"Jurassic World" lives up to its grand ambitions

No one cares about dinosaurs in this age anymore, quips Bryce Dallas Howard's character in "Jurassic World" (2015, USA), the fourth (don't know though if this will be the last) installment in the "Jurassic Park" series, this time directed by Colin Trevorrow (of the indie comedy "Safety Not Guaranteed"). That might be a self-referential observation by the director himself (and most probably, by the producers as well, among whom is no less than Steven Spielberg, who helmed the first two films in the series), because about two decades after the first film was released and with the avalanche of superhero-origin stories that have come since then, who among us might still be piqued by the presence of giant prehistoric creatures rampaging onscreen? We may have seen once again the resuscitation of the iconic Godzilla on the big screen last year, but then it was a less-often-than-not occasion and after that, what else? Thus, the whole point of reinvigorating a dinosaur-filled theme park for today's moviegoers may just be unnecessary and unexciting. Unless of course, there's a new "attraction" to offer. 

As it turns out, Trevorrow might just be the right person to handle the unenviable task of helming this latest addition in the "Jurassic Park" series. It might actually depend on how you love or hate Spielberg, but Trevorrow was able to endow "Jurassic World" with a kind of Spielbergian sensibility (children separated from parents, children in peril, a child-like wonder for all things new - those kinds of things), while at the same time evoking a curious 1950s-monster movie feel to it. This last attribute being the one which what actually sets "Jurassic World" apart, if not above, from the Spielberg-directed features. Aside from the fact that the film also gives a nod to the first picture while offering a sly, though not entirely subtle, commentary on corporate and commercial hollowness. While "Jurassic World" does not entirely break new ground in terms of ideas and storytelling, the sense of nostalgia one may feel while watching it and the sense of comfort in the fact that we have here once again a filmmaker who knows his cinema for sure are delights in themselves. The result then is another enthralling piece of filmmaking, in terms of what is presented to us onscreen aesthetically. 

As can be seen, what was once a mere "park" has now been expanded to become a "world" of its own: a mega-size family theme-park on a far-off island with added features and attractions that are more sophisticated and exciting - if not more ferocious. Overseeing the park's operations is the uptight and methodical Claire (played by Howard, who is introduced to the audience with the camera panning from her feet up) who wants to make sure that "Jurassic World" will draw in a huge number of visitors by having the park's one incredible "creation" fully realized and operational, now termed as the Indominus Rex, a gigantic beast that's a cross-breed of a known species of dinosaur and, as they say so, "whatever else it is". As can be expected, things like this are a natural-born disaster, especially when the dubious and callous agenda of some "interested" parties comes into play. Needless to say, the "I-Rex" sets off an increasing fireball of danger and destruction beyond everyone else's belief. Tagging along to do the heroics in the face of such mayhem is Owen (played by Chris Pratt, introduced to us under a bright beam of sunlight), a dino-whisperer who has this fearless ability to treat the park's raptors as if they were no more than canines and, as we find out early on, Claire's ex-boyfriend. 

In regards staging "Jurassic World"'s fearful scenes, Trevorrow, following Spielberg fashion, shows an adeptness in illustrating a sense of imminent danger and reckless mayhem, knowing fully well where and how to place his camera. This makes "Jurassic World" as one of the films shown this year in our cinemas to boast of a not-a-few great shots. One can rightfully sense how such scenes are precisely orchestrated to make us experience the wonder and terror attendant to such an elaborately-designed and -built main attraction. Now, within this kind of everything-has-gone-awry world, how do our main characters stand? Howard has impressed me as a woman of strong presence in Lars von Trier's "Manderlay" and M. Night Shyamalan's "Lady in the Water". That has not changed in "Jurassic World". One would initially think that her character would turn out to be another shrieking lady who's always in need of help. It's delightful to find out that she's more than willing to shed off her uptight composure (even literally) to face the ferocious beasts. As a matter of fact, even before the predators broke loose in the park, Claire has already registered quite strongly. On the other hand, Pratt has channelled the everyman amiability and adroitness of his Starlord character in last year's surprise wonder "Guardians of the Galaxy" onto the dino-whisperer character of Owen, exuding an alpha-coolness and goofy ruggedness reminiscent of Harrison Ford in "Star Wars" and "Indiana Jones". I think we can already start to expect that every upcoming film that has Pratt in it will have to be immensely entertaining. 

It can still be argued that, after all, 1993's "Jurassic Park" is still the most superior work, clearly a quintessential film at that time, having been based in turn on Michael Crichton's bestselling visionary novel. On that point, I have to admit that I must concede. But compared to the two sequels that followed (1997's "The Lost World" and 2001's "Jurassic Park III"), "Jurassic World" is undoubtedly the most invigorating, thrilling and grand of them all. In fact, in a breathtaking turn, Trevorrow makes us witness towards the later part how "Jurassic World" becomes a cinematic homage to the kaijū films of Japan (of which Gojira is one iconic creature), something which sets it distinctly from all of its predecessors. It's an awesome viewing that resonates with a deeply-personal affection for the legendary genre. 

If not for some slight imperfections, like how Claire's cell phone is strangely present and functional still after all the chaos in the wild or how her two young nephews are actually unsympathetic for the most part or how Owen's heroics almost take a backseat in the presence of the I-Rex, I would be close to declaring "Jurassic World" as a classic-in-the-making. 

• Film verdict: Very good

Chris Pratt tames the beasts like dogs in "Jurassic World".