[Note: I wrote this quick review of Jurassic World a couple of hours after seeing it on opening day while on holiday in the Philippines. Then, things got busy, and I never got around to finishing it off and publishing it. So, here it is, limping along behind the zeitgeist, but hopefully of interest to some people. In the meantime, the film has munched on box office records left, right and centre, but I had little sense at the time that this was a truly blockbusting event unfolding in that nearly-empty auditorium on a scorching hot afternoon. Maybe the big audiences were shelling out to see it in 3D (in the Philippines, 3D tickets are double the 2D asking price), but since Jurassic World was a post-conversion job, and I’ve never seen a post-conversion 3D movie that wasn’t pointless, I opted for old school flat screens, thanks very much. The real story about this film’s money might be how it has grossed almost a fifth of its box office in China, an extraordinary and unprecedented amount: could it have implications for the sequel? Perhaps a full-blown subplot for Chinese-American geneticist Henry Wu, the only returning character, now taking on a somewhat villainous air? But seriously, let’s get this thing reviewed…]
The short version of this review goes something like this: it’s OK. It’s not quite a sequel, not quite a reboot: it’s too reverent a tribute to the original film to be considered a restart to the JP franchise, and closer to the wave of slightly embarrassing 90s nostalgia that’s going around at the moment. As such, it plays disappointingly safe, but it’s at least sticking with a winningly watchable formula of building up a magnificent system that will gradually deteriorate into chaos and carnage as the film progresses. That’s always as alluring as building a beautiful, intricate sandcastle while tingling in anticipation for the moment the tide will come in and fuck with it. I’m sure most of us love to watch other people’s nice things get safely, fictionally annihilated. The first half of the film builds a nice sandcastle of plot threads, character arcs and spinning plates (hey, you’ll accept the premise of genetically engineered dinosaurs, but you can’t handle a couple of mixed metaphors?), with the insistent promise that the water will soon be trickling into the moat and knocking down some turrets.
At the centre of Jurassic World is a great idea: we’ve passed the point where dinosaurs are a marvel and a novelty. We’re now at the stage where audiences are getting a little bored, and certainly have settled for the commoditisation and confinement of the dinosaurs. This is a neat pre-emptive strike against the charge no doubt coming from snarky moviegoers that we have seen all of these spectacular attractions before. The franchise has no new tricks to compare to that first flush of digital dinos from 1993, so its plotting turns that fatigue of spectacle back on its audience. But enough about the plot. Let’s cut straight to the dinosaurs. We don’t have to do an hour of world-building around here.
The Jurassic Park films are not really part of an ongoing narrative, so much as variations on a trope, a history their various protagonists are condemned to repeat. They might also be seen as developments in what Bob Rehak calls a micro-genre of special effects, where particular modes of spectacle might circulate in popular culture independently of their framing narratives: each new Jurassic Park movie speaks to other depictions of CGI dinosaurs, most notably the franchise’s own “canonical” representations of the big lizards. Kristen Whissel has referred to visual effects emblems, the recurring motifs embodied by particular kinds of visual effect (the digital crowd, for instance) that carry a lot of the meaningful weight of a film’s thematic import. For Whissel, CGI creatures are always too alive, too much in constant motion, and “overcoded” to “compensate for their ontological differences”, i.e they have an excess of vitality to make up for their lack of human or organic qualities, using algorithmic gesticulation to cover up their lack of actual lifeforce. The vfx dinosaur is one of Whissel’s emblems, signifying the imminent threat of a monstrous (scientific), apocalyptic overload, but its meaning has changed over time. Since at least the release of Jurassic Park, digital dinosaurs have come to stand in for notions of scientific hubris and the Frankensteinian terrors of creatures created by man in defiance of God and his deific ilk. Dinosaurs did not serve these symbolic functions at the hands of Willis O’Brien, Ray Harryhausen, Jim Danforth and others in the many variations on the “Lost World” theme (adventurers discover a plateau, island or other isolated space where a zone of prehistory has been preserved against millions of years of evolution), which were more like the fantastical return to a prehistoric repressed than a prediction of a corrupt technoscientific complex overturning the natural order. The “bad science” version of filmic dinosaurs is undoubtedly inspired by the Jurassic Park movies’ use of genetic engineering as a McGuffin, but I like to think it is also an outgrowth of the proliferation of CGI; somehow the increasing facility for conjuring creatures on a computer stirs up issues of simulation and representation that parallel the concept of cloning. In that sense, we might conceivably read Jurassic World as a film about the problem of creating a spectacle that won’t run away from its creators and mess up all their hard work. But in case you were curious about how much the digital technologies had progressed since Jurassic Park III in 2001, I’d say they’ve been refined a lot, but little has fundamentally changed except for the almost total replacement of animatronics with CG, and using motion capture to allow actors to perform the roles of some the dinosaurs. Some the CG is also pretty coarse in places, especially in all of the shots involving the giant aquatic mosasaur, a big misjudgement of scale and perspective.
