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Jurassic World Dominion

Where to watch.

Rent Jurassic World Dominion on Fandango at Home, Prime Video, Apple TV, or buy it on Fandango at Home, Prime Video, Apple TV.

What to Know

Jurassic World Dominion might be a bit of an improvement over its immediate predecessors in some respects, but this franchise has lumbered a long way down from its classic start.

It's probably time to let this franchise rest, but between some entertaining action and the fun of seeing members of the original cast reunited, Jurassic World Dominion is a decent enough sequel.

Audience Reviews

Cast & crew.

Colin Trevorrow

Chris Pratt

Bryce Dallas Howard

Claire Dearing

Ellie Sattler

Jeff Goldblum

Ian Malcolm

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‘Jurassic World Dominion’ Review: Extinction Rebellion

Things get very hectic in the last episode of this trilogy, which brings back familiar faces (Jeff Goldblum, Laura Dern, Sam Neill) along with the usual dinosaurs.

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By A.O. Scott

“Jurassic World Dominion” starts with a nod to “The Deadliest Catch”: A marine reptile snacks on king crabs in the Bering Sea before turning its jaws on a trawler and its crew. Yikes! Then a mock newscast swiftly brings us up-to-date on the global catastrophe that began to unfold almost 30 years ago in the first “Jurassic Park” movie. In case you need a refresher, how it started was with Richard Attenborough rhapsodizing about the wonders of life; how it’s going is that the big lizards are everywhere, generally bringing out the worst in people.

It would be nice if those reanimated monsters inspired better movies. The “Jurassic” brand, born in Michael Crichton’s 1990 novel , promises bone-rattling action and sublime reptilian special effects infused with pop pseudoscience and bioethical chin-scratching. The second trilogy, which started in 2015, hasn’t quite lived up to that promise. “Dominion,” directed by Colin Trevorrow, might be a little better than its two predecessors ( “Jurassic World” and “Fallen Kingdom” ), but in ways that underline the hectic incoherence of the whole enterprise.

However: Jeff Goldblum is back, as the “chaotician” Dr. Ian Malcolm, more seductively lizardy than the dinosaurs themselves. Ian is reunited with his “Jurassic Park” frenemies Dr. Alan Grant (Sam Neill) and Dr. Ellie Sattler (Laura Dern). Ellie has been married and divorced and made a name for herself in the field of genetic something or other. Alan is still carrying a torch for her. Yes, he’s in love with her, but what I mean to say is that he literally carries a torch, to light their way through an old amber mine deep in the Dolomites.

That rocky bit of Italy is where the fiercest, biggest ancient predators now live, in a preserve built and supervised by Lewis Dodgson, an evil tech/pharma billionaire played by Campbell Scott. He seems nice enough at first — his company, Biosyn, claims to be protecting the dinosaurs out of the goodness of its corporate heart, and also curing disease, feeding the world and so on — but nobody except a naïve scientist is likely to be fooled. There are too many tells. Lewis’s silver hair is combed flat against his scalp, and he wears collarless shirts and soft jackets in rarefied neutral tones like ecru, pewter and mother-of-walrus. His very speech patterns suggest libertarianism run amok.

As it happens, Lewis has bioengineered a plague of giant locusts, with the help of Dr. Henry Wu (BD Wong), another revenant from the earlier “Jurassic Park” movies. Biosyn has also kidnapped Maisie Lockwood (Isabella Sermon), the cloned avatar of a famous scientist.

To make a very long story as short as I can: For the past few years, Maisie has been in the care of Owen Grady (Chris Pratt) and Claire Dearing (Bryce Dallas Howard), who have been with the franchise since “Jurassic World” and who have less and less to do. Well, that’s not quite fair. It’s just that everybody else is more interesting, both the old-timers and the newcomers. Mamoudou Athie and DeWanda Wise are both better than they need to be in cookie-cutter parts. She’s Kayla Watts, a tough, cynical cargo pilot, and he’s Ramsay Cole, a smooth techie minion. They both end up pretty much where you expect they will. Kayla is someone you might hope to see in her own movie.

Pratt and Howard, bless them, are the designated action figures, who do a lot of the running and jumping and fast driving. There is a complicated chase through the narrow streets of a picturesque Mediterranean seaport, which is only tangentially related to dinosaurs but which might remind you, not unpleasantly, of a Jason Bourne movie. Other chases happen in mud, rain, snow and gloom of night, and also along the sleek, curving corridors of a high-tech research facility.

This is a very crowded movie — so many species of dinosaur, and I’m so bad at keeping track of them that my 8-year-old self is no longer speaking to me. They are variously menacing, ravenous, bizarre and kind of cute, but the frenzied live-action and digital special effects rarely produce moments of Spielbergian awe.

Within the world of “Dominion,” the dinosaurs are no big deal. The message seems to be that human beings need to learn to live with them, accepting the occasional pet-mauling or boat-devouring as the price of coexistence. Is this utopian or dystopian? A vision of ecological harmony or of genetically engineered apocalypse? A metaphor for Covid or just a sign of imaginative exhaustion?

Jurassic World Dominion Rated PG-13. Lizard-brain stuff. Running time: 2 hours 26 minutes. In theaters.

A.O. Scott is a co-chief film critic. He joined The Times in 2000 and has written for the Book Review and The New York Times Magazine. He is also the author of “Better Living Through Criticism.” More about A.O. Scott

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Review: 'jurassic world dominion' gets a jolt from jeff goldblum and its other original stars.

What is Albert Einstein's definition of insanity ? Letting the dinosaurs out of their cages, over and over, and expecting them not to slaughter all of humanity this time?

That happens — again — in "Jurassic World Dominion," which takes an hour to get going but becomes satisfying, largely thanks to old cinematic friends who haven't united since the original "Jurassic Park" in 1993. Laura Dern, Jeff Goldblum and Sam Neill all return in "Dominion," and they are the best thing about it.

In the first hour, those OGs keep us interested in a movie that seems unsure what we want from the sixth in the series (hint: It's dinosaurs). The world has become so used to dinos that some are being domesticated, even weaponized.

After reintroducing us to Bryce Dallas Howard and Chris Pratt, who starred in films No. 4 and 5 — and now live in a Utah cabin that looks like a box of human meat to their dino-neighbors — "Jurassic" takes an extraneous detour into 007-style international intrigue, with scenes set in Malta, Italy and elsewhere.

It's OK (there's a spectacular motorcycle chase) but the film seems to have forgotten the first word of its title. Dern, Goldblum and Neill never do.

Dern and Neill's scientists, officially the slowest-burning will-they-or-won't-they? in cinematic history, have stumbled onto a corrupt company called Biosyn that is using dinosaurs to take over the world food supply and perhaps something even more nefarious. So they journey to corporate headquarters to meet their frenemy Goldblum, who helps turn the tables on Biosyn's evil leader, played by Campbell Scott. (Like Mark Rylance in "Don't Look Up," Scott seems to be doing a white-haired riff on Apple's seemingly mild Tim Cook.)

The appeal of the first and still best "Jurassic" was its simplicity: "Dinosaurs! Cool! Uh-oh!" Director Colin Trevorrow gums up "Dominion" with too many complications — including an amusing performance by DeWanda Wise as a daring pilot but also several people who won't interest you — and that makes for a choppy film. Just when something gets interesting in the first hour, we're off to another subplot.

The last hour, though, is one dangerous set piece after another, and they all work. The characters, who've been on separate missions, finally unite to the strains of John Williams' original "Jurassic Park" theme, and the movie gets down to the business of watching humans we like just barely escape from rapacious dinosaurs.

Maybe Trevorrow thought the movie needed new elements because we've grown too accustomed to special-effects dinosaurs, but don't worry. The "Jurassic" innovators still have several nasty creatures to creep us out with.

They still have the original trio, too. No disrespect to Platt and Howard, who are fine, but it feels like the wonder, fear and curiosity that Dern, Goldblum and Neill brought to "Jurassic Park" comes rushing back here.

Each is given a lovely echo of a moment from the first movie, and each brings a quality that enlivens "Dominion": the amazement of Dern, the decency of Neill and the wit of Goldblum, who is to "Jurassic" movies what Maggie Smith is to the "Downton" universe. Every single word he says is hilarious.

In the end, "Dominion" succeeds not because of anything fresh but because of its familiarity: Kids are saved from peril, bad guys get eaten and it all ends with a helicopter zooming into the distance, unaware of dangers that lurk in the next sequel.

'Jurassic World Dominion' ⋆⋆⋆ out of four stars Rated: PG-13 for carnage and language. Where: In area theaters.

Interim books editor Chris Hewitt previously worked at the Pioneer Press in St. Paul, where he wrote about movies and theater.

