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Inspiring the Archdiocese of Baltimore

MOVIE REVIEW: ‘Jurassic World Dominion’

NEW YORK (CNS) — It’s old home week for a $5 billion sci-fi franchise. That’s because “Jurassic World Dominion” (Universal), which wraps up the second trilogy of films ultimately derived from novels by Michael Crichton, features not only the duo whose adventures have been charted in the more recent movies, but the trio of scientists at the heart of the 1993 original as well.

Yet this reunion, though affectionate enough, involves slightly grittier content than its two predecessors in the current series. So the parents of persistent teens will need to be wary.

Those old enough to remember Bill Clinton’s first term and Whitney Houston belting out “I Will Always Love You,” may recall Jeff Goldblum’s black-clad mathematician, Dr. Ian Malcolm. Can they also bring to mind the mutual romantic attraction of paleontologist Alan Grant (Sam Neill) and paleobotanist Ellie Sattler (Laura Dern)? Director Colin Trevorrow and his script partner, Emily Carmichael, clearly hope so.

No such powers of recollection are required to place Chris Pratt’s animal tamer Owen Grady or Bryce Dallas Howard’s career-focused executive-turned-heroine Claire Dearing; we saw them as recently as 2018’s “Jurassic World: Fallen Kingdom.” It’s just as well that both Owen and Claire have gained a taste for domesticity since they’re not only married but raising an adoptive daughter, Maisie (Isabella Sermon).

How do Trevorrow and Carmichael bring this disparate ensemble together? Through the good offices of an evil corporation called Biosyn and its ruthless CEO, Lewis Dodgson (Campbell Scott).

Dodgson gets on the oldsters’ nerves by reanimating prehistoric locusts who chomp on any grain not designed by Biosyn, thus raising the specter of worldwide famine. He annoys the younger set by kidnapping genetically unique Maisie so Biosyn can make a study of her.

Owen and Claire acquire an ally, as they hunt for Maisie, in the person of tough pilot Kayla Watts (DeWanda Wise). The screenplay takes a momentary detour to inform us that Kayla likes ladies. Having checked this now-obligatory box, it’s back to the action.

Dodgson’s machinations are made the cue for some inconsequential philosophizing about the ethics of cloning and the relationship of humans to nature. These rambling reflections include Malcolm’s explicit denial that we have “dominion” over the rest of creation — seemingly a direct contradiction of the Book of Genesis.

Viewers’ opinions will vary on how seriously this remark ought to be taken, however. Malcolm is, after all, as eccentric as he is supposedly insightful.

All this woolgathering is, moreover, mere filler as we await the appearance of the picture’s real stars: those outsized dinosaurs whose ill-advised revival from extinction continues to pester humanity around the globe. To the terror of those on screen — and the delight of those consuming popcorn — these beasties roar and rampage, stomp around and imperil crowds of hapless folk.

Given the box-office record of the past 30 years, many clearly get a frisson from the fear of the fictional.

The film contains much stylized, though occasionally disturbing violence, vague references to lesbianism, a couple of profanities, about a dozen milder oaths, several crude terms, a couple of crass expressions and an obscene gesture. The Catholic News Service classification is A-III — adults. The Motion Picture Association rating is PG-13 — parents strongly cautioned. Some material may be inappropriate for children under 13.     

Mulderig is on the staff of Catholic News Service.

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Jurassic World: Movie Review

Hannah Goodwyn

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"The park is open."

Steven Spielberg's dinosaur action/adventure park is back in business. The executive producer's famed franchise hopes to take a big bite out of the box office revenue made this weekend as his new installment, Jurassic World , opens in theaters worldwide.

Starring Chris Pratt ( Guardians of the Galaxy ) and Bryce Dallas Howard ( The Help ), Jurassic World offers moviegoers a satisfying thrill ride through the now opened Disney-esque dino-themed amusement park. Caution is advised as this new summer blockbuster contains some foul language and scary dinosaur-inflicting violence.

THE MOVIE IN A MINUTE

Twenty-two years after the devastating events of John Hammond's original attempt, his dream of a live dinosaur theme park where tourists and ancient beasts can interact is fully realized. In its tenth year of operation, Jurassic World continues to entertain visitors from all over the world. But, ticket sales are declining. To reinvigorate interest, scientists led by Dr. Henry Wu (B.D. Wong) and park operations manager Claire Dearing (Howard) create a hybrid dinosaur as Jurassic World's next big attraction. Bad idea. Dearing reaches out to the park's Raptor trainer Owen Grady (Pratt), in hopes of learning how to better contain the bigger-than-a-T-Rex beast they've dubbed Indominus Rex (which means "untamable king").

THE GOOD AND BAD IN JURASSIC WORLD

Better than the original trilogy's sequels ( The Lord World: Jurassic Park and Jurassic Park III ), Jurassic World ticks most of the boxes fans have when it comes to these dinosaur action/adventure movies. Coming in at 124 minutes, director Colin Trevorrow's popcorn flick is just long enough. Some critics have pointed to some spots of poor CGI as a weakness in Jurassic World , but it's not distracting. This is a big, loud and visually vivid film. As with any science fiction based films, you can't watch this movie without suspending your disbelief.

The story is well crafted, which almost wasn't so. The script went through multiple rewrites. Thankfully, the filmmakers opted for the best storyline of the rumored alternates, one of which featured human-dinosaur hybrids. Trevorrow pays homage to the original in props, set locations and cinematography. Jurassic World takes us back to Isla Nublar, to a live dinosaur theme park with a sort of Disney/Epcot feel to it with its line-inducing attractions, interactive exhibits and even a personal driving orb you can maneuver through a dinosaur area.

