its fate in its hands. Here in the 2020s under the shadow of such threats as climate change, Hollywood sends to be our judge ... beavers.     Let me back up ...      Daniel Chong's new film from Pixar Animation, Hoppers , sees  Mabel (Piper Curda), a college student whose self-appointed mission is to preserve the glade where she used to find sanctuary with her now deceased grandmother. Her biggest opponent is hometown boy and beloved mayor, Jerry (Jon Hamm), who has designs to plow over the glade in order to open his new freeway--estimated to save travelers four whole minutes of commuting.       Mabel gets her golden opportunity when she uncovers secret technology pioneered by her professor which allows a human to rem...

The Official Story: When Oppression Hits Home

  This last month, Wim Wenders, the director behind movies such as Wings of Desire (1987) and Perfect Days (2023), made a statement at the 76th Berlin Film Festival that’s been scratching at me. In his words, “Yes, movies can change the world. Not in a political way. No movie has really changed any politician’s idea, but … we can change the idea that people have of how they should live.” Wenders was speaking specifically on the subject of film festivals taking active stances on things such as the Israel-Palestine conflict, further describing, “Cinema has an incredible power of being compassionate and empathetic. The news is not empathetic. Politics is not empathetic, but movies are. And that’s our duty.”   I think the dressing of this verdict was supposed to be optimistic, but the sentiment reminded me of something that actress Jennifer Lawrence said also very recently on why she’s pulled back from using her official platforms to speak out against the Trump Administrati...

Social Utopia in Raya and the Last Dragon

          I think every filmmaker hopes that their film will change the world for the better, but how to measure that when the exact effects a film has on society are impossible to quantify? Did Patty Jenkins’   Wonder Woman   instigate #MeToo, or were both just natural products of the shifting social dynamics that had been morphing for a long time? Maybe we're just kidding ourselves when we put our faith in movies to heal the wrongs of the world.  After all,  Kramer vs Kramer has been out for over forty years now, and some dads still struggle to prioritize love and attention for their kids.          I'm also thinking of  Raya and the Last Dragon. Disney's 59th animated film takes place in a fictional world known as Kumandra, a land that was once home to the benevolent and majestic dragons. In the film’s prologue we learn that the dragons disappeared thousands of years ago to seal away an ancient evil know...

Silver Linings Playbook: What are Happy Endings For Anyway?

            Legendary film critic Roger Ebert gave the following words in July of 2005 at the dedication of his plaque outside the Chicago Theatre: Nights of Cabiria (1957) “For me, movies are like a machine that generates empathy. If it’s a great movie, it lets you understand a little bit more about what it’s like to be a different gender, a different race, a different age, a different economic class, a different nationality, a different profession, different hopes, aspirations, dreams and fears. It helps us to identify with the people who are sharing this journey with us. And that, to me, is the most noble thing that good movies can do and it’s a reason to encourage them and to support them and to go to them.” Ebert had been reviewing films for coming on forty years when he gave that assessment. I haven’t been doing it for a tenth as long. I don’t know if I’ve really earned the right to pontificate in this same manner. But film ...

An Earnest Defense of Passengers

          I've heard a lot of back and forth over what the purpose of film is and what we should ask from it. Film as a social amenity kind of has a dual purpose. It's supposed to give the population common ground and find things that people of varying backgrounds and beliefs can unify around. On the other hand, film also creates this detached simulated reality through which we can explore complex and even testing ideas about the contradictions in human existence.     In theory, a film can fulfill both functions, but movies exist in a turbulent landscape. It's very rare for a film to try to walk both lanes, and it's even rarer for a film to be embraced upon entry for attempting to do so.  Let me explain by describing the premise of one of my favorite movies, Morten Tyldum's 2016 film, Passengers .      A key piece of this film ’s plot revolves around the main character, Jim Preston, a passenger onboard a spaceship, who premat...

