JURASSIC PARK Is About Social Media

Jurassic Park used to feel a little retrograde to me. Not in terms of FX, which still dazzle, or story, which remains a classically tight adventure tale, but in terms of the film’s underlying themes. Jurassic Park is a throwback to an older form of movie, the kind that reached peak popularity in the 50s – cautionary tales about science gone amok.

By the time Jurassic Park came out in 1994 we had largely stopped making films like that, and if we were making films like that they were about science in the wrong hands. The nuclear threat that had driven the 50s Atomic Horror films that give us the backbone of the Science Run Amok genre was over, and the environment, which had fueled a resurgence in Nature Run Amok movies, had been relegated to PSAs and polite charitable giving. No, by 1994 we were in the early stages of the home computer revolution and we were in the post-Cold War mood of an unlimited future. History had ended, and technology was going to usher us into a great new world. The dotcom boom waited just around the corner!

Within that mindset, and within the mindset of ‘new is good, tech progress is good’ that permeated our culture for the next 20 or so years, Ian Malcolm’s admonition felt downright old fashioned.

“Your scientists were so preoccupied with whether or not they could, they didn’t stop to think if they should,” he said.

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JURASSIC WORLD: FALLEN KINGDOM Review – Same Shit, Different Dinosaur

This review contains spoilers

Jurassic World: The Fallen Kingdom is so dumb it would have voted for Trump. It’s a movie so dumb that its own premise doesn’t make a lot of sense, and it only gets worse from there. The script, by noted bad filmmakers Derek Connelly and Colin Trevorrow, pulls back from the wanton cruelty of the last film but still is entirely incapable of showing the slightest amount of heart. The Jurassic World films are simply sociopathic.

Director JA Bayona at least brings visual chops to the film, unlike Jurassic World, which was flat and boring to look at. Bayona seems to have studied Spielberg frame by frame, and many of the film’s best sequences – the end of the first act island escape, for instance – has the look of vintage Spielberg. But it doesn’t have the feel; Bayona is utterly unable to evoke the actual emotion and joy that Spielberg gets into every frame of his adventure films. Bayona’s Spielberg stuff is a simulacra, a golem of Spielberg that walks and talks but has no soul. Continue reading “JURASSIC WORLD: FALLEN KINGDOM Review – Same Shit, Different Dinosaur”