Director: Colin Trevorrow
By Roderick Heath
Here there be spoilers…
I was just a little too old when the original Jurassic Park came out. My youthful obsession with dinosaurs had faded, and if it had been made a few years earlier when my fragile young mind was cramming itself with The Land That Time Forgot (1974) or Baby…Secret of the Lost Legend (1985) then I surely would have watched it until it became coded in my DNA. My just-teenaged, would-be sophisticate self watched it and felt that Steven Spielberg’s school of cinematic wonderment was running on fumes: his shift back to serious historical dramas seemed nascent in a film whose staging and shooting is often half-hearted from the man who made Raiders of the Lost Ark (1981). It did have a handful of admittedly classic Spielbergian moments, like the first glimpse of the revived dinosaurs, and the terrific set-piece that is the Tyrannosaur’s first break-out. My opinion was rather irrelevant in the face of those kids who were precisely the right age for it, and the parents who went along with the ride, making it the biggest-grossing film ever for a time, and unlike too many of the FX-driven blockbusters that followed it, most of them have retained a deep affection for it. I preferred Spielberg’s follow-up, The Lost World: Jurassic Park (1997), an extended doodle from the great filmmaker that embraced the horror movie-like possibilities of the material to a surprisingly impish degree, whilst also invoking its own absurdity. Nonetheless I’ve come to like the series overall a lot more in recent years, and even Joe Johnston’s undercooked third instalment from 2000 has moments of pleasure. Spielberg’s commentary on his own unease as a successful showman, for one thing, emerges much more strongly in the original today. And of course, there was so much Jeff Goldblum: his two turns as wiseacre mathematician Ian Malcolm embodied that rarest of creatures, the intellectual action hero, a walking insta-commentary on the drama unfolding about him, and something like the arrival of geek culture in mainstream cinema.
Moreover, the essence of Jurassic Park as an idea spoke readily and clearly to anyone who’s ever dreamed of seeing a dinosaur in the flesh and indeed to anyone who’s ever pined for reality to be even stranger than it is. Whilst I think it’s still far from Spielberg’s best variation on the theme, Michael Crichton’s novel provided him with perhaps the purest metaphor for such yearning he was ever likely to find. Crichton’s novel was actually something of a rehash for that successful literary entrepreneur, having used basically the same idea in his semi-classic 1974 film Westworld, where, as with his later, even more successful brainchild, he combined the theme of fantasies unleashed by hubris with an old-fashioned but newly relevant cautionary paradigm about the dangers of playing about with the building blocks of life. Jurassic World bears a heavy weight of expectation in reviving this peculiar, beloved fantastic zone and the fascinatingly diverse reactions to it have struck me as so erratic and vehement that it makes me wonder whether or not this seemingly uncomplicated material has a deeper relationship with what we bring to it than I suspected. Part of the power of the material lies in the way it found a way to manifest something wonderful and dreadfully primal in an otherwise very ordinary contemporary world. There are no superheroes, no complex world-building, and the material’s rules must hew reasonably close to those of the everyday. The genre patterns evoke classic safari flicks like Hatari! (1963) more than Godzilla (1954). This is also a franchise built, like it or not, around the threat of people being eaten by vicious animals, and occasionally the fulfilment of that threat.
Director Colin Trevorrow made the minor but witty and enjoyable indie film Safety Not Guaranteed (2012) and found himself chosen for his blend of droll humanism with a sense of ardent fantasticality, to step into Spielberg’s shoes. That must have been a daunting moment. He’s not even the first. Johnston, who had once been a crew member on Raiders, made a career as the second-string Spielberg, but his entry was tellingly basic by comparison in constructing suspense sequences and glib, thin storyline and characters, thrusting this material back to its ‘50s B-movie roots. And big Hollywood cinema is currently crowded with directors nominating themselves as Spielberg’s natural heir apparent, including recent stabs by Christopher Nolan, J.J. Abrams, Andrew Stanton, Brad Bird and more. What does this little upstart have they haven’t? Jurassic World doesn’t exactly retcon the second two films out of existence – they took place on the “B site” island of Isla Sorna anyway, rather the original park location Isla Nublar – but it does ignore them, and only fleetingly references events in the original. Those events are essentially regarded as teething difficulties in getting John Hammond’s dream up and running, even part of its special mythos (the Tyrannosaur exhibit even references it as part of the show) rebranded as, yes Jurassic World. There have been upgrades aplenty, such as they are: where Richard Kiley narrated exhibits before, now it’s Jimmy Fallon. Live animal feedings to the Tyrannosaurus have become the subject of frenzied iPhone filmings. Bored, spotty youths listlessly man the park rides. Hammond’s death in the interim has seen ownership of the park pass on to another dreamer-entrepreneur, Simon Misrani (Irrfan Khan), an Indian Richard Branson-esque billionaire.
