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[Cettehistoirecontientdesspoilerspour[Thisstorycontainsspoilersfor[Cettehistoirecontientdesspoilerspour[ThisstorycontainsspoilersforJurassic World: Fallen Kingdom]
"Oooh, ahhh, that's how it always starts, then later there are leaks and screams," says Jeff Goldblum's Dr. Ian Malcom. The Lost World: Jurassic Park (1997), the first suite Jurassic Park. Twenty-one, and three other suites later, the Goldblum line, delivered in its staccato fashion setting career, has become more than just an exercise in mind. His line has become the formula of the franchise, the shock and the fear facing the all-powerful dinosaurs, followed by the sheer terror that comes from the realization that these animals have never been destined to be controlled.
In the formula established from Jurassic Park (1993) to Jurassic World (2015), we saw humans coming to the islands Isla Nublar and Isla Sorna inhabited by dinos for search, rescue and vacation, then we saw them try to escape, losing members of their group cringing teeth and razor-sharp claws along the way. No matter the size of a franchise Jurassic Park has become, he has never been able to escape entirely from a feeling of familiarity. But within these first four movies, the seeds were planted, the ideas evolved, and finally with the release of this weekend's Jurassic World: Fallen Kingdomsomething new has hatched.
Jurassic World: Fallen Kingdom, directed by J.A. Bayona takes a page from another Michael Crichton property: Westworld. The 1973 film, written and directed by Crichton, sees amusement park robots turning to human visitors, and serves as a basis for the author / filmmaker's preoccupation with the diversion of technological advances for entertainment. Rehabilitated as an HBO television series by Jonathan Nolan and Lisa Joy in 2016, Westworld took the concept of the original film and expanded it by asking questions that go beyond the mere idea of robots that gain in sensitivity and attack humans in a theme park. What would this role-playing environment mean for the lives of humans who could leave their morals and their past and become someone? What does it mean for robots that have memories and feelings to be used as tools for human pleasure? What kind of culture can conscious robots create in recreations of the past of humanity? In the end, Westworld wonders what a robot revolution would look like by taking into account the past and the present of humans.
Fallen Kingdom is, of course, not as smart or superimposed as a TV series of ten multi-season seasons. But the film asks questions, necessary, about the ability of humanity to clone the dinosaurs. And Fallen Kingdom asks these questions, not by distancing oneself from what has happened before, but by recognizing one's place in a franchise known for its slow-paced sequels.
Jurassic Park has never been intended to be a franchise. When Steven Spielberg brought Michael Crichton's novel to life in 1993, it became an unprecedented success. The most profitable film in history at the time, Jurassic Park was a financial and technical marvel that ushered in a new era of blockbusters – a phenomenon that Spielberg has achieved with Jaws (1975). This first film feels most faithful to the principles of science fiction, focusing on science, in its questions of "what if?". Through Dr. Malcom, Dr. Alan Grant (Sam Neill) and Dr. Ellie Sattler (Laura Dern), Jurassic Park took an approach based on issues of morality, chaos theory, and technological expansion in a narrative filled with tension and spectacle. And while Jurassic Park could have easily worked as the only entry that he was destined to be, the demand rose for Crichton to write a novel following. The author repeatedly refused, until Spielberg told him that while he was writing a new one, he would be ready to direct it. So, The lost World was born.
The Lost World: Jurassic Park not only goes down on the show of the first film – new island, two T-rex, and more Goldblum, he sneaks into the field of fantasy. Inspiring from his namesake – Sir Arthur Conan Doyle's novel The lost World (1912) – the sequel is a pulp adventure story. The cynicism of Malcolm's action hero and his quest to save his girlfriend, Sarah Harding (Julianne Moore), are the result of a film less concerned with scientific and moral issues than to pit these characters against antagonists such as Pete Postlewaite's Ahab-esque dinosaur hunter and John Hammond's selfish nephew, whose grand project is to create a smaller version of the park in San Diego.
The lost World is a movie, to borrow a line from Hammond (Richard Attenborough) who feels as if she "spared no expense." Yet, in the effort to outdo the original, it offers a little more than the exceptionally designed play pieces entertainment. Jurassic Park III came in 2001, and saw Joe Johnston picking up the reigns of Spielberg, who had run out of the franchise, he felt that this third entry was just taking pieces of previous movies. Jurassic Park III, although not bad, is a film that refuses to wonder what the existence of an island of dinosaurs means, and therefore feels stale because of it.
