Monster movies are apart of the many subgenres of blockbuster moviemaking that seems to have been aborted by Hollywood. They used to be the surprisingly thrillingly and seemingly unageable stop-motion creature features of the 1930’s, films like that of Cooper and Schoedsack’s “King Kong” and Harry O. Hoyt’s “The Lost World.” They were crafted in good nature of manifesting something different and unseen, just like what Spielberg and Scott did in the latter half of 20th-century filmmaking. The stories either served the purpose of smart representation through genre storytelling, or they were so original that the flaws found in their narrative were camouflaged by the spectacle of watching a dinosaur come to life.
Now, in 2018, “Jurassic World: Fallen Kingdom” is the newest addition to the dying genre of monster movies that have been purged for the inherent commercial potential. Joining 2017’s “Kong: Skull Island” in which the film circulates around the actions of ignorantly designed characters and subplots that are purposefully designed to carry us to the next movie. It’s financial prosperity driven story, which hasn’t worked in the 120 plus years of filmmaking’s history, and J.A. Bayona’s “Jurassic World: Fallen Kingdom” is a prime example of this second-rate notion.
The story, written by Derek Connolly & Colin Trevorrow (director of the previous “Jurassic World), is absurdly designed. It’s a story that picks up a few months removed from the horrific events of “Jurassic World.” The company behind the park has been sued for damages and medical expenses, while someone with a butt load of money has sent a team of DNA retrieving pirates to grab some sample from the Indominus Rex. They discover the boned remains of that hybrid genetic monster, which makes no sense. Didn’t she get eaten by the Mosasaurus? Why would there be bones left?
Nonetheless, they retrieve a bone from the dead monster, and things go wrongs, because of course they go wrong, and a Tyrannosaurus Rex attacks the man attempting to close the bay doors that keeps the Mosasaurus locked in its giant pool. Running for his life, he fails to close those doors, releasing that giant monster into the open sea, and from there we pick up in a court hearing where Ian Malcolm (Jeff Goldblum) is offering his sentiment on an animal rights issue that has been sparked from the events of the first film, as a dormant volcano has become active on the island, placing all of these de-extinct animals in danger of going extinct once again. Do they deserve to be saved? Should they be treated with the same rights as domestic animals?
Malcolm (Jeff Goldblum) sees it as nature correcting the course that we screwed up. Stating how we, as humans, never seem to be ever to use the discoveries we make in a way that doesn’t create war, starvation, or force nature to create a course correction for our mistakes. It’s the only part of the screenplay that attempts to introduce themes that speak to a larger crowd than the one in my theater, asking questions that we can’t answer. Do we deserve access to genetic engineering? What is our role as the superior species on this planet? Shouldn’t we make the earth better with the innovations we’ve made?
That wittiness dissipates, and we’re reconnected with Claire (Bryce Dallas Howard) whose apart of the animal protection campaign. She talks to senators and is attempting to help pass an act that is giving these dinosaurs sanctuary, but it all works to no avail. Congress sees these cataclysmic events as a natural course correction, as they should. MSNBC reports this with a fantastic with an amusing quote on the ticker that offers a jab at President Trump stating “President questions if dinosaurs ever existed.”
An adept snippet that should’ve been more a part of the actual narrative, but we watch Claire (Bryce Dallas Howard) being offered to take part in a private rescue mission to move these dinosaurs to a different island, a mission funded by the Lockwood estate, one of the co-founders of the first park. She accepts, of course, and we watch her get the band back together, reaching out to Owen (Chris Pratt) whose building his cabin in the woods. The two split apart between these two movies, and find themselves reconnecting on their mission back to the island. We also get two new members to the crew with the techy and annoyingly panicky guy in Franklin (Justice Smith) and a feisty dino-medic named Zia (Daniella Pineda).
They join together with a small militia led by Ted Levine who depicts the stereotypical greed filled mercenary who inevitably turns on our heroes when the volcano erupts, and the heroes are left to fend for themselves. Running from CGI rendered dangers as they barely survive in very illogical ways such as Chris Pratt surviving volcanic ash without a scratch to be found. Banding together to save these dinosaurs from the money leaching hands of a wealthy family divided between making more money and correcting mistakes of the past, our heroes are faced with the same stupidity of Trevorrow’s film in which these dinosaurs are placed into an auction for black market buyers to use for military purposes.
Our auctioneer played by the incomparable Toby Jones, states how we’ve been weaponizing animals for century’s, didn’t we stop doing that for a reason though? Like the invention of cars, helicopters, tanks, and other advancements that helped in making travel far more comfortable for us, but let's use dinosaurs to ride into battle once again. With the help of the enigmatic granddaughter of the old man depicted with a shockingly remarkable performance from Isabella Sermon, our heroes band together to stop these events as Owen (Chris Pratt) transforms into our Indiana Jones-like hero who swashbuckles his way through armed guards.
Ted Levine returns after all this goes down asking for his bonus, he finds himself face to face with the new genetic hybrid created by these people. The Indoraptor which has been engineered to follow the commands of a specific noise, a noise that seemingly gets forgot when this monster inevitably gets out in a dumbly written sequence in which this mercenary is attempting to collect the tooth of this creature to help fashion his dino-tooth necklace.
From there, J.A. Bayona attempts to flex his Ridley Scott-like muscles by transitioning this film from a rescue mission gone awry to an unimaginative and tensionless cat and mouse game between this genetically designed creature and our heroes. It’s an Alien homage that fails, not because of Bayona and his cinematographer’s, Oscar Faura, strong stylistic efforts to make this film look far prettier than it deserves to be. It doesn’t work because the story has moved devastated slowly and in all this time has been unable to manifest any resonance for these characters or any more significant themes that the story adds up to. The fun to be had stems from an entire visual point of view in which Bayona provides some awesome T-Rex killing moments and some exquisitely crafted portraits of a film that doesn't use that beautiful imagery to its benefit.
The visual effects team and production team deserve just as much praise as Bayona and his cinematographer, but Trevorrow and Connolly drop the ball entirely. Carrying a film with a moment to moment mentality that adds up to a film acting more as the intermission between the first film and the forthcoming third film that is slated for 2021, a finale film that seems to be setting up the idea of how will we cohabitate with these creatures? How will Pratt and Blue reconnect? What will happen with the genetic codes that have been sold off to terrorist groups and militia groups? All of those questions will be answered in three years, the questions answered in this film are lacking. There’s a lack of energy, a lack of spunk, and a desire for something more charismatic, despite having a star like Chris Pratt and a plot surrounding dinosaurs.
It’s a film that knows your not going to enjoy it and knows that you’ll pay to see it anyway. It feeds off the bones of those great monster features I named above and replicates them to make another buck. It's what I described it as in that of money driven story; it’s an intermission snooze fest that has a visually satisfying touch from a cinematographer and a director that exhumes as much entertainment from his stars as he can.
There are emotional snippets to be found like that of Brachiosaurus roaring it's final breath as our heroes helplessly watch from afar, a scene that stands out far more than anything in the second half of the film. I think that’s a clue as to what makes these monster features so good; it’s not spectacle, it’s emotion. Take note of this Trevorrow.