Jurassic World: Fallen Kingdom

Cast: Chris Pratt, Bryce Dallas Howard, Rafe Spall, Justice Smith, Daniella Pineda, James Cromwell, Toby Jones, Ted Levine, B.D. Wong, Isabella Sermon, Geraldine Chaplin, Jeff Goldblum

Director: J.A. Bayona

Writers: Derek Connolly, Colin Trevorrow


I think what surprised me the most about this film was how much the trailers gave away and yet how little they prepared me. After watching the adverts I was able to predict beat for beat how the events were going to unfold and who was going to end up where doing what right up to the third act, but even now I am still astonished by how fundamentally ridiculous and derivative it all was. After the first Jurassic World, which I enjoyed and felt brought something new to the franchise while still remaining true to the original’s spirit but still fell short of the standard, I wasn’t expecting anything amazing. Even then, I still cannot wrap my head around what I saw. Fallen Kingdom is somehow both unremarkable for how dull and banal most of its story and action is and also mindboggling for the utter lunacy behind some of the choices that were made. This is an Attack of the Clones level of ineptitude I’m talking about here where it doesn’t seem possible for a movie to be this insanely stupid and still be so lacklustre.

Picking up after the events of Jurassic World that led to the closure of the park, the lives of the dinosaurs are now threatened by the impending eruption of a formerly inactive volcano on the island. Claire Dearing (Bryce Dallas Howard), now running an organisation lobbying for the protection of the dinosaurs, is about to lose hope when she is approached by Eli Mills (Rafe Spall), the prim, proper, and seemingly earnest businessman who always appears in these kinds of movies. He runs the organisation responsible for resurrecting the dinosaurs, owned by Dr. Hammond’s former partner Benjamin Lockwood (James Cromwell) and they are putting together a rescue operation. They need Claire’s help to track the dinosaurs and bring them back safely, especially Blue, the intelligent and last living velociraptor. In an eye-rolling twist, Claire realises that the only person in the world who can rein Blue in is the last person in the world she wants to see, her ex-boyfriend and Blue’s former trainer Owen Grady (Chris Pratt). Owen has no interest in joining their operation but, after speaking to Claire and realising that there’s no movie if he sits it out, he agrees.

Things are a-go and Claire assembles her team, which as well as Owen includes Franklin Webb (Justice Smith), an IT technician who screams whenever anything moves, makes a sound, or exists, and Zia Rodriguez (Daniella Pineda), a dino vet who has never actually treated nor even seen a dinosaur in the flesh. They tag along with a mercenary troop led by the gung-ho Ken Wheatley (Ted Levine) and head for the island on the day that the volcano is scheduled to erupt. Here they must contend with rampant dinosaurs, scorching lava, and double-crossing mercenaries serving some ulterior motive. After nearly drowning in a pod, shot in a single take from within the spherical trap as it gradually fills up with water (the best action scene in the film), Owen, Claire, and the comic reliefs realise that they’ve been had and must stow away on the departing cargo ship to escape. One tedious, drawn-out scene later, they reach their destination and there learn the insidious reason why these dinosaurs were saved from their doom.

The remainder of the movie takes place in a Gothic mansion like something out of an Edgar Allen Poe novel with thunder and lightning all through the night and secrets around every corner (which might have been fine if I weren’t there to watch a dinosaur movie) and what we get is this tiresome and underwhelming game of cat and mouse (or, rather, dinosaur and human). As Claire and Owen work to liberate the captive creatures they cross paths with a seedy, villainous character played by Toby Jones (because they’re always played by Toby Jones), Lockwood’s young granddaughter Maisie (Isabella Sermon), the obligatory kid who gets herself into all kinds of trouble but never comes to any harm, and another generically evil, blandly-designed, genetically-engineered dinosaur. It really bothers me how both Jurassic World movies have featured lab-designed dinosaurs as their big bads but have neglected to push the boundaries of what’s really possible, opting instead to make both of them barely distinguishable variations of raptors and T-Rexes. If you’re going to invent your own dinosaur, then get creative! Give them triceratops horns or a stegosaurus spike tail or pterodactyl wings or laser eyes or something! Anything!