Universal has spent more than a decade trying to revive a franchise that seemed perpetually stuck in the hell of development. Sketches were made and scenarios were developed – one involving militarized dinosaurs in the Middle East, and another involving human-dinosaur hybrids, but these ideas seemed to be too big a leap from the franchise . Finally, Jurassic World (2015) went into production and he saw the theme park that Hammond had initially envisioned completely open, and stocked full of cloned dinosaurs.
Jurassic World receives a lot of criticism for the nostalgia-bait of director Colin Trevorrow. And while the film has certainly used public nostalgia to get the upper hand on the box office (it has landed a record opening weekend of $ 208 million in North America and $ 1.672 billion gross ). Jurassic World made significant contributions to the franchise. By introducing the hybrid dinosaur, Indominus rex, and formed raptors, Jurassic World follows the natural course of human nature – our inability to give up control of the natural order of the world, and our boredom of rapid onset when it comes to modern wonders. While Trevorrow's film does not take viewers out of the island, it sets up a world in which militarized dinosaurs could be a thing of the future. It's a film that runs under the patient franchise, something for which it does not get enough credit at a time when franchises often jump on narrative stories in a hurry to reach the goal.
Fallen Kingdom shows patience, while acknowledging the various influences of the previous films and deciding to go in a different direction that involves more gender flexion than we have seen from the series up to now. There is still a lot of running and shouting, and hat-outs for previous films, but there is also a sense of tragic discovery. The first thirty minutes of Bayona's film see Isla Nublar destroyed by the volcanic eruption, and the efforts of Own Grady (Chris Pratt) and Claire Denning (Bryce Dallas Howard) to save the dinosaurs were revealed to be a ploy to move dinosaurs to the mainland. to be sold on the black market.
The action moves away from the island to become the most surprising place of a dinosaur movie, a mansion in Northern California. It's there that Fallen Kingdom becomes a full Gothic horror movie. Those familiar with Bayona's filmography, especially his film L & # 39; orphanage (2007) will notice early enough that Trevorrow and Derek Connolly Fallen Kingdom is very much in the vein of the previous work of the director. With its high ceilings, long hallways, secret underground labs and dumbwaiters, Hammond's unique business partner mansion, Benjamin Lockwood (James Cromwell), is the perfect setting for a ghost story. And what a more inventive ghost story than one that features reptiles that should be held captive in a basement prison, while a secret order of individuals from around the world makes them offers to military and medical purposes?
Fallen Kingdom is the first film to make explicit that the resurrection of a once extinct species has medical and scientific benefits and dangers hitherto unsuspected. The film does not quite reach the point of human dino-soldiers and hybrids that the Jurassic IV Scenarios of the past used, but it sets up a world that is not far from these ideas come to fruition. While Hammond focused on theme parks, Lockwood saw the potential of cloning, going so far as to clone his dead daughter and raising her as her granddaughter, Maisie (Isabella Sermon). Lockwood, like Hammond, is not a bad man, but he's guilty for what he's triggered. Bayona's film takes an interesting moral point of view where even our heroes, Owen and Claire, are not totally innocent of the world they've created.
At the beginning of the film, in a Congressional hearing to decide the fate of the dinosaurs in the face of the re-extinction, Ian Malcolm says that humanity has opened the doors to death. It's true, but they have also opened the doors of life. Maise, and the terrifying hybrid of the movie that is more monster than the dinosaur, the Indoraptor, become question marks to the extent that humans should bend the limits of life and death . If humans have this kind of control over life, what does death mean? This is the question that is revisited in the shadow of Lockwood Manor, and finally released into the world in the film's finale. Although the film may be sometimes stupid, and perhaps a Vincent Price runs to be a Roger Corman movie with big budget, the questions asked by a Jurassic The film has not been so interesting for some time. Jurassic World: Fallen Kingdom is the first sequel to fully recognize that the end point of the dinosaur resurrection would never be a theme park, but a new world order in which chaos reigns.
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