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Jurassic World Dominion review: Let's get these dinosaurs to the nearest tar pit

The legacy cast returns for a final-feeling sendoff that rarely captures the magic.

Senior Editor, Movies

If you can train velociraptors not to view you as a snack — just stick out your hand like you're hailing a cab and do a stern shake of your head — then maybe audiences can be trained to forget everything that made Steven Spielberg 's original 1993 Jurassic Park such a polished piece of fearmaking. Just a hair away from Jaws , it never let you forget its premise's cautionary sting, even with the theme-park-ification of Hollywood on the rise.

How prehistoric. Jurassic World Dominion (opening June 10), the sixth and, hopefully, final entry in a series of diminishing returns, takes us back to ethics-challenged scientists in remote labs and a general lack of learning from prior installments. Even returning snark source Jeff Goldblum (still looking good in leathers) finds his chaotician Ian Malcolm, once a reliable cynic, installed as the in-house philosopher at Biosyn, one of these secret corporate research facilities that no doubt calls itself a "campus" — he says he's got five mouths to feed. Rarely does selling out come so articulated in the dialogue. Is he the voice of the producers?

In Dominion 's world, dinosaurs are already among us, perched on city buildings, upsetting wedding ceremonies, and hassling runners on the beach. It's a stupefying intro, suggesting we'd all kinda be okay with this turn of events, somewhere between a drag and a headache. Mystifyingly, the story and screenplay (credited to director Colin Trevorrow and two others, though that can't be everyone) suggests that revived apex predators loose in the wild are the least of our worries. There are giant locusts the size of drones that Biosyn has unleashed to eat non-GMO crops. Ellie ( Laura Dern ) and Alan ( Sam Neill ) are on the case — it's one of those movies that climaxes with evidence being turned over to "my contact at the Times ."

Elsewhere — specifically in the snowy Sierra Nevadas — Owen ( Chris Pratt , he of the raptor-training hand gestures) and Claire ( Bryce Dallas Howard ) discover that their adopted daughter, Maisie (Isabella Sermon), who's both a directionless teen and, double-whammy, a human clone, has been kidnapped by bad guys who want her genetic code. All roads lead back to Biosyn, presided over by an evil billionaire in a Caesar cut ( Campbell Scott ), a place where everyone will attempt to look surprised to find themselves in the same fan-serving predicaments of yore, some of them for the second or third time.

Even though you'll recognize many of those moments (crouching behind a car while a T-Rex sniffs around; Goldblum hoisting a distracting torch, etc.), feelings of nostalgia won't be as forthcoming as a sense of box-ticking. The dutifulness is made worse by some unnecessarily junked-up action scenes, underlit and overhashed by editing. A black-market chase in Malta gives Trevorrow the opportunity to restage that jump-through-the-window moment from The Bourne Ultimatum — did you ever want to see a digitized raptor execute the stunt instead of Matt Damon?

Even with the original cast on board, there's surprisingly little chemistry or humor, and the movie makes repeated pit stops to stress family values: "Do you guys have kids?" Maisie asks Alan and Ellie, both of them no doubt tired of fielding that question, especially when fleeing from carnivores. Some of the new dinos have red feathers, a cute touch, but there's little of the wonderment of the first film, barring an image of a sad bronto at a logging site. It's the kind of listless enterprise out of which a savvy actor can sometimes pop: DeWanda Wise, playing a daring pilot, is basically starring in a one-woman Raiders of the Lost Ark in her head. Let's get that concept to the sequel writers stat, before they build another theme park. Grade: C–

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The Jurassic World Trilogy Has Painted Itself Into a Corner

Watching Jurassic World: Dominion , you might find yourself starting to feel just a little sorry for the people who made Jurassic World: Dominion . At the end of the previous film ( Jurassic World: Fallen Kingdom — these titles start to blend together after a while), dinosaurs had finally been unleashed on the mainland and begun to exist alongside humans. That made for a promising cliffhanger, not to mention some stirring closing images, but it also effectively put the series in a bind. Now that dinosaurs are just, like, out there … what happens next? Why should we care about dinosaurs showing up somewhere since dinosaurs are effectively everywhere? How can the suspense escalate in interesting ways when these prehistoric creatures have become mere background noise?

Sadly, Jurassic World: Dominion appears to have found the answer in not making a dinosaur movie at all. The new film is, at times, a kidnapping thriller, a cloning drama, a Jason Bourne–style action flick, an Indiana Jones derivation, and a disaster movie, among others. It impatiently leaps from subgenre to subgenre with such frantic desperation that it feels like the movie is running from its own lack of imagination. Once upon a time, Steven Spielberg could spend enormous amounts of screen time patiently (and nastily) tightening the screws on a suspense set piece. Jurassic World: Dominion can’t be bothered to spend much time on anything, perhaps because if the movie ever pauses to take a breath, the audience might realize they’re being had. Because if the filmmakers aren’t all that impressed by dinosaurs, then what chance do the rest of us have?

To be fair, there are dinosaurs in Dominion , and there are enough bits of dino business to keep the kids awake, but the film itself clearly finds these creatures mostly unremarkable and uninteresting; one climactic three-way dino fight seems to last for about three minutes. Instead, the movie spends its time on … locusts? Dominion ’s central menace is a mysterious plague of giant locusts that is destroying crops and terrorizing farmers, seemingly unleashed on humanity by a powerful and mysterious biotech firm. Of course, all the Jurassic films like to dwell on the dangers of unchecked science and amoral profiteering (that’s how we got the dinosaurs in the first place), but we don’t go to these movies to see cautionary tales about deluded scientists, we go to see dinosaurs. The scientists are just an excuse to have the dinosaurs — not vice versa.

There are many other things Jurassic World: Dominion assumes. It assumes that we are genuinely interested in the relationship between raptor-trainer and dino-wrangler Owen Grady (Chris Pratt) and park manager turned activist Claire Dearing (Bryce Dallas Howard). It assumes that we buy Pratt as a wisecracking, can-do tough guy (as opposed to the slightly hapless and overconfident goofball he plays in the Marvel movies, where he fares better). It assumes that we are fully invested in the fate of Maisie Lockwood (Isabella Sermon), a young girl who was revealed to have been a clone near the end of Fallen Kingdom (long story) and who is now being sought by Dr. Lewis Dodgson (Campbell Scott), a soft-spoken but sinister, Steve Jobs–style tech guru who runs the aforementioned biotech company, called Biosyn.

The previous Jurassic World movies did generate tankerloads of money, so perhaps such assumptions were fair ones to make. Owen and Claire are, after all, the heroes of this trilogy. And yet one never really hears about them out here in the real world, the way we once heard about Han Solo and Princess Leia and Indiana Jones and the way we still hear about assorted superheroes, or James Bond and Jason Bourne. (Have you ever seen an Owen Grady lunch box? I sure haven’t.) That is likely because — and I hope you’re sitting down for this — the Jurassic World movies are not about characters; they are about dinosaurs . The original Jurassic Park trilogy (mostly) understood this; the films offered solid character work, but once the time came, the monster-movie spectacle took over.

Dominion also seems to have overestimated the nostalgia factor in bringing back the stars of the first film, Sam Neill, Laura Dern, and Jeff Goldblum, treating their relationships like some sacred canon. So, when doctors Ellie Sattler (Dern) and Alan Grant (Neill) are reunited, we learn about her failed marriage, which means there is hope again for them as a couple. Ellie and Alan have been invited to the campuslike headquarters of Biosyn by Dr. Ian Malcolm (Goldblum), who has become some sort of in-house philosopher and skeptic for the firm. While it’s certainly nice to see Dern, Neill, and Goldblum play these people again, it’d be nicer if the script gave them well-written dialogue or placed them in interesting situations. A symptom of our current nostalgia-at-all-costs pop-cultural landscape is that all too often filmmakers think it’s enough to just bring back familiar faces. I love Sam Neill, but I’m not sure I needed to see that “raising his head in twinkly-eyed bewilderment” move of his 85 more times.

Anyway, there are foot chases and motorcycle chases, and a plane crash, and a big fire (there’s often a big fire). It’s frantic yet lifeless, chaotic yet pro forma. A thorough lack of care emanates from the screen. At one point, a standoff involving two somewhat major characters is, as far as I can tell, completely abandoned halfway through; these people are never mentioned again. The film cuts so rapidly and so haphazardly among its various plot strands that the filmmakers appear to have lost their own threads.