With a false sense of security, especially since wild dinosaurs still roam free north of the theme park in a "restricted" area, parents corral wide-eyed kids and their bored teenagers through the maze of corporate-sponsored amusement. The product placement was intentionally amped up, as the filmmakers wanted to speak to society's insatiable craving to be entertained and corporate and consumer excess. Themes of heroism, sacrifice and protecting those you love also play major roles in Jurassic World . There are no references to the Christian faith, but with the genetic creation of the Indominus Rex we get a glimpse at the dangers that come with humans playing "God". One character seems malicious as he hopes to turn the dinosaurs into soldiers that can be used on battlefields. His misguided idea is revealed to have a partly pure motive of protecting the masses.

Pratt and Howard lead a great cast as Grady and Dearing. He's a rough around the edges, protector type and she's the business before fun kind of woman (She even runs in pumps for half of the movie--a feat for which Howard says she had to train). Ty Simpkins (the cute kid from Iron Man 3 ) and Nick Robinson ( Melissa & Joey ) play Dearing's nephews. Vincent D'Onofrio (Netflix's Daredevil ) also plays a supporting role as the film's antagonist, with Wong reprising his role from Jurassic Park (the only of the trilogy actors to appear in Jurassic World ).

Rated PG-13 for intense sequences of science fiction violence and peril, Jurassic World is not for kids. Heed the MPAA warning on this one, parents. The foul language and utter mayhem takes it beyond the original three movies. More people on the dinosaur island means more being gobbled up by the rampaging Indominus Rex. This movie is, at times, scary. Jurassic World is definitely bigger, louder and more deadly than its predecessors. Though it doesn't get gory, it does show people being eaten and blood splattering on nearby glass and dripping down rainforest tree leaves. Also, one scene shows Grady (Pratt) making a sexually suggestive gesture.

Jurassic World offers a thrill for fans ready for more Isla Nublar adventure and the majestic and terrifying dinosaurs it contains. Not reaching the greatness of the original, Jurassic World surpasses the sequels. However, caution is advised.

About The Author

Hannah Goodwyn served as a Senior Producer for CBN.com, managing and writing for the award-winning website. After her undergraduate studies at Christopher Newport University, Hannah went on to study Journalism at the graduate level. In 2005, she graduated summa cum laude with her Master's from Regent University and was honored with an Outstanding Student Award. From there, Hannah began work as a content producer for CBN.com. For ten years, she acted as the managing producer for the website's Family and Entertainment sections. A movie buff, Hannah felt right at home working as CBN.com's More

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• DVD & Streaming

Jurassic Park

• Action/Adventure , Drama , Horror , Mystery/Suspense , Sci-Fi/Fantasy

Content Caution

In Theaters

• June 11, 1993
• Sam Neill as Dr. Alan Grant; Laura Dern as Dr. Ellie Sattler; Jeff Goldblum as Dr. Ian Malcolm; Richard Attenborough as John Hammond; Samuel L. Jackson as Ray Arnold; Wayne Knight as Dennis Nedry; Joseph Mazzello as Tim Murphy; Ariana Richards as Lex Murphy

Home Release Date

• October 4, 1994
• Steven Spielberg

Distributor

• Universal Pictures

Movie Review

Dr. Alan Grant and Dr. Ellie Sattler make a pretty good team. In the field, they’re considered to be at the top of their game. And even in their private moments they work very well together. They’ve actually thought about settling down and tying the knot someday. Maybe having some kids. Well, Ellie’s thought of that, at least. Alan isn’t so fond of small humans.

He’s fine with small dinosaurs, though! Both he and Ellie have spent their whole lives in pursuit of the fossilized remains of those splendid creatures.

Cue the entrance of eccentric multimillionaire John Hammond.

The man’s been building a theme park on a Costa Rican island. It’s something a little different. A little dangerous. And he needs some specialists like Grant and Sattler to give their thumbs-up to the park and put his anxious investors’ minds to rest.

You see, the ambitious entrepreneur has built a dinosaur park. That’s right, his scientists figured out how to harvest dino DNA from prehistoric insects. And he’s filled an entire island with Brachiosaurs and Triceratops, Dilophosaurs and even a Tyrannosaurus rex.

So he wants Alan and Ellie to join him, his grandchildren and a cynical mathematician named Ian Malcolm for a weekend tour of this marvelous park. After they all see how wonderful the place is and give it their stamp of approval, the investors and lawyers and insurance people will all calm down and stop worrying.

It’s a theme park, for crying out loud! A fabulous place with all the latest technological advancements and security. They’ll see that it’s really quite a miracle too. And with their help, millions of people will share in the excitement.

After all, what could possibly go wrong on an island brimming with enormous, bloodthirsty monsters … in a Steven Spielberg film?

Positive Elements

Things do go wrong. Of course. In spite of very perilous circumstances and impossible odds, however, nearly all the trapped humans in the park respond with bravery—risking life and limb to help one another. Several even sacrifice their lives.

In the course of things, Alan steps up to be something of a father figure to Hammond’s two grandchildren, Tim and Lex. He rescues them, protects them, calms their fears and in the end forms a lasting bond with the kids.

Ellie expresses her conviction that in times of disaster and tumult, “the only things that matter are the people we love.”

Spiritual Elements

Cutting a bit across the grain of the evolutionary angles inherent in dino destiny, Ian Malcolm sort of sums up the movie’s spiritual side when he worries over the idea of cloning dinosaurs, saying, “God creates dinosaurs, God destroys dinosaurs, God creates man, man destroys God, man creates dinosaurs.”

Sexual Content

A technician’s computer monitor sports a bikini-clad woman screen saver. A lawyer mistakenly asks if a park tour uses “autoerotica” figures (instead of animatronic figures).

