In the role of Dr. Henry Loomis, the paleontologist from “Jurassic World Rebirth“, portrayed by Jonathan Bailey, there comes a moment where he expresses disappointment over the public’s waning fascination with traditional prehistoric creatures. This leads the profit-driven individuals at InGen, a billion-dollar biotech company specialized in reviving extinct animals, to initiate the creation of hybrid species. Dr. Loomis refers to this as “engineered entertainment”. This term could also be fitting for Gareth Edwards’ latest installment in the cloned dinosaur series, which was originally launched by Steven Spielberg over three decades ago. While there are indeed some impressive new creatures roaming around, the storyline is largely a rehash of previously used elements.
As a gamer, I must admit the film doesn’t disappoint when it comes to delivering heart-pounding action, thrills, and nail-biting encounters with colossal monsters whose fury sometimes reminds me of the mistreated oddities in Tod Browning’s Freaks. It’s hard not to empathize with a massive mutant named D. Rex, or Distortus Rex for short – the name alone makes you cringe. Men meddling with nature rarely ends well, and these genetic throwbacks from the Mesozoic era have every reason to be furious.
David Koepp, a screenwriter who previously collaborated with Steven Spielberg and Michael Crichton on the 1993 original film “Jurassic Park” and its 1997 sequel “The Lost World: Jurassic Park”, based on Crichton’s books, played a significant role in shaping the storylines for both films. Although he did not write “Jurassic Park III,” his contributions are noticeable. The first and third installments of the series seem particularly familiar in the movie “Rebirth,” due to Koepp’s involvement in their creation.
Although the new film may not stand out with its originality, it compensates through its compelling storyline progression, significant jumpscares, and endearing fresh characters portrayed excellently by a talented ensemble – despite the fact that many of these characters seem to be modeled after familiar archetypes.
Colin Trevorrow launched the second Jurassic Park trilogy with a robust start in 2015 through “Jurassic World”. J.A. Bayona’s sequel, “Fallen Kingdom”, earned praise for its creativity, venturing into haunted-house themes. However, the concluding chapter, “Dominion”, revealed a franchise struggling creatively, moving away from terrifying dinosaur encounters towards ordinary action-adventure. By returning almost to the basics, “Rebirth” fulfills the title’s promise.
Towards the conclusion of “Jurassic World Dominion”, humans and dinosaurs were inching towards cohabitation, with numerous prehistoric clones existing beyond their sanctuary. However, Earth’s current environment has proven unfriendly to these creatures, leading many to either perish or migrate to an equatorial region that mirrors the climate of their Mesozoic Era habitat. Travel to this area is forbidden due to restrictions.
The story begins 17 years prior to the main events, at a covert InGen research facility on Isle Saint-Hubert, located near Barbados. When an accident occurs due to a carelessly discarded Snickers wrapper causing the containment system to fail, a technician witnesses in terror as her lab partner is savagely torn apart and devoured by a genetically modified dinosaur that remains largely unseen.
In the current timeline of the movie, I find myself, a shrewd pharmaceutical executive named Martin Krebs (Rupert Friend), orchestrating a clandestine voyage to the island. My aim? To assemble a team that would aid me in collecting DNA samples from the three colossal creatures residing on land, sea, and air – the herbivorous titanosaurus, the aquatic mosasaurus, and the flying quetzalcoatlus respectively. The researchers at my corporation, ParkerGenix, are convinced that these genetic sequences hold the secret to a groundbreaking heart disease medication, potentially worth billions, if not trillions, to whoever gains exclusive rights.
Initially, Krebs recruits Zora Bennett (Scarlett Johansson), a former special forces member turned private security contractor, for crisis management and response. Dr. Loomis, the one set to join next, calls her a mercenary in a friendly jest. After suffering the loss of her partner during a mission in Yemen, Zora views Martin’s $10 million offer as a pathway to retirement from this grueling line of work. However, given Johansson’s casual and confident appearance in tank tops, cargo pants, and grime, it appears unlikely that Zora will be retiring any time soon.
They meet up in a town on the coast of Suriname with Duncan Kincaid (Mahershala Ali), who captains a reconditioned military boat named the Essex. This vessel will transport them to Isle Saint-Hubert. Similar to his friend Zora, Duncan is still haunted by a devastating family tragedy; together, they hatch a clever plan to persuade Krebs to increase Duncan’s payment.
Duncan’s team consists of Bobby Atwater, an annoying security chief (played by Ed Skrein), LeClerc, a co-pilot from Haiti (Bechir Sylvain), and deckhand Nina (Philippine Velge). Predicting the order in which they might end up as dinosaur meals is quite amusing to speculate.