At times, one can see what director Colin Trevorrow and his collaborators were attempting. Trying to be all things to all people, and to find their way in a universe where dinosaurs roam (and rampage) freely, they decided to mix dinosaurs into these familiar subgenres instead of finding a new story to tell. But the solution reveals the depths of the problem. Because the awe we’re supposed to feel upon seeing these dinosaurs — the entire reason for the movies’ existence — winds up taking a back seat to a cacophony of half-hearted plot points and story lines and twists and throwaway bits. During one chase, a dinosaur does the famous stunt from The Bourne Ultimatum in which Jason Bourne jumped from the window of one building into the window of another. In that earlier picture, the moment took our breath away, because we could see that it was a real stunt, done by real people, and it was something we recognized as being nearly impossible to accomplish. In Dominion , it’s an offhand, blink-and-you’ll-miss-it gag, but it’s symptomatic of the movie’s broader issues. Because when the “stunt” is being performed by a CGI dinosaur … well, let’s just say a certain “wow” factor is removed. Which is a bizarre thing to say, because these movies are supposed to be nothing but wow factors. The only wow factor in Jurassic World: Dominion is the awesome depth of its failure.

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clock This article was published more than 1 year ago

‘Jurassic World Dominion’ proves the saga’s ingenuity has gone extinct

Director colin trevorrow caps the franchise with an overstuffed, ungodly blockbuster amalgamation.

After focusing the first “Jurassic World” movie on a lab-concocted dinosaur called the Indominus rex and the follow-up “Fallen Kingdom” on the similarly species-splicing Indoraptor , saga shepherd Colin Trevorrow has a character in “Jurassic World Dominion” point out that such hybrids are a thing of the past.

In reality, though, Trevorrow has saved his most monstrous amalgamation for last: a bombastic movie that proves the timeless wonder and simmering suspense of 1993’s “ Jurassic Park ” have gone extinct in favor of an ungodly blockbuster blend. Although the return of that classic’s stars — Sam Neill, Laura Dern and Jeff Goldblum, gamely giving it their all — offers some welcome nostalgia, there’s only so much they can do to salvage an ill-calculated, algorithmic misfire that clumsily evokes the superior “Mission: Impossible,” “Raiders of the Lost Ark” and “Don’t Look Up” all at once.

21 summer films to get you excited about going to the movies again

Unfortunately, that makes “Dominion” a fitting capper to the “Jurassic World” trilogy. Trevorrow, the co-writer of all three films and director of the first and third installments, doubles down on the traits that made 2015’s “Jurassic World” no more than a guilty pleasure and 2018’s J.A. Bayona-directed “Fallen Kingdom” a franchise-worst catastrophe. Remember the militarized raptor brigade? Or the black-market dinosaur auction? “Dominion” offers more of the same preposterous plotting.

That’s a shame, because “Fallen Kingdom” at least succeeded in teeing up a potential-laden premise for “Dominion,” in which dinosaurs have been unleashed on the world, leaving civilization to confront humanity’s hubris. But beyond painfully expository bookends, which show glimpses of dinosaurs roaming through traffic, galloping across the plains and nesting atop a skyscraper, “Dominion” has little interest in exploring how these prehistoric creatures imbalance the ecosystem or recalibrate the food chain.

Instead, Trevorrow and co-writer Emily Carmichael (working off a story by Trevorrow and Derek Connolly) deliver an overstuffed spectacle about climate defeatism, big tech overreach, the morality of cloning and, yep, more underground dinosaur trading. And much of the movie unfolds at a dinosaur sanctuary in Italy’s Dolomite Mountains, restoring the status quo and allowing our heroes to once more strive for survival while navigating the dinos’ turf.

In addition to bringing back the “Jurassic Park” trio, “Dominion” forges ahead with “Jurassic World’s” decidedly less charismatic central duo: former velociraptor trainer Owen Grady (Chris Pratt) and park manager-turned-dino rights activist Claire Dearing (Bryce Dallas Howard). The movie picks up four years after “Fallen Kingdom,” in which the dinosaurs created for the doomed Jurassic Park and its successor, Jurassic World, were saved from a volcanic eruption, shipped to California and set loose on the American mainland after the aforementioned dino bidding went awry.

Hiding in the Sierra Nevada, Owen and Claire are staying off the grid while looking after Maisie Lockwood (Isabella Sermon), the on-the-lam teen who impulsively unleashed the dinosaurs in “Fallen Kingdom” after discovering she was a clone of her mother. But Maisie’s valuable DNA puts her in the crosshairs of Biosyn, a genetics behemoth run by the amusingly off-kilter Lewis Dodgson (Campbell Scott, in a role briefly played by Cameron Thor in “Jurassic Park”). Meanwhile, paleontologist Alan Grant (Neill), paleobotanist Ellie Sattler (Dern) and chaos theorist Ian Malcolm (a scene-stealing Goldblum) are seeking to expose the same company for its unabashedly evil plot to control the world’s food supply through genetically enhanced locusts.

As the conclusion not just to this trilogy but to the six-film “Jurassic” saga, “Dominion” gives Neill, Dern and Goldblum a satisfying enough victory lap. Before the “Jurassic Park” and “Jurassic World” generations collide, however, there are many more characters to cycle through. B.D. Wong is back as Dr. Henry Wu, the genetic engineer whose repeated failure to learn from his mistakes borders on parody. Dichen Lachman plays a dinosaur smuggler who, in a baffling reprisal of “Fallen Kingdom’s” hokiest conceit, wields a laser pointer that commands dinos to attack its targets. Mamoudou Athie and DeWanda Wise make for appealing additions — as Biosyn’s shadowy head of communications and a virtuous cargo pilot, respectively — but still get lost in the shuffle.

To give Trevorrow credit, he sure knows how to stage an action sequence and conjure evocative imagery. A motorcycle chase through dino-infested Malta makes for a rollicking ride, and a white-knuckle scene in which Howard’s Claire evades one beast by plunging underwater proves worthy of Steven Spielberg’s original film.

Speaking of that movie, the “Jurassic Park” callbacks — which come thick and fast, especially in the final act — induce groans, cheers and nothing in between. When “Dominion’s” final 20 minutes play as a beat-for-beat re-creation of previous films’ set pieces, it becomes clear that Trevorrow and Co. have nothing new to say. In a welcome sliver of self-aware shtick, the movie at least allows Goldblum to sum up the state of the franchise: “Jurassic World? Not a fan.”

PG-13. At area theaters. Contains intense sequences of action, some violence and strong language. 147 minutes.

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All Jurassic Park and World Movies Ranked by Tomatometer

Jurassic Park celebrates its 30th anniversary: Buy tickets for its 3D theatrical re-release this weekend !

Jurassic Park was a next-gen leap in the evolution of the Hollywood blockbuster, combining the high concept of man versus dinosaur with CGI, practical effects, and Steven Spielberg’s unmatched yet still growing directing prowess. Throw in some fleshed-out characters and a clever script dipped in the amber of moral and ethical quandary, and no wonder Jurassic Park became the highest-grossing film ever upon release in 1993.

Spielberg returned for sequel The Lost World: Jurassic Park , and Sam Neill’s chracter Dr. Alan Grant came back for 2001’s Jurassic Park III . The franchise lay dormant until 2015’s Jurassic World , and its sequel Fallen Kingdom , which go all-in on theme park spectacle. World stars Chris Pratt and Bryce Dallas Howard join OG JP crew Neill, Laura Dern, and Jeff Goldblum for the finale, Dominion .

Now see all Jurassic Park and World movies ranked by Tomatometer! — Alex Vo

Jurassic Park (1993) 92%

Jurassic World (2015) 71%

The Lost World: Jurassic Park (1997) 53%

Jurassic Park III (2001) 49%

Jurassic World: Fallen Kingdom (2018) 47%

Jurassic World Dominion (2022) 29%

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The best aspects of "Jurassic World," in which a hybrid super-predator runs amok in the trouble-plagued theme park, are so good that they transport you that exhilarating mental space where the series' original director, Steven Spielberg , raised a tentpole back in 1993. The worst aspects are bad indeed: thin characterizations, a blase attitude toward human-on-animal violence and a weird male-supremacist streak that comes close to sneering at unmarried career women who don't have kids.

On the "smarter" side of the ledger, you can enter three, maybe four large-scale action sequences that do the master proud. Directed by Colin Trevorrow in a style that's Spielbergian but not slavishly so, they're bruising but not overbearing, and laid out with clarity. You always know where you are and what's happening, and you rarely see as much brutality as you think: some of the mayhem is suggested by sound effects, a blur of motion obscured by foreground objects, or a spray of blood on a wall. Every shot and cut pulls its weight. Every new development makes the sequence feel like a story-within-a-story with the end goal of getting the hell away from dinosaurs. The final half-hour is a sustained chase through dark woods that reverses expectations again and again, culminating in a whirl of dino-on-dino violence: a funnel cloud of claws and teeth. But best in show goes to the sequence where park visitors are attacked by pterodactyls that pluck them from the ground like mice—an homage to "The Birds" that amounts to Treverrow doing Spielberg doing Hitchcock. You can say a lot of things about this director, but not that he lacks confidence.