Jurassic Park (1993) is a difficult nostalgia object for me. I saw it in the first week of its release in 1993 and was bowled over. I can distinctly remember the prickly heat, the palpable tension in the cinema as the T-Rex sniffed out Alan Grant and the kids as they backed up against their overturned Jeep. Coincidentally, I was working at a Chrysler/Jeep showroom at the time, and remember trying to apply the Jurassic Park promotional stickers to couple of Cherokees: harder than it looks. I can recall the way the velociraptors were built up as a chilling offscreen threat, and that their eventual attack was seat-clenchingly frightening. But the film has diminished for me with every subsequent viewing. I can still admire its technical properties, and I still use it as an example in my teaching to illustrate how a visual effects set-piece can be structured. Compared to today’s summer blockbusters it is impressively patient, not just in the build-up to the collapse of the park’s systems and the ushering in of dinosauric mayhem, but in the construction of individual set-pieces (that T-Rex attack is long, and most of it involves calmly waiting for the pitter-patter … sorry, PITTER-PATTER of enormous feet. But I find Jurassic Park‘s technological discourse far too schematic and obvious: scenes where characters sit around tables and argue about the merits of cloning are infinitely less eloquent than the visual interventions in that debate by the dinosaurs themselves. In a world of climate change, economic meltdown and Tweeted beheadings, the idea of genetically engineering dinosaurs as an ethical tipping point for humankind now seems rather quaint.
I also became distracted by the nature/nurture question that the film never addresses: if the first generation of cloned dinosaurs had no parents, how did they learn all their behaviours? Why are these beasts not utterly delinquent? Were they reared with puppets, like condor chicks in captivity, and if so, when can we have an entire movie about that, please? In Jurassic World, Chris Pratt’s theories on how to raise and train velociraptors dips a toe into the idea of humans’ parenting responsibilities towards their surrogate monsters. But still the creatures show few signs of having been raised in captivity, despite the films’ half-hearted subtext that zoos may be creating unreal impressions of the natural world: as one character says, “you don’t want reality, you want a simulation you can control.” The dinosaurs we are shown in these films are always perfect specimens. I wanted Jurassic World to have more of a feel for the mundane realities of zoos. The smells, the cramped enclosures, bored animals, sick animals, mentally ruined by lifetimes of confinement. There’s a little energy behind that idea but not enough: the tech and the facilities at Jurassic World are all state of the art and implausibly advanced. In turn, Jurassic World feels very tightly honed, and near-phobically avoids innovation or surprise. This is a movie about chaos which has no chaos about it. This is why Colin Trevorrow was a good choice – his calling card, Safety Not Guaranteed is a faux-indie movie about shambolic, unsettled characters that is very tightly formulaic despite its quirkily fantastical ending.
I get mixed messages from Jurassic World, especially by the time we get into the pteranodon attack on a mass of soda-guzzling, tourists, which has such a maniacal glee to it that could have been guest-directed by Joe Dante. Are the crowds in the park some super rich elite? Are we supposed to delight in their hubris being punished? The film assures us that corporate and military types inevitably conspire to fuck things up for everyone else, and that they deserve their toothy deaths, but what about the visitors? Are we meant to applaud their destruction along with their bratty offspring? One particular character, whose only crime seems to have been not thinking children are awesome, suffers a ridiculously protracted and baroque death, fought over by a series of beasts. It’s either evidence that a subplot in which she did something monstrous was cut out, or the film really wants us to see what happens to women in heels and skirts who lack a maternal streak: a cautionary example for our heroine, who at the same moment is finding her protective heroine persona.
I also wanted to see the filmmakers explore, for instance, how our understanding of dinosaurs, and their cultural reception was changed by their de-extinction. But here I go again, complaining that a film does what it wants to do and not what I want it to do. OK, fair point: the film’s response might simply be that humankind would quickly accept as mundane reality their new co-existence with dinosaurs. But I don’t think it’s unreasonable to ask that by the fourth film in a series we should be expanding the ideas and developing the themes instead of repeating the same cyclical narrative of the park’s attractions being fought over by the same corrupt and vested interests. Another thing nagged me, especially given the global audience to which the film must surely be addressed, and from whom it will draw most of its revenue: how did the JW owners get away with hiring so few local workers? There’s little sense of this park being an actually situated location on South America. Oh, and Chris Pratt riding through the woods with raptors is the new Shia Labeouf swinging through trees with monkeys. Finally, it’s worth noting that for all their emphasis on digital spectacle, when you really need a dinosaurs to die, affectingly, in close up, you call the animatronics dept. The end. I’m done complaining about blockbusters that are adequate to the task but unable to cut loose and thrill.
If you find 
This pro-family message is just a pose. For the most part, San Andreas couldn’t give a fuck about any families other than the pretty one in its plot synopsis. We’re expected to cheer when Ioan Gruffudd gets his comeuppance, swatted by a container ship, ignoring the thousands of innocents standing alongside him on the Golden Gate Bridge as it takes the full force of the same preposterously large wave that The Rock surfs across in a commandeered boat, the latest in a string of vehicles he uses to fly over or zoom past the masses he might have been duty-bound to protect, seeking out instead his needle daughter in the Frisco haystack. This family of survivalists keeps all the best information to themselves and repeatedly ignore the plight of others around them. The resilience of the heroes is in inverse proportion to the frangibility of the background extras. The message to the earthquake dead in this film is that they didn’t try, fight, or drive hard enough. 
[That’s not entirely fair, because the signature image of this film is of men with injured girls in their arms, because some types of saving will always be more OK than others.]
I don’t sleep well on planes. But I don’t like watching films on those tiny dim screens they give you on long flights. So, I only watch films that I wouldn’t normally go out of my way to see: anything else, I wait for an opportunity to watch it under better conditions. That’s why, on a recent return journey from the Philippines, I ended up, bleary-eyed between timezones, watching Diana. I had twelve hours to kill, and this movie barely maimed two of them. 
Spectacular Attractions 