Jurassic World Dominion Movierulz

Jurassic World Dominion

Jurassic World no longer upsets. Those giants that dominated our planet about 230 million years ago and about which we have long fantasized thanks to the saga have been reduced to being prehistoric wild kittens, sometimes adorable, sometimes threatening, bulky, or profitable investments for shady American multinationals. 

In the economy of a fortunate and almost assured franchise, Jurassic World Dominion, placed as the final chapter and in cinemas from 2 June 2022 thanks to Universal Pictures, presents itself to the viewer with unscrupulous inconsistency and unrecognizable shapeless plot in which not even a shred of “WOW effect” can be found anymore.

Jurassic World Dominion

Colin Trevorrow returns to directing after the first chapter, released in 2015, in which John Hammond's dream took shape engagingly and enthusiastically, fielding new characters and new dinosaurs. We find him now, after a second chapter, Jurassic World - The destroyed kingdom (in which Juan Antonio Bayona had tried to import his authorial imprint), completely genuflected to the logic of the market, deprived of the innovatively prehistoric soul that the tail of this franchise he deserved to have. 

Yet in the web in which Jurassic World - The Dominion traps us, there are meshes so large that they allow us to escape, to move away from fantasy and illusion to catapult ourselves into a post-apocalyptic and colluding world, a world that has stopped surprising itself, simply ending up annihilating.

Jurassic World - The Dominion: the world has stopped surprised in the final chapter of the saga

Set four years after the destruction of Isla Nublar, the film written by Trevorrow himself together with Emily Carmichael, opens the dances of fiction with a documentary making, providing us with an overview of the current situation, that is, on the dispersion of dinosaurs in the world and on the upheaval of the chain. food. Evil, the engine of every story, finds its lifeblood in a pharmaceutical company authorized to carry out experiments on prehistoric DNA. 

But evil alone is not enough, as it requires attention and supplies, ideas that can stimulate cunning and fear. Yes, the fear! The one that Steven Spielberg has infused into our marrow, amalgamated with wonder, genetically modified in reverence for a past that returns by human will and arrogance, in a time that has not been assigned to it by history. That genuine and candid fear that made the fortune of the Jurassic saga collapses under the blows of a script that unrolls genres on the board like faceless dice, poised between the fabulous profile of a brachiosaurus flecked by snowflakes to a velociraptor trained to kill. 

Jurassic World Dominion

The camera is lost both in the poetry of uncontaminated nature, in picturesque landscapes where the triceratops grazes like sheep, as in the action imprint of heart-pounding chases, lost among the somersaults of Chris Pratt and Bryce Dallas Howard, riding a motorbike or hanging from a precarious balcony, while bloodthirsty dinosaurs stir with the same mechanicalness of an automaton, bumping their bodies against the monuments of a city without a soul, which could be anywhere and belong to any film script.

When fear does not cross the screen, utopian charm is not enough

There is no lack, in the network of corruption and in the narrative gear, the espionage note: animal and human lives taken hostage, ready to be sacrificed for a larger project, and, again, giant locusts put at the service of a diabolical plan to starve the world. Elements that allow us to glimpse the glimmer of a current political and social controversy, but which crumble under the blows of the ephemeral, coagulating into a very bad development, a bit like all the ideas of which we are only allowed to smell, without however discerning the substance.

It is as if Jurassic World: The Dominion did not show us the modern world with dinosaurs, but rather postcards drawn from a decaying world, possible ideas unable to exist and to become a cohesive cinematic work. A film unable to cross feelings viscerally, which perpetually sails on the external crest of fear, action, and wonder, unleashing moments of terror that it cannot exploit, such as Owen Grady's fall into the ice or Claire's immersion in murky waters. In shots like these, the terror slips too quickly, without giving us time to understand and metabolize it, much less to understand it. Scenes that seem to be the set of an amusement park attraction; film portions with a predictable evolution.

Jurassic World - The Dominion and that glitter, the legacy of Jurassic Park

A saga, that of Jurassic World, which hastily scrapes together the missing pieces, anxious to complete a puzzle destined to remain unsolved. A saga that, in this concluding chapter, makes the domination of a species its cardinal point, overturning on the big screen a predictable and unrealistic do-goodness, in which even a hypothetical narrative teaching is dispersed.

Jurassic World Dominion

A film that focuses too much and badly on nostalgia, emptying it of wonder and trying to convey it not using the technical and artistic sector, but by exploiting only peculiar extracts of the script. That Jurassic Park legacy, brought into vogue by the return of Laura Dern and Sam Neill (respectively as Dr. Ellie Sattler and Professor Alan Grant), as well as that of Jeff Goldblum (as the legendary Ian Malcolm), is the only happy territory in which it is possible to trace the Jurassic magic, however, condensed in clich├ęs and badly heard.

Likewise, the T-Rex rises above any Jurassic predator, in defiance of the laws of nature, trying to tear the spider's web in which the fate of the saga seems to be trapped.

Rocked by the soundtrack of Michael Giacchino, which as always follows the ancestral musicality, Jurassic World Dominion is strengthened by an impeccable cast (in addition to Chris Pratt, Bryce Dallas Howard, Sam Neill, Laura Dern, and Jeff Goldblum, also Mamoudou Athie, Scott Haze, Dichen Lachman, Daniella Pineda, Campbell Scott, Isabella Sermon, Justice Smith, Omar Sy, DeWanda Wise, BD Wong) and John Schwartzman's vivid photography, resulting in a foregone bath of genetic humility, in the awareness of being - as humans - the smallest part of an immense creation.

Similarly, even this final chapter of Jurassic World, which moves awkwardly towards a swampy terrain of severed genres and impulses, reveals itself to the public as a microscopic cog in a saga that still has its fulcrum and its purest soul in that Jurassic Park. which is 1993 really left us breathless.

The vision of Jurassic World: The Dominion, on the other hand, leaves us drunk with boredom, stunned us with a glossy and unwanted kindness (not even due), and with a series of paths finished before even starting. Perhaps the problem, in addition to being inherent in the film, has become an integral part of our species: we are indifferent to wonder, so we lazily lull ourselves into nostalgia, which is static and sometimes worn regret.

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