What Steven Spielberg gave us with Jurassic Park (1993) and that Colin Trevorrow does not give us in Jurassic World: Dominion (2022) was, above all, a great impact. The very sci-fi premise about the possibility of extinguishing dinosaurs by cloning them through the use of their genetic material, tens of millions of years after they walked the face of the Earth, is in itself very rich and interesting. But that is not the essential.
The astonishment of the protagonists when seeing them alive and kicking is transmitted to us very well, they undoubtedly make the spectators feel it strongly and their eyes like kettledrums are ours. In this triumph of cinematic wonder The work of Industrial Light and Magic with the visual effects influences a lot, which impressed us to the point of saying enough, on the same level as those of Avatar (2009) with Weta Digital under the orders of James Cameron. And the score by John Williams.
One can assume that, after the five films prior to Jurassic World: Dominion in the saga, the Californian director Colin Trevorrow had it raw for us to freak out so much as with the original; and for the same reasons. And it seems indubitable even from the second, The Lost World: Jurassic Park (1997), the work of Steven Spielberg himself. Let’s not say with the equally unsuccessful Jurassic Park 3by Joe Johnston (2001), its implausibilities and its indigestible final Americana.
The little dramatic impact of ‘Jurassic World: Dominion’
The shock and amazement of the innovative talent could not help but fade in the sequels, well. Even with the worthy proposals of Jurassic World (2015), shot by Colin Trevorrow himself, and the fallen kingdomfor which he was willing to pass the baton to the Spanish Juan Antonio Bayona (2018) and that does have an unforgettable moment that breaks our hearts: death witnessed of the brachiosaurus; and we share the grief of Bryce Dallas Howard’s Claire Dearing.
But this circumstance does not justify that the sixth adventure of the resurrected dinosaurs, Jurassic World: Dominionbeing defensible, is revealed so risk-free in her narrative decisions. To begin with, both Jurassic Park Y The lost World Like the previous one, we are unleashed by some quite brutal and terrifying sequences, the kind that make us stay on edge while they last and make us stir in our seats without any remedy. But there is almost no hemoglobin here.
When coherence is not enough and narrative courage is lacking
Of course, you can’t point it out no inconsistency to C0lin Trevorrow and his co-writer Emily Carmichael. We largely owe him the writing of the second trilogy, which perfectly captures what Jeff Goldblum’s Ian Malcolm exposes in Jurassic Park about the uncontrollability of life in biological evolution, which always makes its way, and from which the expansion of the dinosaurs throughout the planet in Jurassic World: Dominion is the logical consequence.
The indispensable situations of extreme danger with these violent prehistoric beings and the usual persecutions are not lacking, composed with the audiovisual suitability provided by the years of the trade. But unfortunately, none of them make the hair on the back of our necks or arms stand up. we follow them for common paths and without too many surprises with pleasure, that of the grateful viewer who enjoyed more than once in this franchise, knows its spirit and longs for the extraordinary.
But it never comes. And the final touch in this regard is put by Colin Trevorrow when the beloved three protagonists of the first feature films and those of the two later ones finally come together in Jurassic World: Dominionand from this meridian accumulation of characters does not come off none sacrifice to it scream (2022) that recovers something that impacted us to remain in our memory. If the brachiosaurus on Isla Nublar or the shyster who hid in a toilet raised their heads…