Violent Content

Trembling rings of water in a cup speak to the terror that descends upon our heroes. But the movie doesn’t content itself with just visual symbolism. Early on, a man is dragged partway into an animal pen, and his lower extremities are obviously savaged by the screaming creature on the other side of the container’s wall. A bit later we see a full-sized bull lowered into a dinosaur den … and only a bloodied, broken harness pulled back out.

In neither case do we actually see the creatures attacking. We’re left to squirm instead while listening to the horrible sounds and watching the terrified human reactions. These intense moments—and many like them—are prime examples of how the movie makes what we don’t see as scary as what we do.

A T. rex munches a live goat, and the animal’s severed and bloody leg falls down on the sunroof of a vehicle parked nearby. That same dino chases after several people while roaring fearfully. It gobbles one guy up and systematically crushes a small truck holding Lex and Tim. It pushes the vehicle over a high ledge with one of the kids still inside. We later see the huge dinosaur snatch up several other smaller dinos, shaking and snapping their bodies. It plucks up a running dino and rips a chunk of flesh from its side. (To which Tim murmurs, “So much blood!”)

Grant helps Tim climb down from a dangerous perch in a tall tree while a car crashes down through the branches above them. Tim is also caught climbing on an electrified fence when the 10,000 volts of power are rebooted. The boy is thrown off the wires with an electrical jolt and lies temporarily dead until Alan applies CPR. A Dilophosaurus spits in a man’s face—blinding him—then attacks him in his vehicle. (We see the small SUV from the outside as it shakes.)

Velociraptors give hunt to adults and children in a number of very tense scenes. Their snapping jaws and sharp claws claim one victim. And we see the severed remains of another’s arm. Alan narrates and illustrates how a raptor will track and dismember its prey.

Crude or Profane Language

An s-word is accompanied by five or six uses each of “h‑‑‑” and “d‑‑n.” We hear “son of a b‑‑ch.” And Jesus’ and God’s names are abused two or three times each; God’s is linked to “d‑‑n.”

Drug and Alcohol Content

One park worker is a chain-smoker who always has a lit cigarette perched on his lower lip.

Other Negative Elements

Malcolm cavalierly talks of having several kids and numerous ex-wives. “I’m always on the lookout for the future ex-Mrs. Malcolm,” he chortles. He makes several other lightly crude jokes, including one about “lifting a dinosaur’s skirts” to see which sex it is.

Dino dung plays a big role in one scene.

Jokes are made about body parts littering the site of a T. rex attack. One casualty comes when a dino demolishes a park restroom, then plucks a man off the toilet and starts chewing.

Jurassic Park is, quite simply, Hollywood doing what it does best. Under the watchful eye of director Steven Spielberg, the film features tight storytelling, edge-of-your-seat tension, perfectly orchestrated camera angles, incredible CGI and mechanical realism, and a sweeping score. It takes the concept of Michael Crichton’s best-selling novel and keeps pounding its audience with horrible—but relatively bloodless—terrors right up to its deus ex machina finale where everyone can finally sit back with a sigh and a happy ending.

There’s even a pro-family message packed in amidst the slashing raptors and other bellowing malevolents. I can see the trailer tagline now: “It took a T. rex to convince Alan Grant to give kids a chance. For you it only takes a movie!” Either that or, “Scientists learn not to mess with Mother Nature.” But I kinda prefer the dad-in-the-making take.

Now, remember what I said about that relatively bloodless monster mayhem? Well, for all of this flick’s wonder and spectacle, parents should realize that a gigantic roaring dinosaur can be a pretty intense thing for kids of a certain size.

Not convinced? Well, the director is. Mr. Spielberg himself said of his own young brood (in Newsweek ), “I’m not going to let my kids see it for a couple of years.”

A 3-D UPDATE: The 2013 theatrical re-release of this film—in full IMAX 3-D splendor—makes that last little warning all the more pressing. True, most of the dinosaurs’ grisly bone-crunching mouthfuls are either hidden behind jungle foliage or caught in brief glimpses. But in IMAX form, just the prolonged screeches and thunderous roars alone can be enough to make a grown man grimace. (And the grown man I reference is me.)

We’ve gotten so comfortable with Jurassic Park’ s growling and gnashing on our small screens that we may have forgotten just how nerve-racking and flat-out scary it can be in all its big-screen glory. Some of the enlarged, 20-year-old special effects can come off as a bit blurry or fuzzy, but the well-designed three-dimensional effects help turn jumps into leaps. It’s exactly like we wrote in our 1993 magazine cover story: “By scripting enough carnage to earn the film a PG-13 rating, Jurassic Park resemble Jaws more than it does E.T. or Hook .”

After spending more than two decades touring, directing, writing and producing for Christian theater and radio (most recently for Adventures in Odyssey, which he still contributes to), Bob joined the Plugged In staff to help us focus more heavily on video games. He is also one of our primary movie reviewers.

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JURASSIC PARK III

"the ultimate tourist trap".

What You Need To Know:

(BB, CC, Ev, Ro, LL, VV, M) Moral worldview with some redemptive elements plus two brief, somewhat positive references to God, marred by a couple evolutionary concepts & statements as well as a few scenes which reveal a romantic notion regarding animals, both of which might be, at the very least, confusing to many people; 5 lightweight obscenities & 12 exclamatory profanities; scary, intense action violence with some blood that will be too much for children, especially younger ones, & even some teenagers & adults, such as terrifying dinosaurs often attack & try to kill or eat people, plus plane crash, two men explode junk plane with gun & boy in danger; no sex; no nudity; no alcohol use; no smoking; and, lying & subterfuge rebuked.

