“old” and “less thrilled”, which may be the weakest of the franchise

Starring Scarlett Johansson and Jonathan Bailey, the latest in the Dinosaur Blockbuster series follows a template created by the original Jurassic Park, but that’s not comparable.

eww. There is a clear whiff about the latest Jurassic movies. This is nervous to come up with a fresh take on formula (overcoming dinosaurs), which makes billions of dollars and is clearly not too confusing. The filmmakers should have ruined it a little more. Jurassic World’s Rebirth has major stars in Scarlett Johansson and Jonathan Bailey, with creatures designed more than ever, but with few thrills, it may be the weakest of the Jurassic franchise.

This seventh in the series is essentially a reboot reboot, following Steven Spielberg, a template created in the first Jurassic Park starring Samneil and Laura Dern 32 years ago. The three films were followed by the Jurassic World Trilogy with Chris Platt and Blythe Dallas Howard. And this next article sounded promising. Johansson, as vibrant as the Black Widow action star, plays Zola Bennett, a mercenary hired by a large pharmaceutical company to retrieve dinosaur DNA. Bailey fits smoothly into the role of Dr. Henry Loomis, a brave paleontologist working on a dangerous mission. He can identify dinosaurs. Dinosaurs roam freely on abandoned equatorial islands where experiments to create hybrids were not successful. Their DNA is used to create drugs to prevent heart disease, providing great benefits to the pharmaceutical companies that employ Zola. Rupert’s friend plays the villain, the company’s greedy representative. And Mahershala Ali plays Zora’s trustworthy colleague.

But if the film’s main star-filled story is hidden by a subplot, that’s a problem. This is an unlikely result of regeneration. As always in Jurassic films, there are dangerous families. Here, his father is Reuben (Manuel Garcia-Rulfo from the Netflix series The Lincoln Lawyer). He goes on a boat trip with his daughters, college-aged Teresa (Luna Blaze), 11-year-old Isabella (Audrina Miranda, very good at being scary), and Teresa’s boyfriend Xavier (David Iacono). Their stories are the most suspenseful from the beginning when their boats are attacked, attacked and capsized by giant dinosaur fish – officially larger than whales, more vicious than sharks, in order with jaw-like levels of danger. They are rescued by Zora’s crew, but are separated on the island. For most of the film, the family plot moves parallel to the expedition, and as you run through the forest leaping up with the sounds of groans it runs more effectively, discovering that what appears to be a tree stump could be a nap dinosaur.

The threat is more visceral to the family as the character can become a victim at any time. What is the chance that Scarlett Johansson or Jonathan Bailey will be gobed up? The close call of the Stars is most Jurassic films, so you need to be particularly nervous to compensate for certain survival. Here, their scuffs aren’t as scary as viewers are on the edge of their seats. Director Gareth Edwards (Rogue One: Star Wars Story, and more recently, creator) often doesn’t get close to dinosaurs as much as he places his family in, and his actions are bland. When Henry clings to the edge of a cliff with his fingertips, you may think of it generously as homage to many things, but it lands as a cliché. And Edwards adds some of the distracting businesses. At two different points, Henry bites loudly with mint, nasty, failed stab wounds in humor.

The opening texts of the film describe the “public interest waned” for years after the dinosaurs returned, and the risk of environmental changes. Interest in the film’s dinosaurs could also fade, and although that’s not happening yet, this line sounds like a rebirth order to create a bigger, scary monster. Zora and Henry need to sedate and get DNA from the Titanosaurus, the biggest carnivore of all time, and from the flying, vicious, beak Quetzalcoatulus, and the swimming Mosasaurus. Along with many other creatures, they are not as scary as impressive, and sometimes can be seen on a huge scale. At one point we see dozens of long-necked dinosaurs grazing peacefully. John Williams’ majestic original theme music lets you gracefully insert composer Alexandre Desplat into his new score, the surge, and you can feel him in awe as he stares at creatures he has never seen before.

However, the scene is a reminder of how unsuccessful Spielberg’s original original, intentionally reflecting the strange feeling that Neil and Dern’s characters, and the film’s audience, experienced when they watch a pack of peaceful horror at Jurassic Park. Of all seven films, it excels at building tensions and continuing to captivate viewers. The sequel is up and down, and doesn’t match the original at all. Edwards has I said That Spielberg was “very involved” in consulting about the story and carrying out the rebirth, but that is clearly not the same as dictating it. If you can’t improve Spielberg, and really, who can do it when it comes to films of this kind? – It’s better to try something bold to prevent the benefits of a declining dinosaur.