Less bruising but more intriguing are the the bits that feel like preemptive strikes against criticism—or at the very least, examples of a $200 million franchise installment sizing itself up as a consumer product as well as a film. It's as if somebody had taken one of the most-discussed bits from the original " Jurassic Park ," the shots of merchandise emblazoned with the same logo as the film you were watching, and unpacked it with care and joy, as if it were a bottomless, self-referential toy chest. That "Jurassic World" can think about itself as a sequel without taking us out of the story we're watching makes it truly Spielbergian.

When a friend heard the premise of "Jurassic World"—the park, which has been open for twenty years without an accident, decides to create a bigger, badder meat-eater—he said the tagline on the poster should be "We Never Learn." As it turns out, Chris Pratt's character says "These people never learn" when he hears about the new dino. Park staffers talk about how they introduce new creatures every few years to goose ticket sales. Jaded park visitors are compared to Americans who lost interest in moon missions after the first one, and require "bigger, louder" dinosaurs with "more teeth." The movie is talking about the "Park" series itself, which introduced new dinos each time out to keep viewers interested, and easily bored movie audiences in the age of computer-generated imagery, technology that the first two "Park" films made fashionable. It's also talking about the steady escalation of scale in the blockbuster, which mandated that the each new incarnation of Godzilla be larger than the previous one, and birthed superhero films so inflated that on those rare occasions when the good guys save the human race instead of the universe, critics congratulate the filmmakers for daring to be intimate.

The cartoon character "Mr. DNA" makes a brief cameo here, as a prelude to discussions of the new predator; ditto the original compound headquarters and the " When Dinosaurs Ruled the Earth " banner, and they all remind us of how intimate the first movie now seems, and how comparatively old-fashioned. There's an even better scene where teenager Zach Mitchell ( Nick Robinson ), one of two brothers visiting the park, takes a cell phone call from his mom while behind him, a T-Rex approaches a goat in a paddock that's decorated to evoke the spot where another T-Rex tore apart two land cruisers in the first "Jurassic Park." Apparently the elapsed time has turned a moment of life-changing terror for Jeff Goldblum , Laura Dern , Sam Neill and company into just another theme for an exhibit. The young man in the foreground is so bored with what's happening behind him—just as, presumably, young moviegoers are bored by 1990s Spielberg films? I hope not—that he doesn't look up from his phone when the T-Rex eats the goat. This scene resonates with that moon missions comment. It also connects to a scene where a whale-sized predator in a Sea World-style aquatic theater leaps from the water and bites a great white shark off a dangling hook; this is a marvelous image on its own terms, but even better when you realize that it's summing up the last forty years of summer blockbuster cinema, starting with " Jaws ." Every twelve months there's a bigger fish.

A few of the action scenes break with Spielbergian tradition by treating the dinosaurs as monsters to be exterminated with impunity, rather than magnificent, human-recreated, once-extinct animals that ought to be admired and pitied as well as feared. Dinosaurs get wiped out by the bushel in this movie, sometimes in scenes that are too obviously inspired by James Cameron's " Aliens "; there's even a sequence where soldiers' deaths are tallied by freaky first-person helmet-cam feeds and flatlining EKG displays. The DNA-spliced super-predator, which goes by the knowingly silly name Indominus Rex, is immense and unnatural looking: its teeth are so jagged that you wonder if it cuts its gums when it eats. But even though it's basically a dino version of Frankenstein's monster, the film won't allow us any mixed feelings towards it, because that would complicate the movie's first person shooter-style, gee-whiz attitude toward mercenaries, guns and explosives.

Much worse is the relationship between the commando-turned-velociraptor trainer Owen Grady (Pratt, drained of charisma playing an eye-rolling know-it-all) and park administrator Claire Daring ( Bryce Dallas Howard ), who is entrusted with the care of her nephew Zach and his wide-eyed, sensitive kid brother Gray ( Ty Simpkins ). Claire's unflattering "business" outfits and helmet-like hairdo make her look like a life-sized 1980s "Office Woman" action figure. She wears high heels all through the movie so that she can look dumb running in mud and give Owen a crowd-pleasing line about her "ridiculous shoes"—shoes that the screenplay placed on her feet. All this stuff is a throwback to 1960s macho adventure pictures in which the he-man-of-nature knew best—knew everything , really—and the little lady was onscreen to get in the hero's way, scream, cry, and have her dedication to her career, her failure to produce children, and her lack of maternal warmth treated as fair game for sneering jokes.

Claire rallies near the end, of course, and does brave things in those heels, but the overall effect is so tonally inappropriate that you may wonder which of the film's producers went through a divorce recently. It's possible to filter out the irritating aspects and enjoy the movie as a raucous, often brilliantly assembled spectacle. But we shouldn't have to. The fact that we do makes an otherwise hugely impressive sequel feel small-minded.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Jurassic World (2015)

Rated PG-13 intense sequences of science-fiction violence and peril

124 minutes

Chris Pratt as Owen

Bryce Dallas Howard as Claire

Jake M. Johnson as Lowery

Judy Greer as Karen Mitchell

Vincent D'Onofrio as Morton

Nick Robinson as Zach

Lauren Lapkus as Vivian

Omar Sy as Barry

B.D. Wong as Henry Wu

Irrfan Khan as Masrani

Michael Crichton
Amanda Silver
Derek Connolly
Mark Protosevich
Colin Trevorrow
Michael Giacchino

Director of Photography

John Schwartzman
Kevin Stitt

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Jurassic World

A new theme park, built on the original site of Jurassic Park, creates a genetically modified hybrid dinosaur, the Indominus Rex, which escapes containment and goes on a killing spree. A new theme park, built on the original site of Jurassic Park, creates a genetically modified hybrid dinosaur, the Indominus Rex, which escapes containment and goes on a killing spree. A new theme park, built on the original site of Jurassic Park, creates a genetically modified hybrid dinosaur, the Indominus Rex, which escapes containment and goes on a killing spree.

Colin Trevorrow
Amanda Silver
Chris Pratt
Bryce Dallas Howard
Ty Simpkins
1.7K User reviews
711 Critic reviews
59 Metascore
15 wins & 58 nominations

Claire Dearing

Vic Hoskins

Dr. Henry Wu

Paddock Supervisor

Mosasaurus Announcer
(as Courtney Clark)

Young Raptor Handler

Jimmy Fallon
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Trivia The gyrosphere was executive producer Steven Spielberg 's idea. According to director Colin Trevorrow , Spielberg "wanted to create a way for people to get up close and personal with the animals, to make it a self-driving, free-roaming experience. It loads on a track, but once you're out there, you actually get to navigate around the valley", in contrast to the confined Ford Explorer tour SUVs from Jurassic Park (1993) .
Goofs (at around 1h 9 mins) The abandoned Jeeps in this film really are the exact same Jeeps from the first movie. The incredible thing is no modifications were done to the vehicles because, astonishingly, the Jeeps really were left to rot after filming. The logos on the Jeeps haven't been tampered with in any way, they are faded as a result of the 22 years of sitting in a barn.

Claire : So, you can pick up their scent can't you? Track their foot prints.

Owen : I was with the Navy. Not the Navajo.

Crazy credits Rather than fade to black, the Legendary logo fades to white into the movie.
Alternate versions TV spots featured a scene with Claire covering herself in dinosaur dung, this scene was removed for the theatrical release.
Connections Featured in Annoying Orange: Trailer Trashed: Jurassic World (2014)
Soundtracks Have Yourself a Merry Little Christmas from the film Meet Me in St. Louis (1944) Written by Hugh Martin , Ralph Blane Performed by Tony Bennett Courtesy of Columbia Records By arrangement with Sony Music Licensing

User reviews 1.7K

alexander-rumpf
Jun 12, 2015
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June 12, 2015 (United States)
United States
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Jurassic World 3D
Kualoa Ranch - 49560 Kamehameha Highway, Ka'a'awa, O'ahu, Hawaii, USA (dinosaur island)
Universal Pictures
Amblin Entertainment
Legendary Entertainment
See more company credits at IMDbPro
$150,000,000 (estimated)
$653,406,625
$208,806,270
Jun 14, 2015
$1,671,537,444

Technical specs

Runtime 2 hours 4 minutes
Dolby Digital
Dolby Surround 7.1
IMAX 6-Track

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‘jurassic world’: film review.