More Detail:

If you hated the first two movies, you won’t like JURASSIC PARK III, but if you liked the first two, or have been waiting for them to get it right, you might just love this new version of what is, by now, a familiar plot: people get stranded on an island filled with dangerous, people-eating dinosaurs and try desperately to escape. What makes the third movie more successful than the other two is the family drama that takes place this time.

After a brief prologue, JURASSIC PARK III opens with Sam Neill reprising his role as Dr. Alan Grant from the first movie. Dr. Grant is a beleaguered man these days; all people want to discuss are his experience on the first of two dinosaur islands constructed by a genetics engineering company. The sensationalism surrounding his escape has dried up funding for Grant’s new theory about the intelligence of one dinosaur species, the dreaded velociraptor. Desperate for funding, he accepts the proposal of wealthy adventurer Paul Kirby and his wife, Amanda, to accompany them on an aerial tour of the second dinosaur island.

All is not what it seems with this seemingly happily married couple, however. Grant suspects something’s not right when the pilot prepares to actually land on the island. Angry and alarmed, Grant protests, to no avail. When a huge carnivorous spinosaurus interrupts their brief stay, the plane crashes after trying to take off again. Thus, Grant and his young protégé, Billy, are stranded on the island with the Kirbys and one of their pilots. The real reason for the Kirbys’ visit to the island is finally revealed, followed by some surprising developments. Furthermore, Dr. Grant is forced to learn the terrifying implications of his raptor intelligence theory firsthand.

Director Joe Johnston, the MOVIEGUIDE® Award-winning director of such movies as THE ROCKETEER and OCTOBER SKY, has fashioned the first completely thrilling action flick of the summer. The flair for fast-paced action and creative storytelling he displayed in THE ROCKETEER and JUMANJI serve him well here.

Helped by good acting, the characters seem stronger and more likeable in this new sequel. Viewers get a chance to sympathize more with the exasperated Dr. Grant. Also, the family dynamics behind the Kirbys’ real motives give the plot a strong emotional hook. It’s a good blend that makes the notion of dinosaurs chasing and attacking people more fun. After all, most viewers have seen this kind of monster movie countless times before, even if they haven’t seen the first two movies in the series.

JURASSIC PARK III also seems more redemptive than the other two movies, to the very end. There are many moments where one or two people help another person survive, or where one person is ready to sacrifice himself for another person or even the whole group. The Kirbys’ situation is also resolved in a redemptive fashion. All this adds to the movie’s satisfaction level during its scenes of jeopardy.

Of course, Dr. Grant mentions macro-evolution at one point in the story. He believes that the nasty raptors are social animals who are more intelligent than dolphins or monkeys and capable of evolving into sentient beings. However, Grant also condemns the genetics engineering company for trying to “play God,” and he says “God bless” about one of the characters who appears in the movie, a person who happens to be a familiar face. Mixing evolution with God sounds contradictory, but there are people in this world who believe in macro-evolution, even human evolution, but who are also ethical monotheists, or believers in a personal God who demands ethical behavior. At the very least, however, this kind of thing might be very confusing to many people, not just children. What does seem contradictory, however, is the movie’s final shots of three members of one dinosaur species which, although they attempted to eat the humans before, are now seen, in the final shots, as majestic creatures just trying to find a new place to nest.

Naturally, there are plenty of scary dinosaur attacks in JURASSIC PARK III, including some images of blood. Because of the violence and the scary parts, this is not a movie for younger children, and it also deserves a caution for older children. The obscenities and profanities are lightweight and mostly exclamatory, however.

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Jurassic World Dominion

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Rent Jurassic World Dominion on Fandango at Home, Prime Video, Apple TV, or buy it on Fandango at Home, Prime Video, Apple TV.

What to Know

Jurassic World Dominion might be a bit of an improvement over its immediate predecessors in some respects, but this franchise has lumbered a long way down from its classic start.

It's probably time to let this franchise rest, but between some entertaining action and the fun of seeing members of the original cast reunited, Jurassic World Dominion is a decent enough sequel.

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Twenty-nine years ago, when " Jurassic Park " was released, computer-generated and digitally composited effects were still relatively new, but director Steven Spielberg's team raised them to a new level of credibility by deploying them sparingly, often in nighttime and rainy scenes, and mixing them with old-fashioned practical FX work (mainly puppets and large-scale models). The result conjured primal wonder and terror in the minds of viewers. The T-Rex attack in particular was so brilliantly constructed that it put this writer sideways in his seat, one arm raised in front of his face as if to defend against a dinosaur attack. When there was a break in the mayhem, Spielberg cut to a very quiet scene, letting everyone hear how many people in the audience had been screaming in fright, which of course led to raucous laughter and a release of tension (a showman's trick). A small girl sitting near this writer regarded his still-terror-contorted body and asked, "Mister, are you all right?"

There's nothing in "Jurassic World: Dominion" that comes close to that first "Jurassic Park" T-Rex attack, or any other scene in it. Or for that matter, any of the scenes in the Spielberg-directed sequel "The Lost World," which made the best of an inevitable cash-grab scenario by treating the film as an excuse to stage a series of dazzling large-scale action sequences, and giving Jeff Goldblum's chaos theorist Dr. Ian Malcolm the action hero job. Goldblum, who reprises his role in "Dominion" alongside fellow original cast members Sam Neill and Laura Dern , turned his "Lost World" performance into a wry-yet-cranky meta-commentary on corporate capitalism.

For that matter, there's nothing in this new film as good as the best parts of "Jurassic Park III," " Jurassic World ," and "Jurassic World: Fallen Kingdom.” The latter had the most surprising pivots since the original, conjuring Spielbergian magic (think of that shot of the brachiosaur left behind on the dock) and mixing gothic horror and haunted house-movie elements into its second half. "Jurassic Park" creator Michael Crichton's original inspiration, Mary Shelley's Frankenstein , was referenced through the character of Maisie Lockwood ( Isabella Sermon ), a clone created by John Hammond's business partner to replace the daughter that he lost. 

