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

Fine, I Will Review The Percy Jackson Show (again)

     I have wondered if I was the only one who thought that "Sea of Monsters" was the weakest of the Percy Jackson and the Olympians pentalogy, but I have seen my reading echoed by other book loyalists.      This second installment is perhaps penalized partially because it marks several major junctions in the larger series. This is, for example, the part of the series where the scope of the adventure really starts to enlarge. We know going in that there's an angry, deceased titan out to destroy Olympus, and that he's amassing an army, and so we need a sense that this threat is growing stronger. But this also marks a turning point in how series author, Rick Riordan, chooses to develop his main character. And so, season 2 of the Disney+ television adaptation faces similar crossroads.     Season 3 of this show is already filming as we speak, so its immediate future is already spoken for, as far as production goes. But stylistically, this second seas...

REVIEW: Mickey 17

Coming into Mickey 17 having not read the source material by Edward Ashton, I can easily see why this movie spoke to the sensibilities of Bong Joon Ho, particularly in the wake of his historic Academy Award win five years ago. Published in 2022, it feels like Ashton could have been doing his Oscars homework when he conceived of the story--a sort of mashup of Parasite , Aliens , and Charlie Chaplin's Modern Times . Desperate to escape planet earth, Mickey applies for a special assignment as an "expendable," a person whose sole requirement is to perform tasks too dangerous for normal consideration--the kind that absolutely arise in an outer space voyage to colonize other planets. It is expected that Mickey expire during his line of duty, but never fear. The computer has all his data and can simply reproduce him in the lab the next day for his next assignment. Rinse and repeat. It's a system that we are assured cannot fail ... until of course it does.  I'll admit my ...

REVIEW: SCARLET

    There isn't a story on the books that can't somehow trace its genealogy to the works of William Shakespeare. Such is the nature of inspiration and archetype.       But the latest film from anime auteur, Mamoru Hosoda, is almost an adaptation of, rather than a homage to, Shakespeare's Hamlet , carrying over character names and even a few iconic lines.  Yet it's not what Scarlet borrows from Shakespeare that gives the story its weight, but what it adds--and I'm not just talking about the giant thunder dragon in the sky.      The Prince of Denmark in this story is reimagined as Princess Scarlet. This film sees her failing in her quest to avenge her father and being doomed to wander in some sort of desolate afterlife. Her only consolation is the idea that she might find her treacherous uncle somewhere in this wasteland and see her vengeance fulfilled in this world. But her quest sees her crossing paths with someone else, a medic from a ...

REVIEW: West Side Story

      Slight spoiler, the first shot of Steven Spielberg's West Side Story adaptation opens on a pile of rubble, a crumbled building wrecked to make way for new development. I amusedly wondered if this was maybe an accidental metaphor, a comment on this new adaptation of the stage show supplanting the legendary film version in 1961.     There's not a lot about the 2021 film adaptation that deviates largely from the blueprint of the 1961 film or the stage musical on which it is based. That blueprint, of course, being the romance between two teenagers on opposite ends of a gang rivalry in 1950s New York. A few songs get swapped around, the casting is more appropriate, but there's no gimmick.     We have to assume, then, that at the end of the day, Spielberg just wanted to try his hand at remaking a childhood favorite. Filmmakers, take note. Follow Spielberg's example. When revisiting an old text, you don't need a gimmick. Good taste is enough. ...

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 ...

REVIEW: ZOOTOPIA 2

       Any follow-up to the 2016 masterpiece,  Zootopia , is going to be disadvantaged. Cinema was still a year ahead of Jordan Peele's "Get Out" when Disney released one of the most articulate explanations of race, allyship, and accountability ever put to film. Now that everyone knows how good, even "timely," a Disney pic can be, how do you surprise everyone a second time?      The insights in this sequel won't spur any new chapters in your sociology 101 textbook. Though honestly, neither was the deflection of white saviourship  that  novel back in 2016. We more or less knew how racial profiling and biases played out in the landscape. What surprised many of us (and validated the rest of us) was the idea that these ideas could be articulated so eloquently in a children's film.     It seems that the studio tried the same thing here with Zootopia 2 that it did with Frozen II six years ago. I think a lot of people wanted that m...

REVIEW: The Creator

    This premise for Gareth Edwards' The Creator would be very interesting if it had not dropped in a time when actors are technically still striking over the introduction of AI into the industry. There's even a space in the film where we see a billboard inviting humans to "help AI: donate your likeness today!" that I can't believe wasn't dropped during editing.     Just the same, I have a feeling that time will be kind to this movie. I'm not interested in throwing all tentpole films under the bus or rendering all their accomplishments inert, but it is rare to see filmmaking at its most pure achieve such riveting ends against the canvas of blockbuster filmmaking. Dramatic, even artful storytelling can actually sit perfectly in the casings of an action-adventure film.     The year is 20?? and we're living in a world where artificial intelligence has not only been integrated into regular life, but half of humanity is actively trying to extricate it, vio...

REVIEW: ONWARD

     The Walt Disney Company as a whole seems to be in constant danger of being overtaken by its own cannibalistic tendency--cashing in on the successes of their past hits at the expense of creating the kinds of stories that merited these reimaginings to begin with.       Pixar, coming fresh off a decade marked by a deluge of sequels, is certainly susceptible to this pattern as well. Though movies like Inside Out and Coco have helped breathe necessary life into the studio, audiences invested in the creative lifeblood of the studio should take note when an opportunity comes for either Disney or Pixar animation to flex their creative muscles.       This year we'll have three such opportunities between the two studios. [EDIT: Okay, maybe not. Thanks, Corona.] The first of these, ONWARD directed by Dan Scanlon, opens this weekend and paints a hopeful picture of a future where Pixar allows empathetic and novel storytelling to gui...

A Thousand Words for Mamoru Hosoda's Belle

    Being a film critic is certainly one of the more savory stations in life, but it's not without its frustrations.        We are, after all, expected to craft a perfectly sound summation of a film's merits and limitations after just a single viewing of a film--and always immediately after that single viewing. This is not the ideal condition in which a discerning mind fairly or accurately appraises the worth of a text.  Art demands reflection. Reflection takes time. You catch subtle inflections upon repeat viewings that completely change your context for said film.  And yet, film reviews depend on visceral first responses, and so we critics offer up our unseasoned reactions, praying that the casualties will be minimal ...      I'm here to write about one such experience I've had with this phenomenon: my review of Mamoru Hosoda's Belle , premiering in U.S. markets in January of 2022.      Anyone who actually r...