Chris Pratt, Bryce Dallas Howard and Vincent D'Onofrio star in the franchise's first installment in 14 years.

By Todd McCarthy

Todd McCarthy

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Jurassic World Still 4 - H 2015

Intensely self-conscious of its status as a cultural commodity even as it devotedly follows the requisite playbook for mass-audience blockbuster fare, Jurassic World can reasonably lay claim to the No. 2 position among the four series entries, as it goes down quite a bit easier than the previous two sequels. The 14-year layoff since the last one may well have helped, in that the new film’s perspective on antiseptic, theme park-style tourism and relentless commercialization, while hardly radical, plainly announces its makers’ sense of humor about their own project’s multifaceted mercantile motives. Although not terribly scary, and closer to PG than R in its frights and gore, Universal’s big summer action release is sufficiently toothsome to make audiences everywhere happy for a return visit to a once-wild world that superficially looks as safe and domesticated as a Universal Studios tour.

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Jurassic World Dominion review – prehistory repeats itself

The dino blockbuster whimpers to a close as Colin Trevorrow’s third instalment of the long-running beastie franchise chooses to play it safe

I n 2019, JJ Abrams’s Star Wars: The Rise of Skywalker served up a string of emptily familiar set pieces as it brought the curtain down on Episode IX – the final instalment of a sequel trilogy. Ever since, fans of the furiously divisive penultimate instalment, The Last Jedi , have argued that The Rise of Skywalker ’s original co-writer/director, Colin Trevorrow, would have delivered a far more rewardingly risk-taking finale had he not left because of “creative differences”. Now, Trevorrow, who graduated from the Sundance prize-winning indie fantasy Safety Not Guaranteed to directing the behemoth Jurassic World in 2015, gets another shot at closing out a blockbuster trilogy in adventurous fashion. Yet perhaps chastened by his bruising experiences on Star Wars , he has gone for the Abrams option following a formula in which surprises are few, plodding is the order of the day and safety is absolutely guaranteed.

Jurassic World Dominion picks up four years after the events of JA Bayona’s visually inventive Fallen Kingdom (co-written by Trevorrow), which ended with Jeff Goldblum’s Dr Ian Malcolm heralding the beginning of “a new era” – a neo-Jurassic age. In this strange new world, where monsters have been sprung from their island cages and spread across the globe, mankind and dinosaurs must coexist, an anomalous circumstance previously explored in such varied films as the famously ahistorical One Million Years BC and the apocalyptically stupid A Nymphoid Barbarian in Dinosaur Hell .

Also coexisting are the stars of the original Park trilogy (Sam Neill’s Dr Alan Grant holding a candle for Laura Dern’s conveniently single Dr Ellie Sattler) and the new World instalments (nuclear couple Bryce Dallas Howard and Chris Pratt serving as surrogate clone parents), all reunited in variety-show fashion. As for Goldblum’s “chaotician”, he’s now working as “in-house philosopher” for Biosyn, a smilingly sinister genetics organisation (the clue’s in the name) whose Elon Musk-like founder (Campbell Scott) has been so preoccupied with whether he could use bioengineered locusts to control the world’s food market that he didn’t stop to think if he should (plot spoiler: he shouldn’t ). So nostalgia reigns as eco-catastrophe beckons, beasties rampage and our heroes pull together to save the planet – and hopefully discover their true selves in the process.

The original Jurassic Park and its sequel, The Lost World , were both adapted (albeit loosely) from source novels by Michael Crichton and directed by Steven Spielberg, giving them a kind of built-in quality control. Since then, things have been less surefooted, with the original trilogy ending not with a bang but a whimper in Joe Johnston’s Jurassic Park III . The subsequent Jurassic World movies often feel more like theme-park rides. When Dr Malcolm opines “Jurassic World? I wasn’t a fan”, the audience’s meta-chuckle isn’t entirely ironic.

It doesn’t help that Dominion spends a good deal of time trying to figure out what story to tell and which genre (or country) to tell it in . One minute we’re in a sub-James Bond chase sequence through some scenically overcrowded streets and markets; the next, Pratt is driving a motorbike into the back of a plane, reminding us how much better Tom Cruise did this stuff in the Mission: Impossible films. There’s also a sly nod to Larry Cohen’s Q: The Winged Serpent , some Indiana Jones caving nonsense involving Neill’s hat, and a large amount of running around secret lair sets that seem to have been recently vacated by Austin Powers’s nemesis, Dr Evil.

On the plus side, Goldblum does what he does best; moving his hair, face and body in a mysterious way as he turns even the most mundane line into a voyage of verbal discovery, distracting our attention from the fact that his character (whose sole job seems to be to tell his employers that they are making a terrible mistake) makes no sense whatsoever. The effects, which once again mix animatronics with computer graphics, are serviceable if unremarkable, lacking the awe (and indeed the heft) that made Spielberg’s original such a nail-biting game-changer. As for composer Michael Giacchino, he seems to have the mundane measure of it all, trowelling on the “piano-says-sad/strings-say- exciting” motifs in solidly indifferent workaday fashion. Ho hum.

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Jurassic World

By Peter Travers

Peter Travers

It’s not the cynical, cash-in cheesefest you feared. OK, Jurassic World is a little of that. But this state-of-the-art dino epic is also more than a blast of rumbling, roaring, “did you effing see that!” fun. It’s got a wicked streak of subversive attitude that goes by the name of Colin Trevorrow. He’s the director and co-writer whose only previous feature credit, a nifty 2012 indie called Safety Not Guaranteed , cost $750,000, chump change on a studio product like this, which cost — wait for it — $150 million.

For starters, Trevorrow is a fanboy of all things Jurassic and Steven Spielberg, who directed the first two Jurassic films and rode herd as an exec producer on this one. But even with the boss looking over his shoulder, Trevorrow, with his writing partner, Derek Connolly, redrafted the existing script to get in his own licks. That means throwing a few bombs at a public that thinks better is defined solely by upping the wow factor. Style, character and emotion are fatally retro or, worse, so three Jurassic epics ago. If you intend to watch this new take while binge-checking your smartphone, Trevorrow has a few darts aimed your way.

But, first, let’s play catch-up. The big attraction that John Hammond (Richard Attenborough) envisioned in 1993’s Jurassic Park never opened; too many creatures created from dino DNA wreaked havoc on humans. In Jurassic World, the third sequel in the series, the park has been open for 22 years. But the tourists are jaded. Dinos have been domesticated. Kiddies ride tamed triceratops. And when a great white shark (name-check, Jaws ) is swallowed in one gulp by a Mosasaurus, all the public gets is splashed. Safety is guaranteed. Boring! The fans want danger — bigger, faster dinos with more teeth. If that’s not Hollywood in a nutshell, I don’t know my inflated, degraded CGI epics, in 3D and IMAX, from Transformers to San Andreas .

To stay in business, Jurassic World, the park, needs to give the public what it wants: blood. For Claire (Bryce Dallas Howard), the operations manager, that means building a better tourist trap in the scary form of an Indominus rex, created from a mix of, heck, I’ll never tell. But she’s a beauty and a terror, forcing the park to erect a wall to hold her (name-check, King Kong ).

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Enter our hero, Owen (the über-relatable Chris Pratt ), an animal-behavior expert (he tames velociraptors) so human his shirts stink from sweat. Can his raptors bring down the Indominus? Or will a bullying profiteer ( Vincent D’Onofrio ) rain down holy terror? Not so fast. First, Owen and Claire have to get it on in the 1980s style of Romancing the Stone . An early clip from Jurassic World inspired Avengers director Joss Whedon to tweet, “She’s a stiff, he’s a life force — really? Still?”

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Don’t groan. Pratt — cheers to Star-Lord of Guardians of the Galaxy — aces it as an action hero and invests his sexual banter with a comic flair the movie could have used more of. And Howard, a dynamo, is nobody’s patsy. Claire can do everything Owen does, and in heels. She also protects her two visiting nephews, 11-year-old Gray (Ty Simpkins) and 16-year-old Zach (Nick Robinson). The boys have a killer scene in a gyroscope with video commentary from, of all peeps, Jimmy Fallon. It’s hilarious till the gyro goes flooey and turns the kids into dino bait.

Trevorrow relishes turning tourists (read “us”) into material for chomping. We get what we wish for. And we care because there’s a humanity in the characters, even Lowery (Jake Jonson), a park techie who collects toy dinos and wears a tee from the original Jurassic Park that he bought on eBay. Lowery is a realist who sees things with childlike wonder. So does Trevorrow, who recaptures the thrilling spirit of the Spielberg original (name-check, T. rex) with fresh provocation: Is bigger always better, or is it an empty, soulless thing ready to bite us on the ass? Jurassic World will scare the hell out of you, and not just for the obvious reasons.