Maisie is one of many major characters featured in "Dominion," and her tragic predicament has disturbing new details added to it. But returning franchise director/co-writer Colin Trevorrow (writer/director of "Jurassic World") and his collaborators are unable to focus on their deeper implications long enough to develop Maisie with the sophistication required for a great or even good science fiction/horror film. 

The mishandling of Maisie is but one bit of scrap in this dumpster of a sequel. The film opens with Claire Dearing ( Bryce Dallas Howard ), onetime park operations manager of Jurassic World turned head of the activist Dinosaur Protection Group, breaking into a ranch where baby plant-eaters are being kept and impulsively deciding to rescue one of them. Then she goes to a cabin in the snowy Sierra Nevada mountains, where Maisie is living with the park's former raptor-whisperer Owen Grady ( Chris Pratt ). The three form a makeshift nuclear family focused on protecting Maisie against parties who want to exploit her for genetic and financial gain. The semi-domesticated raptor Blue lives with them as well, and has asexually produced a child (mirroring Maisie's relationship to her mother's genetic material—though so haphazardly that it's as if the filmmakers barely even thought of the two creatures as being thematically linked). 

There's also a corporate spy plot (as in most of the other films) involving a thoughtless and/or sinister corporation that talks of magic-and-wonder but is mainly interested in exploiting the dinos and the technology that created them. From "The Lost World" onward, the successors to park founder John Hammond ( Richard Attenborough )—a nice old man who meant well but failed to think through the  implications of his actions—have been actively treacherous Bad Guy types. The heavy in this one is Dr. Lewis Dodgson, a character from the original film who’s been recast and promoted to CEO of BioSyn ('bio sin,' get it?). Dodgson hired another recurring "Jurassic" character, B.D. Wong's Dr. Wu (arguably the true villain of most of these films, though in an oblivious, John Hammond sort of way) to breed prehistoric locusts that are genetically coded to devour every food crop, save for engineered plants sold exclusively by the company. 

Dodgson is the mastermind behind the kidnapping of Maisie and Blue's child. Actor Campbell Scott uses inventive body language and unpredictable phrasings and pauses to invest the under-written Dodgson with a distinct personality. He turns him into a sendup of two generations of Baby Boomer and Generation X tech-bro capitalist gurus. Dodgson is a man who carries himself like a peace-loving hippie but is really a voracious yuppie who keeps black marketeers and hired killers on retainer. The warm-voiced but dead-eyed way that Dodgson conveys "caring" is especially chilling—like a zombie Steve Jobs . It's the film's second most imaginative performance after that of Goldblum, who never moves or speaks quite as you expect him to, and blurts out things that sound improvised. (Chastising colleagues who are moving too slowly for his taste, he snaps, "Why are you skulking?")

All narrative roads converge at BioSyn headquarters, where Neill and Dern's Alan Grant and Ellie Sattler have gone to ask Ian Malcolm's help in obtaining top-secret information that can end the prehistoric locust plague, and where Maisie and Blue's baby have been brought so that their genetic secrets can be mined as well. Two new characters—Han Solo-ish mercenary pilot Kayla Watts ( DeWanda Wise ) who says she doesn't want to get involved in the heroes' problems and then does, and Dodgson's disillusioned acolyte Ramsay Cole ( Mamoudou Athie )—join the intrigue, and presumably are being introduced as new-generation figureheads who can take over the franchise. Even if the entire film had focused on BioSyn headquarters, the film still might have seemed overstuffed and under-imagined. But Trevorrow turns the movie into a global travelogue, every sequence feeling narratively cut-off from the others in the manner of a substandard spy flick. (There's even a rooftop chase modeled on one in " The Bourne Supremacy ," but with a raptor.)

A long sequence in Malta, where Claire and Owen have gone to rescue Maisie from kidnappers, encapsulates the film's failures. There are a lot of promising notions in it, including a dinosaur-focused black market (like something out of a " Star Wars " or Indiana Jones film) where criminals go to buy, sell, and eat forbidden and endangered species. But it's undone by a lazy undercurrent of comic-book Orientalism and a seeming inability to even see, much less capitalize on, potentially rich material. Michael Giacchino's score pours on sinister Arabic-African "exotic" cliches, as if setting up an R-rated prison thriller in which Owen does a " Midnight Express " stint in a Turkish prison for hashish possession. 

An action scene that throws Owen and the lead kidnapper into a fighting pit where onlookers wager on dinosaur fights is as indifferently composed and poorly edited as nearly every other action scene in the film—and it becomes depressing once you think about what Spielberg, or his favorite second-unit director Joe Johnston ("Jurassic Park III"), might have done with it. It could've been a tiny masterpiece of action, slapstick, and social commentary, with the pit audience initially reacting with outrage when their regularly scheduled dino-fights are disrupted, then gleefully shifting gears by betting on the two humans who are going at each other, making fresh odds and handing off fistfuls of cash while baying for blood. Trevorrow looks at this setup and sees nothing but a hero fighting a henchman in a pit. 

There's no scene in the film that's entirely worthless. There's no question that at this point, the "Jurassic" factory knows how to design and animate prehistoric creatures and integrate them with live-action scenes of actors running, screaming, shooting, setting fires, and the like. And yet the totality feels indifferently assembled, and the stalkings and chases and dino-battles are for the most part bereft of the life-and-death tension that every other franchise entry has managed to summon. And the plotting is abysmal, relying too heavily on coincidence and flukes of timing, retro-engineering personal connections between new and pre-existing characters, and handing the heroes major victories as casually as a hotel desk clerk giving a guest a room key, instead of letting them earn them through ingenuity.  