Anyway, that’s the least of this movie’s problems. After the conclusion to Jurassic World with the escape of the dinosaurs and the collapse of the park provided the set-up to many interesting possible directions, Fallen Kingdom takes so many steps backwards it winds up retreading the territory they’ve already explored in the other films. The very idea of a nefarious organisation sending their team of idealistic, naïve characters to an island of dinosaurs to serve some secret scheme is straight out of The Lost World, except this time there’s a volcano. The movie is filled to the brim with scenes and images copied and pasted directly from the previous Jurassic Park films including the kid hiding from the dinosaur in an enclosed space, the predatory dinosaur falling through the glass, and the human villain getting chomped by the T-Rex. I know that there are certain things that we except to see in a Jurassic Park film the way we do with Star Wars and the Marvel movies, but there has to be some variation and progression. By revisiting the same plot in the same way and following the same beats, all this movie is demonstrating is that the characters in this universe are incapable of learning from their own mistakes. Fallen Kingdom even rips off its direct predecessor by splitting up Owen and Claire just so we can watch them argue about everything all over again before inevitably getting back together.

There is only one thing I really admire about this film and that is its willingness to confront the moral argument at the heart of the Jurassic Park films. What I love about the original 1993 film is how well it captured the sense of miraculous wonder that came with seeing living, breathing dinosaurs for the first time, allowing you to care for the creatures while still fearing them for all the chaos and destruction they could cause. The film acknowledges how dangerous it is for science to try and tamper with nature and the subsequent films have done nothing but confirm and reinforce the idea that bringing these dinosaurs back to life was a mistake. Time after time after time human attempts to control and interfere with them have failed as the beasts have consistently proven that they cannot be contained and that there is no place for them in a world where they are no longer the dominating species. Thus, faced with the prospect of a second extinction of the dinosaurs, Fallen Kingdom debates the question over whether they should be allowed to live or die. But then it bungles that debate in the most inept, outrageous way imaginable.

Before the plot gets started we sit in on a hearing held by Congress on whether they should act to save the dinosaurs or not. In this scene Dr. Ian Malcolm (Jeff Goldblum) is invited to testify and he argues in favour of extinction. He reasons that the dinosaurs had their time on Earth a long, long time ago and that bringing them back to life was a mistake that has blown up in humanity’s face more than once. This imminent volcanic eruption is an act of God and it strikes Dr. Malcolm as nature’s way of correcting itself. Therefore let nature take its course. Let the dinosaurs die. In a movie that’s supposed to have me root for Claire and Owen’s team and their goal to save the dinosaurs, it doesn’t speak well that in less than five minutes of screen-time Dr. Malcolm won the moral debate hands down. Not a single thing that happens in this movie convinces me that these creatures deserve their chance at life, especially not after Fallen Kingdom makes its case with a plot twist and a resolution that defies any sense of logic, reason or sanity. Never before have I been so horrified by the catastrophic implications of what is supposed to be an uplifting, optimistic ending.

Fallen Kingdom is a formulaic, characterless Hollywood sequel that stomps along with the same sense of purpose as a soulless, genetically-engineered dinosaur. There is nothing at all to emotionally invest the viewer in the events of this film. There is no sensation of majesty or wonder about the dinosaurs because the movie never makes any time for it. There is no suspense in any of the action or story because the movie advertises everything it’s about to do and then explains it all after the fact anyway. It’s not even as good as The Lost World (which is already a low bar to set) because Bayona’s direction, while competent, isn’t a match for 1990’s Steven Spielberg. There is also no affection, humour or wisdom in any of these characters because there is no feeling in anything that they do. The one and only character who exhibits any shred of humanity in this film is the one who has just had enough of it all, the one who feels that everything has run its course and that there’s nothing more to say or do. I don’t want to walk away from a Jurassic Park movie agreeing with the guy who thinks that the dinosaurs should be left to die so that the rest of us can move on with our lives but here we are. That is how badly this movie dropped the ball.