Claire Dearing (Bryce Dallas Howard) runs the park day-to-day and digs up sponsors for the park’s new exhibits, which have to be unveiled every few years because of an unexpected problem with the park’s basic purview: dinosaurs have gone from staggering must-see to a still-privileged but familiar attraction, so they need to up the wow factor at regular intervals. The joke here isn’t belaboured, but still clear enough. The original Jurassic Park, amongst other things, was the starting gun for the CGI age, and the necessity of outdoing the last spectacle is a commonplace expectation of current tent-pole films. The park’s solution to this problem has been to get the wizards in the lab, led by Dr Wu (B.D. Wong, the only returning cast member of the original), to concoct a new dinosaur species. The resulting cross-breed is a big, mean, dextrous creature glimpsed hiding in the leafy foliage of its concrete bunker, given the focus group-friendly name Indominus Rex. Claire’s business-focused life faces a speed bump, as her two nephews Gray (Ty Simpkins) and Zach Mitchell (Nick Robinson) are visiting the park, with Claire charged to watch over them for a few days, by her sister Karen (Judy Greer) and her husband Scott (Andy Buckley). Gray is young and dinosaur-happy, whilst Zach is older and too preoccupied with girls to care much about anything else. Claire is too busy to spend time with the lads anyway, and gets her assistant, the glam but hapless Zara (former Merlin Morgana Katie McGrath), to shepherd them about the park instead. The boys quickly give her the slip and explore the park on their own. Meanwhile, in the pens of the Velociraptors, former Navy SEAL turned animal trainer Owen Grady (Chris Pratt) and his team including Barry (Omar Sy) have been carefully raising and educating these ingenious, ruthless killers to see if they can be tamed at all.
Both this operation and the creation of the Indominus Rex prove however to have been okayed by Hammond’s genetic engineering firm InGen, which only leases the products of its labours to Masrani’s operation: InGen operative Vic Hoskins (Vincent D’Onofrio), another former soldier, sniffs around Owen’s operation with interest, quickly making it clear he’s hoping to used tamed raptors for military purposes. Soon it emerges too that Indominus Rex, in spite of Wu’s insistence that it was created purely to satisfy Masrani’s showmanship needs, might also have been concocted with the same purpose in mind. But the animals have their own ideas. Called over to assess the Indominus Rex’s pen, Owen finds the creature has vanished, claw marks on the walls suggesting it might well have climbed out when no-one was looking. When Owen and other keepers venture into the pen, they realise something even worse is happening: the creature is hiding, having created a strategy to escape and lured them in. With a quick, terrifying charge, the monster squeezes through the closing gate, devours a couple of keepers, and Owen only avoids the same fate by dousing himself in petrol, hiding from the creature’s sense of smell. With Indominus out stalking the byways of the park, Claire and Misrani are forced to call in the crowds and send out the park security team to hunt the beast down. Soon however they find they’re up against a creature that’s more than a toothy critter, but an unholy chimera capable of far more than just stomping on folks, blessed with ruthless intelligence and chameleonic abilities. Meanwhile Zach, in a moment of teen bravado, decides to take himself and Gray in their bubble-like safari vehicle out through a hole mysteriously punched in a perimeter fence…
