Review: Jurassic World

Jurassic-World-Raptor-Bike-Chase

 

DIR: Colin Trevorrow • WRI: Rick Jaffa, Amanda Silver, Derek Connolly, Colin Trevorrow • PRO: Frank Marshall, Patrick Crowley • DOP: John Schwartzman • ED: Kevin Stitt • MUS: Michael Giachinno • DES: Edward Verreaux • CAST: Chris Pratt, Bryce Dallas Howard, Vincent D’Onofrio, Judy Greer, Irrfan Khan, BD Wong, Katie McGrath

 

Originally scheduled for production in 2004 but plagued with an onslaught of script complications and scheduling issues common to the movie blockbuster, the fourth instalment in the Jurassic Park series has finally materialised with director Colin Trevorrow at the helm and Spielberg’s wizardry harmonising the mammoth undertaking as executive producer. As the third highest-grossing film of the 1990s, Jurassic Park was extolled for its pioneering, state-of-the-art special effects (if not a dim critical view taken on its light character development), however, the franchise’s two subsequent, undernourished efforts failed to transcend the tension-fuelled visceral thrills of its original, demonstrating the jeopardy in serialising every blockbuster success story. In essence, in a matter of eight years audiences had had more than its fill of imposing, dinosaur-stomping terror and simply moved on.

 

Inheriting a cinematic legacy that provided a digital blueprint for the industry and holding a cherished positioned in popular culture, Jurassic World has to contend with pleasing contemporary audiences who have already corroborated that dinosaurs don’t do it for them anymore, thereby questioning the relevancy of a fourth film, in addition to the increasing audience demand for the excessively bigger and better in this digitally-sophisticated climate. A decade of unstable production worries would suggest that even the digitally-advanced possibilities Jurassic World has to play with, may just not be enough to resurrect the franchise in the hearts and minds of contemporary audiences and Jurassic World is in danger of further staining the cinematic and cultural position held by its iconic original.

 

Twenty-two years have passed since trailblazing John Hammond’s dreams of an international dinosaur theme park were shattered but have now been realised back on Isla Nublar by billionaire benefactor Simon Masrani (Irrfan Khan). Run entirely by commercially-driven operations manager, Claire Dearing (Bryce Dallas Howard), the Jurassic World resort exhibits a spectacular array of dinosaurs of varying species and spellbinding futuristic attractions to keep the twenty thousand daily visitors entertained. Under tremendous pressure to lure the ever-demanding audiences to the park, original InGen geneticist Dr. Henry Wu (BD Wong) pushes the boundaries of scientific innovation to create an original genetically modified hybrid dinosaur, the Indominus rex. Uncertain of its intelligent capabilities, Claire calls in animal behaviour expert and velociraptor trainer Owen Grady (Chris Pratt) to ascertain the safety of the behemoth before its grand unveiling. Just as Claire’s nephews Zach (Nick Robinson) and Gray (Ty Simpkins) arrive unannounced and are left to their own devices, the unpredictable Indominus rex escapes, threatening the lives of all on the resort.

 

Narratively continuous to the original film but slightly disregarding its two sequels, Jurassic World is a spectacular rush of furious energy, spellbinding awe and alarming terror from beginning to end. Firmly situating the film in the digital age and benefitting enormously from its dividends, Jurassic World brings a level of mesmeric, adrenaline-fuelled visual wonder combined with a suspenseful yet reassuringly familiar narrative, that has all the hallmarks of a Spielberg/Amblin production in its heyday, which is essentially what Jurassic World aims to achieve. The film’s revisionist and self-reflexive tone displays great deference to its cinematic creator, technically paying homage to its style of filmmaking through an elaborate and intricately detailed production design that employs both animatronics and remarkable CGI effects, to mark the film as technically impressive, narratively nostalgic and culturally relevant again. Jurassic World is all about executing its own ambitiousness on a mammoth scale both narratively and metaphorically, and similar to Jurassic Park delivers at the highest possible technical level. Yet once again, it is not without its obvious narrative concerns.

 

As with the negative critical attention directed at the storyline and character development in the original, Jurassic World is arguably destined for a similar fate. Attempts to flesh out the characters and make them more three-dimensional have only succeeded in creating a host of stereotypes that equally hark back to the 1980s action-adventure film. If a source problem is needed to throw light on the decade-long script production issues, it surely would begin with the film’s regressive leading characters and an evident inability to improve gender stereotypes in the same manner in which they have committed to revising their technical operations. While the narrative unsurprisingly remains firmly entrenched within the boundaries of action-adventure genre, ramping up the ante at every turn with flashes of horror, humour and science, the overriding themes of strong human values specific to the action-adventure remain at the core of Jurassic World once more, if not more clearly defined than in the other three films. The narrative subtexts delineating commercial greed and unethical scientific manipulation appear to predominantly manifest themselves through Claire, who appears to bear the burden of moral responsibility entirely on her shoulders, her ethical awareness only realised once a miraculous transformation into a more submissive role has been assumed.