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Jurassic World Review

11 Jun 2015

NaN minutes

Jurassic World

Jurassic World is an adventure 65 million and 14 years in the making, but it’s the 14 that’s the key figure. In the time that’s passed since Jurassic Park III underwhelmed, creatively and commercially, other franchises and shared universes - you know the ones, with fluttering capes, fast cars and giant robots - have come to the fore and made a series that once boasted the biggest film of all time seem like something of, well, a dinosaur.

Not anymore. Colin Trevorrow's assured blockbuster, which has at its core a caution about the dangers of trying to keep up with the Joneses by going bigger and better and faster, is comfortably the best dino-outing since Spielberg's unimpeachable original. Given the competition - The Lost World: Jurassic Park, which had the franchise’s most suspenseful set-piece but also a young girl drop-kicking a velociraptor, and Jurassic Park III, which didn't even have that - that may be the very dictionary definition of damning with faint praise. But Jurassic World is fresh and thrilling, and while it often tips its hat to the original, it’s not a slavish copy, introducing more than enough new wrinkles into the prehistoric playbook to launch a new wave of sequels.

Where both Avengers: Age Of Ultron and Fast & Furious 7 blasted off big this summer with pre-credits blowouts, Trevorrow resists the temptation to plunge us straight into carnivore carnage, opting instead for a Spielbergian slow build. We don’t actually see a full dinosaur until roughly 20 minutes in, with the introduction of Chris Pratt’s Hunk McStubble (not his actual name; that’s Owen Grady) and his band of trained raptors. But if anyone thought, following the money shot of Pratt riding with his fanged friends at the end of the first trailer, that the series’ most effective threats had been neutered, we’re very quickly reminded that they still have teeth and claws and big appetites. But for his Big Badosaurus, Trevorrow needed something new. Enter the Indominus Rex: a truly terrible lizard.

Genetically engineered by BD Wong’s Dr. Henry Wu (the only returning cast member, though watch out for nods to Ian Malcolm), the Indominus Rex – named by a focus group, naturally – is the spared-no-expense dinosaur to end all dinosaurs. Literally. It’s a giant, chameleonic mother with all kinds of nasty tricks up its scaly sleeve, and once it gets out into the wider World, chaos reigns. From the off, fuelled by Michael Crichton’s big brain, Jurassic Park has always been a debate about the boundaries of science, and here that’s explored further. The Indominus is a textbook example of scientists being so preoccupied with whether they could that they didn’t stop to think if they should. Silly scientists.

It’s at once a neat comment on our been-there-done-that generation, which so quickly gets bored with the new, and a genuinely menacing movie monster. Despite being the size of a Routemaster, it lends itself neatly to several suspense sequences dotted throughout the movie, notably an Aliens-esque moment when it makes mincemeat out of a platoon of Muldoons. Because it’s been engineered in a lab, and because it’s batshit loco, single-clawedly creating the series’ biggest body count, it’s the first Jurassic Park resident that can be treated as a villain, and not a living, breathing animal simply doing what living, breathing animals do, thus giving our heroes no qualms whatsoever about trying to blast it into oblivion.

Of those heroes, Pratt cements his reputation as cinema’s new go-to leading man, even if he’s not quite as quippy or charming here as Guardians Of The Galaxy’s Star-Lord. Like Indiana Jones, he’s an unyielding man of action, who’s pretty much the same at the picture’s end as he is at the beginning. Instead, the major character arcs go to other humans and, intriguingly, certain dinosaurs. Both Nick Robinson and Ty Simpkins, as the brothers who become embroiled in the turmoil, bring surprising notes and warmth to roles that could have been standard movie brats you can’t wait to see get munched.

In a way, neatly heading those accusations of '70s-era sexism at the pass, the biggest arc belongs to Bryce Dallas Howard. When we first meet her park supervisor, Brittle McButtonedup (not her actual name; that’s Claire Dearing), she’s not entirely cold-blooded, but she is more preoccupied with profit margins than looking after her visiting nephews (in a neat touch, she can’t even remember their ages), but by movie’s end has transformed into a flare-wielding furiosa. Life finds a way.

It’s not all plain sailing – InGen’s villainous agenda has a hazy, underdeveloped, fix-it-in-the-sequel vibe, while some of the supporting characters feel like mere sketches. Fans of Vincent D’Onofrio’s incredible turn in Daredevil will be disappointed to find him on one-note form here as arch villain, Evil McMoustachetwirlerson (not his actual name; that’s Vic Hoskins). And some professional pooh-poohers may also have a problem with the everything-but-the-genetically-modified-kitchen-sink climax.

But the joy here comes from watching a new director on the summer blockbuster scene make an impact. Trevorrow’s debut was the lo-sci-fi Safety Not Guaranteed, and this is a significant step up. He’s at ease with the oohs and the aahs as he is with the running and screaming, even if he knows full well that the impact of the original’s astonishing ‘you-will-believe-a-dinosaur-can-roar’ effects can’t be recreated (though ILM does sterling work here). And when the dino-doo doo really hits the fan, you can almost hear him cackling as he piles outrageous beat upon outrageous beat. After careful consideration, we've decided to endorse this park.

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JURASSIC WORLD Review

Genetic modification can't up the 'wow' factor all on its own.

Jurassic Park is my favorite movie of all time so Colin Trevorrow was going to have to pull off some sort of miracle in order to meet my expectations. He didn’t and the film is a bit disappointing in a number of respects, but as far as entertainment value goes, Jurassic World is as effective as any other decent, over-the-top, CG-laden action film.

The movie features a lot of characters, but there are four in the spotlight. Chris Pratt is Owen, a guy who used to be in the Navy but also, for some reason, is now the park’s animal behavior expert attempting to train the raptors. Bryce Dallas Howard steps in as Claire, a top level Jurassic World employee who’s in charge of managing the facility. And then, of course, there’s got to be kids so that’s where Claire’s nephews Zach ( Nick Robinson ) and Gray ( Ty Simpkins ) come in. Their mother ( Judy Greer ) sends them off to the park alone assuming that her sister will be responsible for them, but Claire’s too busy dealing with potential investors because all she cares about is the bottom line and running a booming business.

I haven’t even scratched the surface of the story yet, but there are four major problems right there - Owen, Claire, Zach and Gray. Every single one of them is a bland cliche. Owen’s the hero who “understands” the dinosaurs and he’s especially smug about it. All Claire thinks about is wowing the crowds until things get crazy, but even then, she still insists on running around the park in a pair of absurdly high heels. Gray’s super smart and sensitive, and Zach’s an especially nasty bully of a big brother. Owen and Gray have absolutely no arc whatsoever and even though Claire and Zach do, they’re clunky and predictable. All four are hollow and don’t feel like real people.

A few supporting characters fair a bit better. Omar Sy doesn’t get much screen time as Owen’s right hand man, but he manages to convey his character’s beliefs well enough so that you fear for his safety during the movie’s climax. Lauren Lapkus and Jake Johnson deliver two of the film’s most memorable performances as a pair of control room operators. They’re responsible for a good deal of Jurassic World ’s most effective one-liners yet still manage to give their characters a warmth and sincerity that the main players don’t have. Irrfan Khan is passable as Masrani because he’s the guy who’s carrying on John Hammond’s legacy, but he doesn’t have much to offer beyond that.

The weakest link of them all is Vincent D’Onofrio as Hoskins. His performance is cartoonish, but even worse, Hoskins’ storyline is downright ridiculous. The idea that dinosaurs won ’ t impress kids twenty years after the park opens is a little tough to swallow. Disney World opened well over 40 years ago yet it’s still wowing crowds today. But, then again, the park does open new attractions regularly so Jurassic World’s need to deliver a “bigger, scarier, cooler” dinosaur is passable.

The idea of militarizing dinosaurs, however? That’s pushing it. Hoskins sees that Owen is making progress with the raptor training so he thinks, “ Why not train the raptors to fight wars instead of sacrificing human soldiers? ” Considering Owen is only capable of getting the raptors to beg for food and listen to a “stay” command at the start of the film, I’d say turning them into military weapons is a completely stupid idea. The whole Hoskins storyline also overcomplicates Jurassic World on a management level with some folks making secret deals with others to further their own agendas. All the details are way too thin and become disposable plot points.