Jurassic World extends a ‘90s franchise, and repeatedly evokes the originals although it sidesteps much of their legacy. But it represents more of a mash-up of classic ‘80s Hollywood sci-fi and action flicks of which Jurassic Park was really a late entry, in a way that many of the creators of those films, including Spielberg himself, John Carpenter, James Cameron et al, would readily recognise. Much of their genre filmmaking was just as referential of favoured models as anything Quentin Tarantino has ever made, but opposing the post-modernist reflexes where the quotations are demarcated, but are instead carefully contoured in narratives. InGen has become a Weyland-Yutani-esque company, and some of the action scenes directly evoke Aliens (1986). Owen’s characterisation, as a scruff who may well prefer animals to people after being left more than a little alienated by his combat service, evokes many a cool rough-trade loner from the time (down to living in a trailer and working on his motorcycle), and even recalled to my mind John Heard’s character in Paul Schrader’s oddball remake of Cat People (1982). There’s even a dash of Chuck Russell’s The Blob (1988) in there, as the apparently random eruption of monstrosity proves to be engineered, with some of that film’s giddy, antisocial pulp energy, if not its outrageous gore. Trevorrow tips his hat jokily to Spielberg’s Jaws (1975), as a dead Great White is fed to the monstrous marine Mosasaurus that is one of the park’s main attractions. But perhaps Jurassic World owes most to Jaws 3-D (1983), the amusingly trashy sequel that was itself heavily reminiscent of authentic ‘50s B-movie Revenge of the Creature (1955) in exploiting the notion of captive monsters unleashed in fun parks. Jaws 3-D, which was directed by Joe Alves, production manager on the first two Jaws films, took the idea of carnival barking as a base aesthetic for the film. Trevorrow does a similar thing in the early scenes of Jurassic World, entering and beholding the park with the same breathless sense of discovery as Gray and Zach, surveying its expanses in swooping, shiny helicopter shots, filming kids and adults enjoying the attractions in a manner that does a far better job than Bird’s Tomorrowland managed at recreating the tony vibe of a great ad selling childhood fantasy in one grand package.
Jurassic World also highlights the original story’s recycling of Westworld by going the whole hog and giving us the fully working theme park that never got off the ground in the original. This demands some tweaks to the timeline, including that Hammond had decided by the end of the first film not to try any longer. Perhaps the almighty dollar demanded a change of mind. Masrani, like Hammond himself, is portrayed as a generally decent guy with blind spots, rather than a blunt corporate villain. He is prone to the over-confidence of success: he’s introduced learning to fly his own helicopter, a detail that’s both an important plot point and a commentary on his character, with his inability to completely master both the complex systems of genomes and flight, jobs that can’t be multitasked or mastered with people skills, ultimately conspiring to destroy him. Claire combines a couple of well-worn character traits from some of Spielberg’s films: like Peter in Hook (1991) she’s a workaholic, and like Alan Grant in the first Jurassic Park, she’s a dedicated professional awkward around kids, who bring the threat not of domesticity but of instability. For Spielberg those themes were rather more personal than they seemed at first, conveying his concern that his own love for filmmaking, not just directing but managing a whole, important infrastructure of production, might cause him to neglect his burgeoning family. For Trevorrow these are mere pop tropes to evoke. This is most awkward when Gray’s anxiety of their parents’ impending divorce is suddenly brought up, as he alerts Zach about what’s going on, only to then drop the theme: the theme of familial anxiety, so central to Spielberg and one of the rawest nerves he always touched in his heyday, is raised but only half-heartedly pursued. Trevorrow does work in one good touch: when informed that his folks might be divorcing, Zach pouts and worries for a moment, and then says most of his friend’s parents are split too, and you can see by his look the battle between nascent adult bravado and childish fear.