 

While Christ Pratt fits in solidly to the archetypal action-adventure hero role, meeting character expectations without too much incident but not necessarily all burliness and brawn either, Claire’s transformation from a dehumanised, career-orientated threat to a sexualized, simpering damsel in need of feminizing by Owen, introduces a wholly regressive and misplaced feminine quality in the franchise, that was not made visible by either Laura Dern in the original or Julianne Moore in The Lost World. While the burden of moral responsibility may be seen to be shared by some of the male characters who are positioned as the moral guardians to Hammond’s enterprise, their fates do not allow for this burden to be shared equally and moral reconditioning is positioned firmly at Claire’s door and only made possible through the realisation of her nurturing values, offering reassurance that the whole world has not gone completely mad and traditional roles remain firmly in tact.

 

Gender stereotyping and a formulaic narrative aside, Jurassic World premises itself on the promise that it is both cinematically and culturally relevant by exceeding and executing the same audience expectations that defined and popularised its original film. In a sense, Jurassic World has been crying out for twenty-two years to be revised for the digitally-rich cinematic age, given Jurassic Park’s influence in the industry overall and its current timing seems just about right. Two decades on, the film undoubtedly steps up to its own plate and in keeping with the overall philosophy of the franchise, does it bigger and better, if not narratively weaker. Whether a fifth film needs to be made is one to be mulled over later. For sheer entertainment and thrills, Jurassic World is more than enough for now.

 

   Dee O’Donoghue

 

12A (See IFCO for details)

124 minutes

Jurassic World is released 12th June 2015

Jurassic World – Official Website

 

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Cinema Review: The Help

Help yourself to Oscars

DIR/WRI: Tate Taylor • PRO: Michael Barnathan, Chris Columbus, Brunson Green • DOP: Stephen Goldblatt • ED: Hughes Winborne • DES: Mark Ricker • CAST: Emma Stone, Viola Davis, Octavia Spencer, Bryce Dallas Howard

In 2010, the only movie to retain the top spot of the US Box Office for three consecutive weeks was Inception. So far in 2011, the only movie to do the same is The Help. In a time when new movies are systematically knocking (one week) old movies from the #1 spot on a weekly basis, how is it this explosion-free, period drama managed to stay up there so long? Much like the plot of the movie itself, so much can be achieved with word of mouth.

Set in the ’60s, The Help tells the story of Eugenia ‘Skeeter’ Phelan (Emma Stone), who returns to Mississippi from her New York college with the hopes of being a writer. Faced with the daily accounts of racism and inbred hatred, Skeeter decides to write a book detailing the African American maid’s point of view on the white families they work for, with the help of Aibileen (Viola Davis) and Minny (Octavia Spencer), who must do so in secret, or they’ll be promptly fired from their homes and will never be hired as help again.

Against the backdrop of Hurricane Camille, John F Kennedy and Martin Luther King, The Help tells a huge story but in a very intimate setting, mostly just a group of ladies talking in a kitchen. The ’60s are perfectly realised, and the constant sense of oppression and revolution can be felt throughout. The tone is kept mostly light, with a lot of comic relief, provided mostly by Minny and her new boss Jolene (Anna Camp), who treats her new employee more like her new best friend, much to Minny’s befuddlement.

But a film about topics such as these will have its darker moments too, and boy howdy, does this movie want to make you cry. Viola Davis’ character’s backstory, coupled with her tear-marked brave face and the cloying, heart-string pulling score will have you welling up, no questions asked. In fact, the movie is perhaps a little too manipulative; from that ever present ‘You Must Be Sad Now’ soundtrack, to Bryce Dallas Howard’s character Hilly, someone so boo-hiss worthy you’d swear that she stepped out from a Harry Potter novel with a snake tattooed on her arm.

But despite all this, and the almost two-and-a-half hour running time (which, honest to God, you won’t notice), this is still definitely a film worth seeing, if only for the Oscar®-worthy performances, and for the big smile it will undoubtedly leave planted on your face. Spread the word.

Rory Cashin

Rated 12A (see IFCO website for details)
The Help is released on 28th October 2011

The Help – Official Website

 

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