The Banshees of Inisherin: The Death Knell of Male Friendship

           I’m going to go out on a limb today and put out the idea that our society is kind of obsessed with romance. In popular storytelling, t he topic has two whole genres to itself (romantic-comedy, romantic-drama), which gives it a huge slice of the media pie. Yet even in narratives where romance is not the focus, it still has this standing invitation to weave itself onto basically any kind of story. It’s almost more worth remarking upon when a story doesn’t feature some subplot with the main character getting the guy or the girl. Annie Hall (1977)      And it’s also not just the romantic happy ending that we’re obsessed with. Some of the most cathartic stories of romance see the main couple breaking up or falling apart, and there’s something to be gained from seeing that playing out on screen as well. But what’s interesting is that it is assumed that a person has a singular “one and only” romantic partner. By contras...

REVIEW: Jurassic World - Rebirth

     I had a mixed reaction to  Jurassic World: Rebirth,  but it did make for one of the most enjoyable theater experiences I've had in recent memory.      I have to imagine that a part of this is because my most common theater appointments are matinee screenings, but I had the opportunity to see this one at a fairly well-attended midnight screening. And there's nary a film more tailored for surround-sound roaring and screens wide enough to contain these de-extinct creatures. ("Objects on the screen feel closer than they appear.") It was natural for me to cap the experience by applauding as the credits stared to roll, even if, as usual, I was the only one in the auditorium to do so.     Yes, I am that kind of moviegoer; yes, I enjoyed the experience that much, and I imagine I will revisit it across time.      That's not to imagine the movie is beyond reproach, but I suppose it bears mentioning that, generally , this i...

A Patch of Blue: Sidney Poitier, Representation, and The Virtue of Choice

      Way, way back (about this time last year), I premiered my piece on the responsibility that younger viewers have to engage with older cinema --specifically the films of old Hollywood. There was a lot of ground that I wanted to cover in that essay--literally an entire era of filmmaking--so most of my talking points had to be concise, which is not how most writers prefer to discuss a thing for which they have passion enough to design and maintain their own blog. There is a bounty of discussion when it comes to film history and the people who made it.     Today I'd like to take the opportunity to dig a little deeper into one such island: that of legendary actor and trailblazer, Sidney Poitier.      Dwandalyn Reece, curator of the performing arts at the Smithsonian's National Museum of African American History and Culture, described Poitier , “He fully inhabits both sides of that personality, or those tensions, of being a Black person i...

The Belle Complex

As Disney fandom increasingly moves toward the mainstream, the discussions and questions that travel around the community become increasingly nuanced and diverse. Is the true color of Aurora's dress blue or pink? Is it more fun to sit in the back or the front on Big Thunder Mountain? Is the company's continued emphasis on producing content for Disney+ negatively impacting not only their output but the landscape for theatrical release as a whole?  However, on two things, the fandom is eternally united. First, Gargoyles  was a masterpiece in television storytelling and should have experienced a much longer run than it did. Second, Belle's prom dress in the 2017 remake was just insulting.      While overwhelmingly successful at the box office, the 2017 adaptation is also a bruise for many in the Disney community. Even right out the gate, the film came under fire for a myriad of factors: the auto-tuned soundtrack, Ewan McGregor's flimsy accent, the distracting plot ...

Elemental: Savoring Pixar's Fading Light

I’ve only been doing this writing thing for a short while. But in that space, I have been surprised at many of the developments I’ve gotten to witness unfolding in the popular film landscape. It was only five years ago, for example, that superhero movies were still thought to be unstoppable. Here in 2025, though, we know better. But the wheels coming off the Marvel machine accompanied a shift in their whole method of production and distribution, and it didn’t take long for the natural consequences to catch up with them as verifiable issues started appearing in their films. Thor: Love and Thunder (2022) No. The development that has most surprised me has been critics and their slow-motion break-up with Pixar. The only way I know how to describe what I’ve seen over the last five years … imagine that your roommate has been stuck for a long time dating a girl who was obviously bad for him, and after he finally breaks up with her he gets back into the dating ring. All the girls he takes out ...