Mid-film the boys discover the ruins, lost in the jungle and half-buried, of the original Jurassic Park’s central post, littered with lost memorabilia and technology, down to the famous “When Dinosaurs Ruled the Earth” banner that set the seal on the original experience, quickly repurposed as fuel for a burning torch. Trevorrow here literalises the sensation so many reboot franchise episodes have of being built on the ruins of previous successes, replete with references left lying about like so much refuse, and give a metaphor for his own film that doubles as neat character business, as the two boys hurriedly patch together a working jeep and use it dash away to safety. Trevorrow’s scant filmography might well render moot what his own interests here are other than honouring old movies he loves, but there is a clear recurring motif from Safety Not Guaranteed, manifest in the screwball-flavoured romance of uptight office female and slightly asocial male, a jokey variation on the call-of-the-wild theme that the rest of the film purveys rather more urgently: Safety Not Guaranteed was far more free-wheeling riff on romantic comedies as it was on sci-fi, and whilst no-one would pretend Jurassic World is sophisticated as a character comedy, this reflex of the director is more than readily apparent throughout. Owen is as wobbly at human socialisation as he is accomplished at it with raptors, but then so is Claire, who wears her business suit like armour plate; so of course both are thrown in together in trying to extract Zach and Gray from the park, heading into a version of The African Queen (1951) with giant lizards. Claire, although sharing traits with Grant from the original, is closer in spirit to a gender-swap version of Gennaro, the lawyer who was unceremoniously eaten in Spielberg’s film but in Crichton’s book went through an enjoyable mouse-to-lion growth from corporate dweeb to dinosaur hunter. Probably the film’s funniest vignette comes when Claire, in silent retort to Owen’s scepticism over her being able to follow him on a jungle hunt in high heels, quickly gives herself an action chick makeover in the manner of dozens of plucky heroines only to be met by Owen’s bewildered stare.
Howard hasn’t thus far had the career she might have, considering both her pedigree and her talent: after catching eyes as the chief salvation of The Village (2004), her performance in Kenneth Branagh’s little-seen but marvellous As You Like It (2006) was a coup of the kind I don’t easily forget. She’s been hovering on the edge of stardom since, and she gives a mischievous performance as a square character: Howard’s Claire, slightly ridiculous, largely delicious, is very much the heart of the film, a not-quite-normal person forced to operate far beyond her experience and finds herself adept. Backwards and in heels, too. Pratt’s outright play for the kind of Harrison Ford–esque status many feel he could obtain after Guardians of the Galaxy (2014) comes very close to succeeding, although Owen lacks the kind of truly defining gesture to separate him from the pack, unless it’s his unexpected empathy for animals – or the douchey air-humping gesture he makes to Claire’s eye-rolling disdain, a moment that again recalls Trevorrow’s debut, showing there’s a bit of a naughty little boy in Owen. Which is perhaps why Zach and Gray, also naughty little boys, gravitate to him so quickly. Pratt’s large, emotionally communicative eyes undercut the potential macho pomposity in the role. When the first Jurassic Park came out much of this business about genetic science was just gaining credibility: now when D’Onofrio’s Hoskins speaks of the dinosaurs as specific property of InGen it’s clear the filmmakers are thinking about the efforts of corporations to patent their discoveries in genetics, with the implied riposte that no living system obeys legalese. Malcolm’s chaos theorising in the original made a similar point, but here it’s Owen who voices the same ideas in a more flesh-and-blood manner as he contemplates such questions in terms of animal behaviour patterns, warning that Indominus might lack socialisation to a point that will make it intolerantly violent (it ate the sibling the genetic engineers provided with, a dark rhyme to the alternate theme of the Mitchell brothers’ mutual reliance). The film’s emotional crux follows hard upon as the duo come upon a brachiosaur mauled by Indominus, a moment that echoes the scene with the Triceratops in the original except this time with the immediacy of an animal’s pain and death making it clear that the dinosaurs are indeed animals and not mere exhibits, in the gentlest variation on the elsewhere more urgently portrayed alternations of understanding and inimical attitude between life-forms.