Trevorrow even manages to recycle, not once but three times, one of the only clever gags in his "Jurassic World"—a comment on the 40-year budgetary and spectacle escalation of the summer blockbuster, in which a great white shark, the creature at the center of Spielberg's groundbreaking 1975 film " Jaws ," gets eaten by a mosasaurus the size of a skyscraper. Every time Trevorrow does something like this, it feels like an even-more-desperate attempt to remind us of how much fun we might've had during "Jurassic World," which wasn't that great of a film to start with, and that was dining out on reheated cultural leftovers even during its best moments. 

There are also scenes where characters (mainly but not always Malcolm) tie the capitalist rapaciousness of BioSyn to the film you're sitting there watching. But these don't have the wit and playfulness that powered similar material in "The Lost World." They just seem curdled with self-loathing and awareness of how hollow the whole production is. At one point Malcolm chastises himself for taking the company's money to work as their in-house philosopher/guru even though he knows they're cynical corporate exploiters, and there's a self-lacerating edge to Goldblum's voice that makes it seem as if it's the actor rather than the character who's confessing to low personal standards. And there are times where Sam Neill, like Goldblum, seems embarrassed to be onscreen, or at least confused as to what he's doing in the story—although to be fair, the script never convincingly justifies why Allan, a reluctant action hero in his other two "Jurassic" appearances, would leave the dinosaur dig site where Ellie finds him, other than that he's from the earlier movies and needed to be here for nostalgia-marketing reasons.

Worst of all, the series again fails to properly explore its most tantalizing question: how would our world change if dinosaurs were added to it? The opening section packs any halfway intriguing or funny thing that "Dominion" might have to say about this topic into a TV news montage—showing, for instance, a little girl being chased on a beach by baby dinos (an homage to "The Lost World"), a couple releasing doves at their wedding only to have one of them get snatched out of the air by a pterodactyl, and pteranodons nesting in the World Trade Center (possibly a reference to Larry Cohen's " Q: The Winged Serpent ," in which an ancient Aztec god nests in the Chrysler Building). Ninety minutes of footage like this, minus any characters or plot at all, probably would've resulted in an artistically better use of a couple hundred million dollars than "Jurassic World: Dominion," which will doubtless be a smash on the order of all the other entries in the franchise, even though it doesn't do much more than the bare minimum you'd expect for one of these films, and not all that well.

Now playing in theaters.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Jurassic World: Dominion (2022)

Rated PG-13 for intense sequences of action, some violence and language.

147 minutes

Sam Neill as Dr. Alan Grant

Laura Dern as Dr. Ellie Sattler

Jeff Goldblum as Dr. Ian Malcolm

Chris Pratt as Owen Grady

Bryce Dallas Howard as Claire Dearing

Mamoudou Athie as Ramsay Cole

Scott Haze as Rainn Delacourt

Dichen Lachman as Soyona Santos

Daniella Pineda as Zia Rodriguez

Isabella Sermon as Maisie Lockwood

Justice Smith as Franklin Webb

Omar Sy as Barry Sembène

DeWanda Wise as Kayla Watts

Campbell Scott as Lewis Dodgson

B.D. Wong as Dr. Henry Wu

Joel Elferink as Jeffrey

Jake Johnson as Lowery Cruthers

Kristoffer Polaha as Wyatt Huntley

Elva Trill as Charlotte Lockwood

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7 Things Parents Should Know about Jurassic World: Fallen Kingdom

• Michael Foust ChristianHeadlines.com Contributor
• Updated Jun 22, 2018

Owen Grady wants nothing to do with dinosaurs. Nothing.

That’s partially why he’s building a cabin in a remote mountainous area, far removed from the ocean and from Isla Nublar – the island which he escaped from three years earlier after dinosaurs took over the Jurassic World theme park.

He hasn’t been back since, and he has no desire to return.

Photo Courtesy: Facebook

Claire Dearing, though, thinks she can change his mind.

As head of the Dinosaur Protection Group, Dearing is working to rescue those abandoned dinosaurs on Isla Nublar before a deadly volcano erupts and puts them back on the extinction list.

And she’s found a wealthy man – a dinosaur lover named Benjamin Lockwood – to fund the trip. Lockwood was one of the men who helped clone dinosaurs the last time, but this time he’s wanting to do it the right way. He’ll place them on an unhabituated remote island and let them live alone – as nature intended, he says.

“We will save them,” Lockwood tells her, “for a gift … for our children.” 

It sounds like a great plan, but will it work? After all, these Jurassic stories never end well.

Photo Courtesy: Stefan Stefancik/Unsplash

What You Should Know About the Film

Jurassic World: Fallen Kingdom  (PG-13) opens this weekend, starring Chris Pratt ( Jurassic World, Guardians of the Galaxy series) as Grady, Bryce Dallas Howard ( Jurassic World, Pete’s Dragon ) as Dearing, and Rafe Spall ( The Big Short ) as Lockwood’s assistant, Eli Mills.

Here are seven things parents should know:

Warning: minor/moderate spoilers!

Photo Courtesy: Christian Wiediger/Unsplash

1. It's fun.

At least, it is for those of us who enjoy being scared by dinosaurs. Yes, we know the good guys likely are going to survive. Yes, we know some of the bad guys won’t make it to the credits. I’m not a fan of thriller or horror movies , but I’ve enjoyed the Jurassic Park series. Perhaps that’s because I know there aren’t dinosaurs outside my window at night. Right?