There’s really only one character in the entire film that manages to strike a chord on a deeper level — Blue, one of Owen ’ s raptors. Blue doesn’t get a stitch of dialogue (obviously), but the dino manages to convey more heart and conviction through a physical performance than any of her super-famous human co-stars. Trevorrow puts the Mosasaurus to good use and the Indominus Rex definitely makes for one heck of a villain, but none manage to transcend the fact that they’re CG dinosaurs. There’s definitely some impressive VFX in the film, but dinosaurs in Jurassic Park had a texture to them that seems impossible to replicate even with the best digital effects. When Grant, Ellie, and the rest of the gang touch that sick triceratops in the original film, you share that incredible opportunity with them. Jurassic World can’t replicate that feeling.

Clearly there’s a good deal of negativity here, but that doesn’t mean Jurassic World is a total loss. As the film’s promotional campaign suggested, getting the opportunity to see a fully operational version of the original park is an absolute thrill. In fact, I could have spent the full two hours exploring Jurassic World’s attractions and facilities instead of seeing all the dino mayhem. Trevorrow is a bit heavy handed when it comes to sneaking in nods to the original - like in an especially unfunny scene during which Claire makes herself jungle ready by tying up her fancy shirt to resemble Ellie’s outfit in the 1993 film - but there is an abundance of moments during which the familiar score pairs just right with the visuals to give you chills and leave you in awe of what became of John Hammond’s original vision. There are also some fun parallels between Jurassic World and existing theme parks. The product placement gets a bit tiresome, but the petting zoo, the feeding shows, and all of the shops and restaurants on the street leading up to the main building look just like something you’d find at Disney World and other major theme parks and resorts.

Jurassic World is definitely a disappointment as far as the main characters go and a bit of a letdown when it comes to those outlandish plot points, but as a diehard fan of the original, it’s tough not to find some enjoyment in returning to Isla Nublar and seeing visitors enjoy the attractions as John Hammond intended. And once things start to fall apart, Jurassic World does function as an adequate, CG-heavy popcorn movie. Do you care about the people the Indominous hunts down? Nope, but it is fun seeing what she’s capable of.

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Jurassic World 4 release date, cast and everything you need to know

The dinos are back.

preview for Bryce Dallas Howard & DeWanda Wise | Jurassic World Dominion

Currently listed as an "All-New Jurassic World Event Film" by Universal, the new movie is not expected to continue directly on from Jurassic World Dominion . Instead, it is planned to launch a new era for the franchise.

The new Jurassic World movie was announced in January 2024, with David Koepp – who wrote Jurassic Park and The Lost World: Jurassic Park – returning to write the movie.

Since then, we've already had a change in director and two big names linked to the new movie, so here's everything you need to know about Jurassic World 4 .

dinosaurs in jurassic world 3 teaser image

Jurassic World 4 release date: When is the new Jurassic World movie released?

Jurassic World 4 already has a confirmed release date of July 2, 2025, in UK and US cinemas. As ever, this is subject to potential delays.

According to Deadline , the movie is set to start filming at NBCUniversal's Sky Studios Elstree in the UK this summer. It's also expected to film at other locations worldwide, like the other movies.

Universal has yet to confirm filming dates, though, so if production doesn't start this summer, we could get a release date delay. Let's hope not, though.

blue the velociraptor, jurassic world dominion trailer

Jurassic World 4 cast: Who is in the new Jurassic World movie?

We're still waiting for official cast confirmations for Jurassic World 4 , but two big names are in talks for the movie.

It's been reported that Scarlett Johansson and Bridgerton star Jonathan Bailey – soon to be seen in Wicked – are set to lead the new Jurassic World movie.

Nothing is known about their characters yet.

Previous Jurassic stars such as Chris Pratt, Bryce Dallas Howard, Sam Neill, Laura Dern and Jeff Goldblum are not expected to reprise their roles for the movie. However, their potential returns have not been ruled out yet.

Neill seemed to suggest he won't be back, though . "All I know is what I see on social media, that I hardly ever look at. I have no idea what anyone's thinking at all," he said in response to the new movie in March 2024.

Back in June 2022, Howard told Digital Spy that Dominion brought her story as Claire Dearing "to a conclusion", but she didn't rule out a future return:

"Could I come back in 20 years in a movie like the legacy cast? That would be super cool. Is there an immediate next moment for Claire in the Jurassic story? That has not been explored yet."

Behind the scenes, Gareth Edwards – who's directed the likes of Rogue One , Godzilla and The Creator – has taken over from David Leitch as director, who was briefly attached to the movie.

Jurassic World 4 plot: What is the new Jurassic World movie about?

We don't yet have any official plot details for Jurassic World 4 , beyond the fact that it's expected to start a new era for the series.

For now, we'll assume that while it won't directly continue the story of Jurassic World Dominion , it won't wipe out the events that have happened already.

Dominion had a pretty definitive ending , wrapping up the six Jurassic movies to date. Claire and Owen Grady were settled into their new family life with Maisie Lockwood, while Alan Grant and Ellie Sattler rekindled their relationship.

Dr Henry Wu got redemption by solving the locust swarms that were released by Biosyn, and the company's Biosyn Valley was declared an international dinosaur sanctuary by the UN.

We imagine the new movie will find a way to unleash dino-chaos onto the world again, but we'll just have to wait and see how that pans out.

giganotosaurus and a t rex, jurassic world dominion

Jurassic World 4 trailer: Any footage of the new Jurassic World movie yet?

Sadly, we don't have anything to show you yet. If filming gets under way this summer on Jurassic World 4 , maybe we'll be treated to a teaser later this year.

Jurassic World 4 is released in cinemas on July 2, 2025.

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Movies Editor, Digital Spy Ian has more than 10 years of movies journalism experience as a writer and editor. Starting out as an intern at trade bible Screen International, he was promoted to report and analyse UK box-office results, as well as carving his own niche with horror movies , attending genre festivals around the world. After moving to Digital Spy , initially as a TV writer, he was nominated for New Digital Talent of the Year at the PPA Digital Awards. He became Movies Editor in 2019, in which role he has interviewed 100s of stars, including Chris Hemsworth, Florence Pugh, Keanu Reeves, Idris Elba and Olivia Colman, become a human encyclopedia for Marvel and appeared as an expert guest on BBC News and on-stage at MCM Comic-Con. Where he can, he continues to push his horror agenda – whether his editor likes it or not.

.css-15yqwdi:before{top:0;width:100%;height:0.25rem;content:'';position:absolute;background-image:linear-gradient(to right,#51B3E0,#51B3E0 2.5rem,#E5ADAE 2.5rem,#E5ADAE 5rem,#E5E54F 5rem,#E5E54F 7.5rem,black 7.5rem,black);} Jurassic World

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Netflix's new no.1 is sci-fi sequel set 20 years after must-watch landmark original

Jurassic World Dominion is a rip-roaring success on Netflix's movie charts

When you think 'sci-fi' you might automatically think of spaceships and aliens. But there's a 1993 classic movie, based on Michael Crichton's 1990 novel, that was every bit the sci-fi game-changer upon its release. In Jurassic Park there's technological change. There's peril. There's consequence. And instead of aliens there are dinosaurs.

Since there's been one helluva lot of sequels. Which brings us to Netflix 's new number-one movie: 2022's Jurassic World Dominion , which has suddenly jumped in at the streaming service's top spot in the UK. I actually watched this latest JP movie's predecessor, Fallen Kingdom , just the other week on Sky and, while the series clearly isn't treading on Oscar-winning ground, it's still a lot of fun.

Perhaps it's because I, as a fan – the first movie I saw at the cinema without parents (my brother stood in, cheers Dave) was the 1993 original Jurassic Park – just have a soft spot for the franchise. Oh, and Bryce Dallas Howard, obviously! The sixth movie in the series might not shift movie-making pillars in the same way as the original's visual effects (VFX) did, but it's still got some stunning sequences.

Interestingly, Dominion also massively splits opinion. As I type this, the critics' score on Rotten Tomatoes sits at a lowly 29% . That's a bit of a shocker, really, but the audience disagrees – netting the flick a more generous 77% on the very same site. See, Jurassic Park has its fans who are in it for the thrill ride.

If you've not seen Dominion yet then I thoroughly recommend giving it a viewing. It's rated a full-blown 12 rating in the UK by the BBFC – which I find fairly amusing, considering the original was a mere Parental Guidance (PG) somehow! – but I think kids of that age will enjoy the latest escapades and genetically modified dinos (that makes Dominion even more sci-fi, right?).

Regardless of whether you think Jurassic Park Dominion counts as a true sci-fi movie or not, it's clear that the best streaming services are hitting hard when it comes to sci-fi shows and movies. Recently we've had Amazon Prime Video's Fallout series , the Rebel Moon sequel on Netflix , and even Apple TV+ is in on the act . Jurassic Park Dominion certainly has a different vibe, but I can see why viewers are flocking to watch it...