The ins and outs of this plot, as Hopkins asserts authority over situation to further his own ends, including spiriting Wu away, are occasionally clunky (and obviously intended to set up further franchise expansion, in a not-so-salutary way), but then that’s true of most of the films Jurassic World sets out to honour. Hopkins’ crew of bullying heavies moves in to take over the park’s control room to ply their solution to the problem, but when it fails they pack up and depart again with equally efficient save-ass speed, leaving Claire’s chief tech nerds Lowery (Jake Johnson) and Vivian (Lauren Lapkus) to pick up the pieces. The story hinges on the question as to whether Owen can maintain the kind of control over the raptors Hopkins expects he can, and emotionally blackmails him into trying his plan of setting the raptors on Indominus. Except that the big bad proves to have raptor in her make-up, and swiftly turns the creatures on their masters in the dark forest for a frenzied repast. To be frank, I enjoyed this infinitely more than the year’s far more critically lauded retro-rocker, Mad Max: Fury Road, which struck me as two hours of fan service in exactly the wrong way, a reductio ad absurdum of action cinema to just running and shooting, for all the technical swagger. Jurassic World doesn’t skimp on fan service either, but its set pieces and cheer-along touches, like Owen riding off to battle on motorcycle with his gang of raptors, and the finale’s all-in monster brawl, have clear narrative purpose and spin off from the story with the sort of rolling semi-logic that Spielberg always made the guiding principle of his films, rather than simply and cynically reducing story to pretext. In fact, I enjoyed this more than any summer blockbuster-season film since Pacific Rim (2013). Perhaps that exposes my still-guttering love for behemoths smashing things up, but both films share a crucial feeling, as if they are the products of filmmakers trying to articulate real affection for the material.
Trevorrow has actually done what those other, more famous pretenders to the Amblin throne have failed to do, and recreate the tone, seemingly naïve and properly breathless, of the old-school blockbuster. His direction has pop energy that doesn’t strain to modish (little wobble-cam or incoherent editing). The film has characters, or at least caricatures who vibrate effectively in this setting. It has a structure, a set-up, complication, and a proper climax. It doesn’t trip over itself trying to be cleverer than the audience, try to paste over a lack of inspiration with glib humour like Pratt’s last hit vehicle Guardians of the Galaxy, or get bogged down with pseudo-intellectualisms (see the works of Nolan, Christopher). It is old-fashioned, generally in the best way. Trevorrow gives the film an edge that wasn’t uncommon in the kinds of ‘80s fare he’s honouring, as pterosaurs attack hapless funfair visitors in a sequence recalling The Birds (1963). Poor Zara finishes up becoming object of a tug-of-war between Pteranodon and Mosasaurus in a surprisingly intense moment of life-and-death struggle that ends grimly. This isn’t quite a horror moment in an otherwise juvenile-friendly epic – the only real bloodshed seen in the film comes when a more expected victim falls under the raptors – but it does signal a return of the edge this sort of fare used to have, to the sort of flourish Spielberg once served up easily in his early Indiana Jones films: the fantasy has a dark side, and the dark side has teeth. Although the mayhem here is more expansive than in Spielberg’s entries, moreover, Trevorrow is much fonder of his main characters and serves fewer of them up for lunch, even going so far as to actually, self-consciously avoid that most sadly common trope of this sort of thing, killing off the major black character.
Trevorrow tweaks this all-hell-breaking-lose aspect until it starts to recall The Simpsons episode “Itchy and Scratchyland”, that show’s scabrous lampoon-cum-celebration of Crichton’s tales. Of course, this never really becomes satiric, but offers rather a light sheen of sarcasm that reflects a readiness nonetheless to contemplate the “rollercoaster” ideal that initially defined the modern blockbuster as an actual theme park attraction, plied smartly but not smart-assed. More vitally, too, Trevorrow and fellow screenwriters ply a concept of its monsters as nobly self-sufficient, even heroic in their utterly natural way, in a manner that does not necessarily respect humankind. Although Owen’s bond with the raptors does ultimately snap back into effect, it becomes clear that even those fleet killing machines can’t handle Indominus alone, forcing Claire to go fetch a bigger set of teeth for a finale that’s gleeful in satisfying the audience with a grand display of dinosaur tag-team wrestling, the lawless ferocity of these creatures turned to good use. Jurassic World is definitely not perfect. Although I appreciate that the film has a first act, that act is not always that elegant in unspooling, and Hopkins’ subplot is just never that well-handled, even his regulation icky end. But goddamn it, I liked this film, down to its last line, a capper that could indeed have come of the kinds of Hawksian comedy-adventures that lies deep in this film’s DNA strand. Jurassic World has been an instantaneous, enormous hit, and for once that’s fairly deserved in my mind.
Only next time, if there must be more sequels, please bring plenty of Jeff Goldblum.