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Kong: Skull Island

Cast: Tom Hiddleston, Samuel L. Jackson, John Goodman, Brie Larson, Jing Tian, Toby Kebbell, John Ortiz, Corey Hawkins, Jason Mitchell, Shea Whigham, Thomas Mann, Terry Notary, John C. Reilly

Director: Jordan Vogt-Roberts

Writers: Dan Gilroy, Max Borenstein, Derek Connolly


When Gareth Edwards’ Godzilla came out, it was criticised for its slow-reveal approach with the titular monster, who only appeared on-screen for about eight minutes. While Jaws is one example of how well this approach can work when done right, Godzilla shows how tedious it can be with the absence of compelling characters or an engaging story. Kong, the second instalment of the proposed MonsterVerse franchise, takes the opposite approach. We meet the gigantic ape as soon as the characters reach Skull Island and then he remains prominent throughout as he battles monsters and whatnot. This approach will undoubtedly work for many viewers as it allows them to see plenty of exactly the thing they paid to see: epic monster-on-monster action. It didn’t work for me though. This was because the misgivings with character and story were still there. It terms of pure action alone, this movie is weird, exciting and fun. As a whole it is a messy, misguided, and often tiresome film.

It is 1973 and the war in Vietnam is virtually over for the Americans. At this time Bill Randa (John Goodman), a government agent, hires the former soldier James Conrad (Tom Hiddleston) to lead an expedition to Skull Island. Escorting them is a U.S. army squadron led by the ruthless Lieutenant Colonel Preston Packard (Samuel L. Jackson). Also accompanying them is Mason Weaver (Brie Larson), a photojournalist and vocal peace activist. Upon arrival the troops start dropping heavy explosives to map out the island until they are interrupted by the arrival of Kong, an enormous ape, who attacks the party and scatters them all around the island. The survivors must navigate and survive the threats and creatures that inhabit the island in order to find each other and escape. Packard however has other plans for the monster that wiped out his troops.

The design and animation in this film is first-class. The monsters look like they could’ve been designed by Guillermo del Toro or Hayao Miyazaki. Kong himself is larger than life and he looks and feels as real as any of the human characters. The ground trembles with his every step, the blows he delivers to his foes leave a shattering impact and the sounds he makes teem with life. This authenticity however is only true on a visual level because, unlike the previous incarnations in the 1933 classic or in Jackson’s remake, this Kong has no personality. He isn’t keen or intelligent, he isn’t protective or vengeful, and he isn’t hard-hearted or compassionate; he’s just an exceptionally animated CGI monster there to wreak havoc or to rush in as the saviour depending on what the plot wants him to do. Even if Kong were an interesting character in his own right, he has to fight for his screen time against the half-dozen or so human characters the film saw fit to focus on. Hiddleston somehow has less of a character than Kong, Jackson is one-dimensionally crazy, and Larson’s character only exists because blonde damsels are mandatory in King Kong movies.

What really got on my nerves though was that Kong was not satisfied with being a simple King Kong movie. Even with the lack of character, I would’ve been just fine with two hours of mindless, visually stunning action (I’m only human). The truly baffling thing about this film is the statement it’s trying to make (whatever that statement may be). The movie is unreservedly intent on creating some sort of parable to the war in Vietnam, pitting its gung-ho soldiers and their advanced weaponry against a savage foe who bests them with guerrilla tactics, and clutters the movie with homages to Apocalypse Now and Platoon just in case there was any ambiguity on that front. The point however is lost on me. All I got from the movie’s ‘meaningful’ statements about the war, its superficial characterisations and its extravagant imagery complete with napalm explosions was that the film really wanted to make a Vietnam metaphor.

The total clash in tones makes Kong: Skull Island feel like several different films blended together into an indefinable mixture. There’s the monster movie that we all wanted to see but it has been mismatched with some kind of political allegory that is so blatant and unsubtle and yet so random and unfocused that I’m not sure whether ‘allegory’ is even the appropriate word. The movie somehow takes itself too seriously and yet not seriously enough. It is certainly a weird and crazy enough film that the mess will work for some viewers. At its best the action is thrilling, awe-inspiring, and epic. I however found myself so distracted by the confused, cluttered story and the soulless characters that I was never able to lose myself in the spectacle. Godzilla may have lacked character but at least it was tonally consistent enough that I never felt like the story ever derailed or lost track of itself. This movie was anarchy from beginning to end. Visually stunning anarchy, but anarchy nonetheless.

★★