Jurassic World: Dominion

 

Score: C+

Directed by Colin Trevorrow

Starring Chris Pratt, Bryce Dallas Howard, Sam Neill, Laura Dern, Jeff Goldblum

Running time: 146 minutes

Rated PG-13

Long Story Short:  Jurassic World Dominion concludes a trilogy of films based on Steven Spielberg's classic 1993 blockbuster; unfortunately, it goes out with a whimper.  It's nice to see Malcolm, Grant, and Sattler back in action, but combined with the JW characters and their accompanying plot baggage, it's simply too much (and not well done, at that).  The dinosaurs feel secondary, and not nearly as exciting and scary as they were thirty years ago.  Pass, unless you are a JP diehard like me.

Just a few years after dinosaurs were smuggled off the Jurassic islands and onto the mainland, the previously-extinct animals are now spread across the world.  While this, of course, causes havoc in a number of ways, perhaps the most dangerous creature turns out to be one of the smallest.  Paleobotanist Dr. Sattler (Dern) - one of the first visitors to the doomed Jurassic Park - is called on to investigate, and she reunites with old friend paleontologist Dr. Grant (Neill) to solve the mysterious threat.  Meanwhile, tech company Biosyn kidnaps Maisie (Sermon), a young woman with powerful genetic secrets, and takes her to its secluded headquarters/dinosaur reserve.  As those familiar with the Jurassic world, both old and new, converge, they must together confront a global threat.

Jurassic World: Dominion provides a disappointing finale to the JW trilogy, itself a mere shadow of the original Jurassic films; while there are entertaining moments, the filmmaking is poor.  The first and biggest problem: there are way too many characters and way too much plot for a movie that should be, first and foremost, a thrilling dinosaur adventure.  I do admit that it was nice to have the old stars back, and they are easily the most interesting humans here; Goldblum's Ian Malcolm, in fact, is possibly my favorite part of the whole movie.  Grant and Sattler are also fun, though they are hampered by the poor script.  The drabness of the new characters is more striking when directly compared to the old stars.  Pratt is a fun performer, but the role is too generic; Howard's Claire fares even worse.  While there have always been malevolent humans in the background of Jurassic films, the plotting takes central stage in this film - the new and old characters each get distinct stories, and it's just way too much.  Not to mention how utterly ridiculous the plots are (especially the Maisie one).  The running time is a too-long two-and-a-half hours and not nearly enough of that is dinosaur-focused.

What you come for (or should) in a Jurassic movie are thrilling and/or wondrous dinosaur scenes, and while there are some good moments and cutting edge effects, even here, Dominion disappoints.  The film starts by showing dinosaurs interacting with nature and humans in a gentler manner, which is nice, but the dinosaurs are overly anthropomorphized/domesticated - very much aimed at the kids here.  The violence soon increases (though gore is kept to a minimum), and the most exciting scene is a dinosaur black market-infested Malta exploding into the open, with both a motorcycle chase (reminiscent of Mission Impossible but with, you know, raptors) and some small but neat moments for lesser-known dinos.  Too much of the rest, though, is stale and almost copied from earlier movies, particularly the finale.  Finally, while the technology may be better than ever, the effects still don't feel as real as the original Jurassic Park and The Lost World.  I think this is both the behavior of the dinos - much more like real animals in the originals, versus monsters in the new movies - and Spielberg's superior filmmaking, from the lighting to angles to knowing when and where to show his awe-inspiring stars.

Jurassic Park is my favorite movie; I was spellbound when I saw it in theaters as a six-year-old in 1993, and my affection for it, while different now, is undiminished.  The Jurassic World trilogy - consisting of Jurassic World (2015), Fallen Kingdom (2018), and Dominion - is a far cry from the original classics (I also love The Lost World; Jurassic Park 3 is crap, though).  I'll give the filmmakers and producers credit for one thing, though: they didn't even try, whether through the plots or the tones, to remake Jurassic Park, though of course there are plenty of callbacks.  For young kids, the Jurassic World movies are probably the better choice: more action-packed, while also less scary; far less subtle and more directly emotional/sentimental.  I hope that some day - no hurry, though - there will be more Jurassic movies; but I hope that they are more mature, well-made ones next time.

***

I can't say I was expecting a lot from Jurassic World Dominion; despite my love for Jurassic Park, the previous movie, Fallen Kingdom, pointed in the wrong direction.  So it was disappointing that it didn't even meet my lowered expectations - but it does have me excited to go see the original JP in July, with the Pittsburgh Symphony Orchestra performing the score (also my favorite of all-time) live!  Looking ahead, the summer movie calendar seems a bit thin, but maybe - hopefully - there will be some surprises that get me out to the theater more than I expect to.  Definitely, I am very much looking forward to Taika Waititi's Thor 4.  Until next time, enjoy the summer - and if you need some blockbuster action, go see Top Gun 2 (even if it's for a second time!) or wait for Thor.