2. It’s the second film in a trilogy.

Don’t expect to walk out of the theaters with finality. In fact, the film’s final scene made me want to watch the next film immediately. Unfortunately, we’ll have to wait until 2021. Jurassic World: Fallen Kingdom falls after the events of 2015’s film, Jurassic World, which fell after events of the earlier Jurassic Park trilogy.  

3. It's intense.

And it’s not for young children. There’s a dinosaur-chasing-human scene virtually every five minutes. The opening scene shows a creature eating a man, and the closing scenes show a dinosaur biting off a man’s arm. In between, we see a dinosaur chase a girl down a hallway, a dinosaur chase a teenager up a ladder, and a volcano erupting and threatening to kill everyone. When dinosaurs aren’t chasing people, they’re fighting one another.

My young kids would have nightmares if they watched it.

4. It has some language.

I counted about 17 coarse words: d—n (4), OMG (3), h-ll (3), misuse of “ Jesus ” (2), misuse of “God” (1), SOB (1), s—t (1), ba—ard (1) and a—(1). Also: pi—d (1) and an unfinished s—t (1).

5. The sexuality/sensuality is minimal.

We see Dearing accidentally fall asleep on Grady’s shoulder, and later they share a brief kiss. Dearing also displays a bit of cleavage in one scene.

6. It can spark conversations about science and ethics.

Such as: Would you support using science to bring extinct creatures back to life? It may be hypothetical with dinosaurs, but it’s not with the wooly mammoth – an extinct creature that some scientists say can be “resurrected” in the laboratory.

For parents of teens, it also may be worth discussing the ethics of human embryo research. Scientists in our world are creating babies with three biological parents. They’re also making “designer” babies whose genes no longer carry traits for certain diseases. In the future, scientists may have the power to make “super” babies who are gifted with athleticism or academic prowess. Of course, scientists already are conducting research on aborted babies. Perhaps our world isn’t that much different than the big-screen version.

Photo Courtesy: Thinkstock

7. It can lead to theological discussions, too.

During a Senate hearing to discuss what should be done with the dinosaurs, Ian Malcolm of Jurassic Park lore tells the committee members: “God’s not part of the equation.” The implication: God has no role in what happens. Really? It’s worth talking about on the drive home.

Michael Foust is a freelance writer. Visit his blog, MichaelFoust.com .  

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• Trivia Gareth Edwards "dropped everything" to direct the film, stating before production, "I was about to take a break and I started writing my next idea for a film and this is the only movie that would make me drop everything like a stone and dive right in. I love Jurassic Park (1993) ...so this opportunity is like a dream to me. And to work with Frank Marshall and Universal and David Koepp , who's writing the script, I think they're all legends. So I'm just very excited."
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Reviewed by: Shawna Ellis CONTRIBUTOR

Are the millions and billions of years promoted by Evolutionists real? Answers

Top choice for accurate, in-depth information on Creation/Evolution. The SuperLibrary is provided by a top team of experts from various respected creationist organizations who answer your questions on a wide variety of topics. Multilingual.

Visit our dinosaur-size Web site where you’ll discover a mountain of knowledge and amazing discoveries. How do dinosaurs fit into the Bible? You’ll find the answer to this and many more of your questions. Play games, browse and learn. Includes many helps for teachers and parents.

DINOSAUR ORIGIN —Where did the dinosaurs come from? Answer

Are dinosaurs mentioned in the Bible?

WHY did God create dinosaurs? Answer

LIVING WITH DINOSAURS —What would it have been like to live with dinosaurs? Answer

NOAH’S ARK—Did Noah take dinosaurs on the Ark? Answer

DINOSAURS AFTER THE FLOOD —Following the Flood, what happened to dinosaurs? Answer

Is there a connection between dragon legends and dinosaurs ?

FEAR, Anxiety and Worry —What does the Bible say? Answer

Bravery, courage, self-sacrifice to protect others

SUICIDE —What does the Bible say? Answer

If a true Christian commits suicide, will they go to Heaven? Answer

C hildren and adults alike are fascinated by dinosaurs . The thought that this world was once inhabited by terrifying beasts arouses the imagination. People have shown their love for the dinosaur movie genera by flocking to the various “ Jurassic Park ” and “ Jurassic World ” films, anxious to see depictions of dinosaurs and humans together. With the public’s love for dinosaur action, I was surprised to find only a handful of other moviegoers in the theater on the opening night of “65.” It seems to have all the right elements for a successful dino film… a big-name star in Adam Driver , the interesting premise of a space traveler crashing on a world in which dinosaurs roam, a script by the writers of the very successful “ A Quiet Place ,” and lots of visually stunning action. But even with all these positives, “65” just seems to fall a little flat.

The premise of the film is a little confusing, as we are told that it is set “before the advent of man,” yet we have seemingly human characters from other worlds with advanced technology exploring the cosmos. One of these explorers is Mills ( Adam Driver ), a pilot about to leave his wife and daughter for a two year mission. Mills is hesitant to go but feels that he must for financial reasons surrounding his daughter’s illness. As she struggles with being the cause of his leaving, he lovingly tells her, “I’m not going because of you. I’m going for you.” The devotion that Mills has for his family is refreshing.

However, the two year mission becomes instead a fight for survival on an uncharted planet populated by fearsome creatures and huge insects. Even the environment of the planet itself is deadly, with a landscape in tumultuous upheaval brimming with threats at every turn. Can Mills and another survivor escape the deadly unknown planet before it is too late?

The movie feels like a rather slow race against time. The continual peril in which the characters find themselves is exhausting to watch. While there is some exciting action, it becomes a repetitive over time. Lead actors Adam Driver and young Ariana Greenblatt do their best with incredibly limited dialog and a relatively short runtime (93 minutes). While there is very little objectionable in the film (other than violent peril, some language and Evolutionism), there is also very little that I found to be truly memorable. A few scenes play out dramatically, but it is hard to become immersed in the characters and their motivations when they are in such continual unabated peril.

