Jurassic World: Dominion (2022) – Movie Review

If mother nature combines with genes, and how Colin Trevorrow deals with the most famous of the dinosaur movie series, we’d end up with a body bloated beyond necessity, a few stitched limbs stolen from other species, and all the while wishing they were similarly toothless and sloppy from our innate compulsion to bend over. . “Jurassic World: Dominion” is such a beast: rippling between genres, it seems to feel nostalgic, but it repeats the shortcomings of a legion of less-recognized modern blockbusters.

The biggest flaw in the sixth (supposedly last) part of the series started by Steven Spielberg in 1993 is the disease that affects most installments of the n-series. This is by no means resentment on my part, but the logic of the franchise’s cause and effect of the scenario. After all, the more the cast of characters returns to the screen, the more genres mix within a single universe, and the more themes need updating decades later, the more difficult it is to find coherent drama and graceful characteristics. It is also more difficult to celebrate the uniqueness of the cinematic experience, and therefore – to maintain the audience’s interest in a 146-minute film.

“Dominion” – as a continuation of the “Fallen Kingdom” and the culmination of the entire series – attracts heroes of different generations in one plot. There are Legion personalities here, emotional tones mutual, unfortunately a lot likewise. Are you asking about intergenerational dialogue and nostalgia? I will answer that they are far from tender and creative in the latest adventures about Spider-Man (“No Way Home”). The whole thing is more like stopping points than a great adventure; Arrange puzzles has more lives. Had it not been for the names under the mechanical script (Emily Carmichael and Colin Trevorrow), I wouldn’t have believed people were needed to do this.

In the new film, old romances (Laura Dern and Sam Neill) must be revived, pop culture’s most careless cynics (Jeff Goldblum) must remain as well, and prehistoric creature magic (Chris Pratt) once again wields the raised hand magic, known from the previous parts. The series’ constant theme: parenting in its various forms, is realized in the hashtag-written relationship between an animal-loving idealist (Bryce Dallas Howard) and a 13-year-old producer of genetic experiment (Isabella Sermon). As a disease-free human clone, the girl becomes the “world’s most valuable intellectual property” and the subject of a clash between a group of old friends and the next version of the evil company. On top of the latter, of course, is another incarnation of the #progress fanatic (Campbell Scott), who stifles all seductive words. And this is just the beginning of a series of characters reproduced using the copy-paste method, created not from spurs, but from fan-service eye flashes and shortened genre arrays.

The above dry list of numbers in part does not reflect the accuracy of the narrative tricks used here. He does not give up, because there is nothing to return the favor. Television news service as information on human and animal reality is the best evidence of the lack of the author’s signature, his willingness to keep pace with the times and the narrative ingenuity of its creators. Regardless of whether they download from new adventure cinema, kneel to thrillers with Jason Bourne or scarecrows from the original Spielberg movie, or a thrilling spy tale revolves around a global economic conspiracy, spreads disastrous frames before us, an environmental tale and a warning of infringement The limits of bioethics, the one thing all these films have in common is that they all rush at breakneck speed and painfully predictable. flowery scenery? They serve the scene, but nothing more. And we have a paradox: There’s a race against time, and the excruciatingly bloated narrative and serendipity-laden plot have you shrugging your shoulders. The greater scope of events does not work with the cycle, whose strength was manifested primarily through the encounter between man and wild creature and the drops of sweat on the back brought about by this encounter.

You will ask where are the dinosaurs in all of this. There are dinosaurs, dinos, and many predators that have merged (or not) with the natural environment and urban tissues, there is also a black market for reptiles and industrial farms, but the ancient creatures may not exist, and we still have to deal with the same blockbuster adventure of Die à la “Uncharted” “. It’s hard to get excited if the dinosaurs in the onscreen world entered everyday life as a prop: a garden pest or a YouTube curiosity. It’s hard to find bigger feelings, because the creators care more about genetically modified locusts than dinosaurs (or rather their presence drives the movement forward). If every part of the cycle is shaken up by the possibility of a dinosaur being released, no one cares about that kind of tension in Dominion. But there’s another interesting thing: the people responsible for the film are like the villain in the story they tell. They release dinosaurs into the world for no other purpose than profit. Be careful not to run into them!

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