* By http://www.impawards.com/2022/jurassic_world_dominion_ver6.html, Fair use, https://en.wikipedia.org/w/index.php?curid=65516027

Top Gun: Maverick

 

Score:  A

Directed by Joseph Kosinski

Starring Tom Cruise, Miles Teller, Jennifer Connelly, Jon Hamm

Running time: 131 minutes

Rated PG-13

Long Story Short:  Top Gun: Maverick revives an obsolete relic of the past, turning the idea of a dated 80s blockbuster into the most exciting theatrical experience in years.  Tom Cruise is still at the helm, and he continues to push the boundaries of the stunt work that he has been hard at work on in the last few years.  The flight scenes - from mere training exercises to pulse-quickening dog fights - are more than worth the price of admission alone.  But the entire thing, human dramatic elements included, is very well done.  This is a must-see.

Decades into a successful career in the Navy, Captain Pete "Maverick" Mitchell (Cruise) is still flying planes - and faster than ever before.  He is recalled to the Top Gun training school, however, when an international threat emerges.  With more combat experience than anyone else, Maverick's superiors grudgingly acknowledge that the rebellious ace is the man to teach the newest generation of pilots how to do the job.  While he quickly finds himself at ease in the cockpit, Maverick finds both challenges and opportunities lingering from his past that complicate the situation.  Time is the enemy, however, and Maverick must confront both the angels and the demons of his past in order to meet the challenges of the present.

Top Gun: Maverick is among the best blockbuster films of recent years, an excellent sequel to an iconic 80s hit, combining "old-fashioned" filmmaking with jaw-dropping stunt work and intense action.  While I only vaguely recall the original, Maverick shares much of its basic DNA but it moderates the formula in subtle but important ways.  While Maverick is still an insanely good pilot, his human flaws are highlighted; there is greater gender and racial diversity among the young pilots; and the U.S.A.-vs.-them attitude is muted, focusing less on the anonymous adversary than on their own inner demons.  Similarly, the soundtrack has plenty of callbacks to the 80s movie, but not overwhelmingly so.  It is quite effective in helping bring back certain memories and feelings in some moments, but also works to build overall tension in the action through a more modern sound as well.  A few great needle-drops can't help but bring a big smile to your face, though, too.

While high-speed aerial action is the main goal here, the dramatic elements and even sense of humor are also surprisingly effective.  The key relationship in the film is between Maverick and Rooster, the son of Goose, Mav's co-pilot who died in the original.  It's a familiar dynamic, the young up-and-comer resentful of the veteran with family connections, but still powerful.  It also goes well with an even better element, the film's exploration of Maverick himself.  While he's unmatched in the skies, the movie makes quite plain that Maverick is just like the rest of us down on the ground.  Whether it's awkward encounters with his commanders or visible pain and pleasure as the past comes back to haunt the present, Maverick is a flawed hero, and much more sympathetic as such.  The writers also wisely add humor throughout to break up the tension and let you know it's not taking itself too seriously.  The opening training session in which Maverick puts the whippersnappers in their place (and sends them to the tarmac doing pushups) is great.  My favorite, though, is one that occurs right in the middle of the finale - a risky change in tone, but one that pays off handsomely.

Best of all, of course, is the action, with phenomenal aerial stunt work that simply demands to be seen in a theater.  You feel like you are in the cockpit with these pilots - because you literally are!  The actors grunt and shout authentically according to their situation, as both the tension and the G-forces rise.  I found myself twisting in my own seat, reacting to the jarring rolls left and right during death-defying races just above the ground and to the unpredictability of battle.  Each flight scene is great, and the overall flow of the film is, too - the intensity of these scenes increases steadily throughout.  But while you think you may be ready for the finale by the time it arrives, that you have already seen it all - you ain't seen nothing yet.  The ending is a well-earned triumph, not lingering too long yet addressing all the personal elements that have been patiently developed along the way, further boosted by the exhilaration of the ride.

***

Top Gun: Maverick is an unqualified success, the first great movie of the year I've seen.  While I have reservations about the man, it's undeniable that Tom Cruise is dedicated to his craft.  Not every actor or movie needs to attempt the same audacious stunts, but studios could take a lesson from his example and invest in those with similar vision and passion for film.  I am as big a fan of the Marvel movies as anyone else, but it's essential that Hollywood develop a healthier, more diverse ecosystem of films than just relying on the uber-popular genre of the moment.  I commend Cruise for his support of the theatrical movie experience and his production of art that takes full advantage of the medium.  Hopefully, this is just the beginning of a renaissance in the industry, streaming be damned.

* By http://www.impawards.com/2022/top_gun_maverick_ver5.html, Fair use, https://en.wikipedia.org/w/index.php?curid=70039658