As a gamer, stepping into the shoes of Reuben Delgado, I found myself on a family sailing trip aboard La Mariposa, a sloop I was in charge of. After going through a divorce, my daughters, Teresa and Isabella, had been living with their mother. This voyage was my chance to reconnect with them, but I wasn’t too pleased about having Teresa’s slacker boyfriend Xavier tagging along. It seemed like an uphill battle, but little did I know, adventure and danger were just around the corner.
In one of the lengthy action sequences that director Edwards excels at, the ship La Mariposa is struck by a mosasaurus and turns over. The Essex receives the family’s distress call, and although Martin, who is gradually shown to be a typical ruthless corporate figure, wants to continue with their extraction task without getting involved in rescue operations, he is eventually outvoted by the others.
Koepp’s narrative, having delved deep into character exploration, follows a familiar pattern: Introduce dinosaurs and mix. This formula becomes more intense as the Essex encounters a surprise spinosaurus attack, putting Teresa in a perilous situation that exposes Martin’s unreliability even further. As they navigate towards Isle Saint-Hubert, they hope the predators are too large to pursue. However, their ship ends up wrecked there, leaving the Delgado group stranded and separated from their rescuers.
Filmed using Panavision cameras and anamorphic lenses on 35mm, the Thai jungles, serving as a stand-in for the island, provide breathtaking vistas. Cinematographer John Mathieson’s energetic filming technique maintains suspense throughout, as both factions navigate thick foliage, where every startling sound or whisper of leaves heightens the apprehension.
Since the deserted InGen facility harnesses energy from hot springs, they believe it’s the optimal location to seek assistance. The presence of a gas station convenience store adds to its appeal for product placement – Dr. Pepper, Lay’s potato chips, Cheetos, and so on. Moreover, it offers an excellent setting to recreate the iconic kitchen scene from Jurassic Park, where velociraptors chased two children. Instead, this time, a noisy quetzalcoatlus is the creature smart enough to pursue the escaping humans into the subterranean tunnels that link the village.
In my gaming world, I’m the one dangling from a towering cliffside, Zora and Henry by my side. We’re descending into an ancient temple carved straight into the rock, and guess what we stumble upon? A nest of quetzalcoatlus eggs, you say? Well, that’s quite the find! But as we’re about to swipe a sample, Mom – yes, the very same pterosaur species from earlier – swoops in, clearly not too happy about our rookery raid.
A significant part of the comedy arises from the unexpectedness of spectacled Henry’s unfamiliarity with fieldwork, given his career in museums, as well as his playful flirtation with Zora. The chemistry between these polar opposites – one a romantic idealist in the realm of science and the other a confident combat veteran who shows understanding towards Henry’s ethical concerns about the ParkerGenix project – is skillfully portrayed by Bailey and Johansson, bringing an endearing charm to their evolving relationship.
Among the unforgettable scenes that evoke the magical, almost mystical awe reminiscent of Spielberg’s original, is when we find ourselves in a lush green valley teeming with titanosauruses. I feel like a captivated child, spellbound by the sight of these peaceful giants and struggling to hold back my emotions as I gently touch one of their massive legs. Alexandre Desplat’s beautiful orchestral score, blending John Williams’ iconic themes, truly amplifies the intensity in action scenes, but it shines most brilliantly in these tender moments.
Another significant heartwarming element in the film revolves around the growing bond between the Delgado family. The character Isabella, initially left speechless by the ordeal, finds solace and rediscovers happiness through a lovable creature she calls Dolores – an aquilops, a puppy-like, robotic being similar to Spielberg’s creations, which can be a bit cheesy. Yet, its sweetness is endearing. Similarly, Reuben develops admiration for Xavier, who proves to have hidden depths beyond his carefree slacker persona.
The Delgado family’s growing closeness and the development of respect between characters like Isabella and Xavier are heartwarming aspects of the movie. One character finds joy with a robot-like pet, while another discovers more about a seemingly carefree friend. Both are sweet and endearing, although they may seem a bit predictable or cheesy in some ways.
The legendary T-Rex, famous for its thunderous roar and diminutive hands (let’s not delve into that), gracefully reappears on our screens. Roused from slumber beside a rushing river where the Delgados are attempting a perilous raft escape over turbulent rapids, this colossal dinosaur charges after them – yes, it swims! The tension escalates to its peak when Isabella becomes separated from her companions in an edge-of-your-seat moment.
In this movie, the combination of real-world sets and digital effects creates a smooth transition, and the CGI on the monsters, particularly during the intense final scenes featuring the massive D. Rex, is exceptional. Director Edwards shows clear influence from Spielberg, as he subtly incorporates tributes throughout, most noticeably in sequences reminiscent of Jaws when underwater. While it might not be everyone’s favorite franchise entry, fans like me should still enjoy it.
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2025-06-30 19:25