A major theme of the film is the age of Earth . This movie promotes the Evolutionary worldview that Earth is many billions of years old. This view does not hold up against a literal reading of the Bible, but I will not attempt to disseminate that here when there are already many fine articles to be found on this very foundational topic. Also, the film proposes that there is not just life on other planets but that the life found there seems to be human. Does life exist elsewhere? Again, these articles will better answer that question than I could in this brief review. Besides these problematic topics, the movie does have some other content of concern.

What does the Bible say about intelligent life on other planets ?

Are we alone in the universe ?

Does Scripture refer to life in space ?

Questions and answers about the origin of LIFE

VIOLENCE: Characters are in constant peril of attacks by frightening creatures, hazards from the environment and more. Wounds are seen, sometimes in close detail. Dead bodies are shown. A character contemplates suicide . Someone foams at the mouth and vomits in a disturbing sequence. Various creatures are shot, beaten, and burned. There are frequent jump scares. Characters are sometimes trapped with no way to escape. Children in my viewing audience cried in fear at some scenes, especially when the young girl Koa was in danger.

FILM VIOLENCE —How does viewing violence in movies affect families? Answer

LANGUAGE: There are several uses of “sh*t,” sometimes from the mouth of a child. “ Damn ” is used once.

SEXUALITY: A married couple embraces briefly. There is no nudity, and this movie is refreshingly free of any sexual references or innuendo.

OTHER: The worldview of other civilizations existing before humans were on earth is not Biblical. The concept of Earth existing for millions of years is a premise of the film.

Although I did not find “65” to be very memorable, it has a Biblically sound theme about doing whatever one can to protect those who are in danger. In this way it hit some of the same notes as “ A Quiet Place ,” an earlier work by the same writers. But where I found “A Quiet Place” to be an excellent film more about the family than the monsters, “65” seems like a vessel for just showing monstrous action with some attempt at drama added. I appreciate the effort, and I give it more value than the often crass and ridiculous latter films in the “ Jurassic World ” franchise, but it felt a little bit one-note.

The worldview concerns surrounding extraterrestrial life and millions of years of Evolution make me hesitate to recommend “65” to audiences who may be confused or misled. With these concerns as well as the constant violence and terror, it is certainly not for young children despite having a child as one of the lead characters.

• Violence: Very Heavy
• Vulgar/Crude language: Moderate— • S-words (3)
• Profane language: Mild— • D*mn
• Nudity: None
• Drugs/Alcohol: None
• Occult: None
• Wokeism: None

Editor’s comment

Followers of Christ should alert about this film’s promotion of ANCIENT ALIENS or ANCIENT ASTRONAUTS theory, because this is an issue that is truly deceiving a very great number of people, partly because it is presented as scientific and archaeological (both false claims). At its base, it is a lie being used by godless people to “scientifically” explain away Biblical miracles and events—and God Himself.

This tactic started with atheist author H.P. Lovecraft. Years later, this pseudo-scientific idea was famously promoted by Erich von Däniken ( Chariots of the Gods ) and others. The Director of this film was inspired by von Däniken, and says so. This idea has particularly been used by some whose worldviews are New Age or Evolutionism/Atheism (or both).

The claim is that extraterrestrials with advanced technology came to Earth in ancient times and were mistaken for gods, angels and supernatural activity—and that out of these encounters with naive and unsophisticated humans (who misunderstood what they witnessed), humans began to worship these aliens—and the world’s religions (including Christianity) are the end result.

I have researched these claims in considerable depth, including attending von Däniken lectures. I am in agreement with many other researchers, the so-called evidence for this fantasy is filled with foolish errors and serious outright lies and deceptions.

Nonetheless, many sci-fi books, movies and TV shows have eagerly used and promoted what is essentially a dangerous Atheist-inspired worldview.

What difference does it make? When accepted, this pseudo-science leads people directly away from Biblical truth about Earth’s Creation , mankind’s place in God’s plan, Earth’s history of wicked rebellion against the Creator, and the record of His judgments . Inherent in this worldview is rejection of belief in God and the Bible. People are less likely to perceive their spiritually bankrupt state before God and are more unlikely to want—or listen to—the Gospel .

Entertainment dramas that use the ancient extraterrestrial encounters fantasy and thus promote it some extent…

• “ Stargate ” (2001)
• “ Prometheus ” (2012)
• “ Knowing ” (2009)
• “ Thor ” (2011)
• “ The X-Files: Fight the Future ” (1998), etc.
• “ Alien vs. Predator ” (2004)
• Transformers: The Last Knight (2017), and most of the “Transformers” series
• “ Outlander ” (2008)
• “ The Fifth Element ” (1997)
• “ Mission To Mars ” (2000)
• “Star Trek” various episodes, including “Star Trek: The Next Generation—The Chase,” “Star Trek: The Next Generation—Who Watches the Watchers” —Gene Roddenberry, creator of “Star Trek” was an opponent of all beliefs in God
• “2001: A Space Odyssey”—the monolith
• “Earth: Final Conflict”
• “Space: 1999”
• “Quatermass and the Pit”
• …and many more

If nothing else, the mere CONSTANT REPETITION of this view of history in entertainment media is causing it to become embedded in the minds of billions of people, making it somehow seem to them less ludicrous than it really is. Discerning Christians know that we and God have an Enemy who is the father of lies who seeks to deceive the whole world.

See list of Relevant Issues—questions-and-answers .

PLEASE share your observations and insights to be posted here.