This image released by Universal Pictures and Amblin Entertainment shows Rupert Friend, from left, Mahershala Ali, and Bechir Sylvain in a scene from "Jurassic World: Rebirth."
Jasin Boland/Universal Pictures and Amblin Entertainment via AP
It dawned on me three-quarters of the way through the seventh “Jurassic†film what it reminded me of — the fourth “Alien†film, 1997's “Alien: Resurrection.†Both films are far removed from their predecessors, and they both feature a fresh rag-tag group of mercenaries tasked with stealing genetic material in the name of corporate espionage. The third act of both films feature genetically modified creatures that are abominations of the horrifying, and at times majestic, monsters that came before.
This image released by Universal Pictures and Amblin Entertainment shows Rupert Friend, from left, Mahershala Ali, and Bechir Sylvain in a scene from "Jurassic World: Rebirth."
Jasin Boland/Universal Pictures and Amblin Entertainment via AP
And then the absurdity of this most recent cash-grab hit me: The studio was so preoccupied with whether or not they could mine this bleeding franchise for more box office receipts, they didn't stop to think if they should in an attempt to preserve what little respect is still commanded with audiences. The faint moments that “Jurassic World: Rebirth†attempts real engagement are false recreations of Spielberg’s groundbreaking original.
Director takes the money, runs
Director Gareth Edwards is certainly adept at visual effects, having helmed 2014's “Godzilla†and 2016's “Rogue One: A Star Wars Story,†but the rushed production of “Rebirth†means Edwards' typically seamless blend of live action and digital effects never rings true. Green-screen shots are obvious. The mutated dinosaurs feel like an afterthought, like the rest of the film — hastily cobbled together to meet a release date. It’s clear that, like the cast of otherwise talented actors, he took the money and ran.
Not content to crib from merely the original 1993 release of “Jurassic Park,†Edwards and writer David Koepp, who penned the original film and its sequel, 1997's “The Lost World: Jurassic Park,†have the gall to steal from the original Spielberg blockbuster, 1975's “Jaws,†for two extended sequences, complete with a dumbed down reprise of John Williams' “Jaws†theme.
Like so many big budget studio films, the mindless sequels serve only to remind us of the gentle awe and surprise of the original films, born out of a desire to use the medium to its fullest to fulfill dreams and evoke nightmares:
The thrill of Quint, Brody and Hooper chasing the shark that’s been terrorizing Amity Island in “Jaws.â€
The taut suspense of the velociraptor chasing Lex and Tim in “Jurassic Park.â€
Those sequences are iconic and etched into our collective memories. They were watershed moments in film history. Beyond that, they were difficult and humbling creations. “Jaws†went famously over budget and the production was months past schedule. “Jurassic Park†broke new ground because Spielberg trusted the magicians at ILM to create imagery once thought impossible.
These dim and dull sequels seem tasked by the bean counters to devolve the language of film back to the Stone Age — a $180 million meteor striking the foundation of filmmaking. “Jurassic Park†was sold as “An adventure 65 million years in the making,†but it only took 33 years for Hollywood to turn it into a fossilized wreckage where creativity goes to die.