Directed by: Gareth Edwards
Written by: David Koepp
Run Time: 2 hours 13 mins
After the dinosaur disaster that was Jurassic World: Dominion (2022), Jurassic Park was a franchise all but fit for fossilisation. However, considering this sequel went on to cross the $1 billion mark at the global box office – the fourth in the franchise to do so – it’s unsurprising that the series has lived on. As with a cinematic species as lucrative as this, even in the absence of all quality, Universal are always going to ensure that their prime picturehouse predator “finds a way” to escape extinction.
Moving swiftly on from the previous instalment, Jurassic World Rebirth takes place five years after the events of Dominion. It sees big pharma exec Martin Krebs (Rupert Friend) recruit mercenary Zora Bennett (Scarlett Johansson) to lead a dangerous mission to the isolated equatorial regions where most of the remaining dinosaurs reside. With the help of paleontologist Dr. Henry Loomis (Jonathan Bailey) and Captain Duncan Kincaid (Mahershala Ali) they plan to extract DNA from three different dinosaurs to help further a groundbreaking medical study.
It’s a simple, albeit unoriginal premise, but one that provides the film with a satisfying three act structure. Of course, things are never that straightforward, as is alluded to by the film’s brief prologue set fifteen years in the past. Set in a high-tech laboratory on an island aside from the previous versions of the park, it’s here where scientists are seen experimenting as they attempt to create mutated versions of dinosaurs to become new attractions at the park. It has the bare bones to be a really dark and effective opening, however it’s rushed through and fails to reach its full potential. Its imposing Distortus rex should steal the show, but instead ends up being upstaged by a snickers wrapper.
Thankfully after this it doesn’t take too long to get the main plot underway, and the film’s opening act comes out absolutely swinging. The first of the three DNA targets is the mighty Mosasaurus and Rebirth succeeds in giving this previously underused dinosaur a standout sequence of its own. Heavily inspired by the barrel scene in Jaws (1975), director Gareth Edwards sees his characters pursue their target in a vast oceanic landscape, offering a refreshing alternative to the usual confines of the park. Given his previous credentials it’s unsurprising that he gives this sequence scale, suspense and spectacle, but he also sets a standard that the rest of the film struggles to sustain.
The first sign of trouble in paradise is the film’s decision to split its time between two different groups of characters. Because as well as the aforementioned trio the film also follows a family of four – lead by Manuel Garcia-Rulfo – who unwittingly get caught up in the action as well. Their scenes aren’t bad at all – they actually find themselves at the centre of one of the film’s most thrilling moments, featuring none other than the franchise favourite T-Rex – but the jumping between the two groups eventually takes its toll on the film’s pace, creating a more meandering momentum than one might expect.
It’s a strange choice from returning screenwriter David Keopp – he penned the franchise’s first two films – as his main characters are some of the most likeable the series has seen in some time, and certainly in no need of any extra support. His writing for Dr. Henry Loomis is particularly effective, affording him a really sweet and endearing heart for the natural world that Jonathan Bailey subsequently excels in conveying. This is demonstrated most prominently in a surprisingly emotional second-act sequence that features the famous swells of John Williams’ iconic Jurassic Park theme, reminding audiences of the awe and wonder this series can sometimes still capable of.
Similar efforts are made to give both Scarlett Johansson and Mahershala Ali’s characters some backstory, and while it’s pretty surface level it does enough to make them that little bit more developed. The chemistry between the central trio is enjoyable too, giving Rebirth and the series as a whole a much needed refresh. Where Keopp’s screenplay, and subsequently Edwards’ film, ultimately lose their way entirely though, is in the generic third act finale.
Arguably the worst thing the Jurassic Park franchise has ever done is introduce mutant dinosaurs. It’s somewhat ironic that in the films their motivation for this is to keep park visitors from becoming bored with the existing species. However, in the real world audiences have yet to tire of these resurrected reptilians – just look at the series’ behemoth box office. So when there’s already such a wealth of pre-existing classic creatures to choose from it feels utterly needless to consistently present audiences with these new monstrous mutations. Much like most of the Jurassic World section of this franchise, Rebirth falls into this same trap, giving its latest creation top billing and biggest share of the spotlight.
By sidelining its main attractions like this, it continues to crucially misunderstand what it is that viewers enjoy so much about the concept of this series: dinosaurs we know and love on the big screen. It’s really that simple, so it’s a shame that Rebirth opts to continue this tiresome trend when it had the perfect opportunity to reject it. Fortunately, it does enough in its first two acts to remain worthwhile, in turn dodging the critical meteor that was all but set to wipe out this series entirely.
Star Rating: ★ ★ ★
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