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Mike is the Tech Editor and AV Editor at T3.com. He's been writing about consumer technology for 15 and, as a phones expert, has seen hundreds of handsets over the years – swathes of Android devices, a smattering of iPhones, and a batch of Windows Phone products (remember those?). But that's not all, as a tech aficionado his beat for T3 also covers tablets, laptops, gaming, home cinema, TVs, speakers and more – there's barely a stone unturned that he's not had a hand on. Previously the Reviews Editor at Pocket-lint for a 10 years, he's also provided work for publications such as Wired, The Guardian, Metro, and more. In addition to his tech knowledge, Mike is also a flights and travel expert, having travelled the globe extensively. You'll likely find him setting up a new mobile phone, critiquing the next MacBook, all while planning his next getaway... or cycling somewhere.

The Ayaneo Pocket S is available to pre-order now

By Rik Henderson Published 26 April 24

And now it sports modern audiophile tech to match

Screen Rant

9 dinosaurs we're surprised haven't been in a jurassic park movie yet.

Throughout the years, Jurassic Park's movies featured numerous interesting and unique dinosaur species, but some didn't make it to the big screen.

Diplodocus, resembling a vampire, deserves a spot in Jurassic Park due to its towering size and unique teeth. A Jurassic must-have.
Doedicurus, an armored grazer with ever-growing teeth, could be a great addition to the park, perfect for kids to ride on and admire.
Psittacosaurus, with its dragon-like appearance and herbivorous diet, could bring a new dynamic as a plant-feeder in the Jurassic Park franchise.

The Jurassic Park franchise introduced audiences to all kinds of dinosaurs over the years, but some, surprisingly, have never appeared in any of the movies. Steven Spielberg's 1993 classic Jurassic Park taught a whole generation of children and adults about the prehistoric creatures that once roamed the Earth and sparked an interest in paleontology for many. The Jurassic Park films, with the latest being the upcoming Jurassic World 4 , also included some fictional dinosaurs that were often a combination of ones that did exist.

The Jurassic Park movies and TV shows have included some of the most iconic and well-known dinosaurs in existence, such as the Tyrannosaurus Rex, the Triceratops, and the Velociraptor. Many of these species appeared throughout the franchise more than once as well, although only four species of dinosaurs appear in all six Jurassic Park movies. Although several species have been discovered throughout history, it was a surprise that some of the very best dinosaurs haven’t been in a Jurassic Park film yet.

9 Diplodocus

Vampire teeth and a whipping tail.

The Diplodocus was a dinosaur genus that originated in what would now be referred to as North America. Best known for its extremely long neck and tail, the Diplodocus had some bizarre teeth compared to other sauropods and was similar to a vampire. Their blunt, triangle-shaped fangs allowed the Diplodocus to shred the stems of plants in one fluid motion. Researchers have suggested that the species’ stretched necks were so they could adapt and get food out of reach, and it was also a sexual display and encouraged breeding.

The Diplodocus’ recognizable look made it deserving of joining the Jurassic Park franchise.

The Diplodocus’ recognizable look made it deserving of joining the Jurassic Park franchise. The species resembled another, the Mamenchisaurus, who was present in The Lost World: Jurassic Park. The Diplodocus could easily cause just as much damage as the Mamenchisaurus, especially because of its towering size and threatening presence. Considering that the franchise focused on a park where visitors could see their favorite dinosaurs, it was odd that the Diplodocus hasn’t appeared in the films yet.

8 Doedicurus

An evergrowing species.

The Doedicurus, whose name translates as “pestle” and “tail,” was a species of dinosaur that originated in South America and was first discovered in 1847. The Doedicurus resembled an armadillo, with its rounded, hard shell that it used as armor and a narrow tail that poked out at the end. Because of their slow metabolism, the Doedicurus were grazers and primarily ate grass, but their teeth never stopped growing from birth to death. They also had eight teeth inside their cheeks, which was an odd but interesting quality.

As they resembled modern-era animals, the Doedicurus would be a great attraction in the park.

Because of their unique appearance, the Doedicurus deserved to join the Jurassic Park franchise a long time ago. As they resembled modern-era animals, the Doedicurus would be a great attraction in the park. In Jurassic World , there were sections where children could ride baby dinosaurs, and the Doedicurus would be an ideal candidate for this.

7 Maiasaura

The mouth of a duck and teeth from a horror film.

The Maiasaura was a large herbivorous species with a duck-billed mouth and rows of hundreds of teeth. According to scientists, its skull had a dip that made it look like a platypus, which helped the males during mating season. Interestingly, the species were able to walk on either two legs or four and often alternated depending on their age and size. Because of this, the Maiasaura could also curl up and tuck their legs in like a cat or dog.

The Maiasaura were originally supposed to appear in the first Jurassic Park film but were cut.

The Maiasaura were originally supposed to appear in the first Jurassic Park film but were cut. Unfortunately, they were not considered to return in any of the other movies either. Although they didn’t physically appear in the film, their behaviors were included in the characterization of the Parasaurolophus species instead. Hopefully, the Maiasaura could be revisited in a future Jurassic Park installment.

6 Elasmosaurus

Slithery like a snake.

The Elasmosaurus was a genus of reptiles that resembled a snake and came from the Late Cretaceous period. The Elasmosaurus, which translates as "thin-plate reptile,” was an incredible 10.3 meters long and had a tiny head and tail but an extraordinarily extended neck, which was 7.1 meters alone. However, unlike snakes, the Elasmosaurus had paddle-like limbs and lengthy digits, which helped it swim. The species primarily lived in the ocean and ate fish and is also a distant relative of the barracuda.

The Jurassic Park films have lacked in including aquatic-based dinosaurs compared to those who roamed the land

The Elasmosaurus has appeared in films before. It was best known for featuring in 1933’s King Kong, where the titular character defended Ann Darrow (Fay Wray) against an Elasmosaurus, as well as a collection of other prehistoric creatures. The Jurassic Park films have lacked in including aquatic-based dinosaurs compared to those who roamed the land, but the Elasmosaurus could easily change that.

5 Coelophysis

Small but mighty.

The Coelophysis, which was only three meters long and found in northwestern New Mexico, was from the Late Triassic period. The Coelophysis’ distinguishing features included its tiny body and extreme strength, and the species was considered to be a great predator despite its size. Researchers once thought that they were cannibals, but this was disproven. It was assumed that the Coelophysis generally moved in packs, although this has never been officially confirmed.

Because of its razor-sharp teeth and clutching claws, the Coelophysis could be a great attraction.

Because of its razor-sharp teeth and clutching claws, the Coelophysis could be a great attraction. In Jurassic World, audiences loved watching Blue the Velociraptor racing around its pen and took great enjoyment in observing its behavior. The Coelophysis would also be amazing in scenes where dinosaurs fought one another, and because of their swift movements, they would be a very worthy opponent to whoever they faced. Also, as all of the dinosaurs in Jurassic Park were fictional and adaptations of the actual prehistoric creatures, the franchise could delve further into the cannibal rumors.

4 Archaeopteryx

A prehistoric rooster.

The Archaeopteryx was a dinosaur species that resembled that of a modern-day bird, similar to a chicken or grouse. Some researchers have referred to them as “Urvogel” or “Primeval Bird” as well. The Archaeopteryx came from the Late Jurassic period and in what would become South Germany. At this time, this area was significantly warmer than in the present day, which allowed them to bathe in the warm sea. The Archaeopteryx was tiny, measuring only half a meter in length, but still had broad wings and sharp claws that were useful for protecting itself.

As the Archaeopteryx looked so similar to birds in the modern era, Jurassic Park could easily include them in a future film.

As the Archaeopteryx looked so similar to birds in the modern era, Jurassic Park could easily include them in a future film. Including the species wouldn’t require a huge amount of special effects either, as production would be able to use an actual bird to help recreate the Archaeopteryx’s model. Although there were several dinosaurs in the Jurassic Park franchise that could fly, there was always room for more of them, and the Archaeopteryx’s unique appearance would be a great opportunity for the franchise to expand its backlog of creatures.

3 Styracosaurus

The closest dinosaur to a rhino.

The Styracosaurus, or “spiked lizard” in Ancient Greek, had a similar appearance to a present-day rhinoceros. The species was armed with a massive horn between the eyes and a beak-shaped mouth, which suggested to paleontologists that it sliced plants apart easily. The Styracosaurus also had a stumpy body and short legs and tail, and because of their interesting structure, it was suggested that they primarily stuck to a plant-based diet due to the position of their head.

Another important but unique part of the Styracosaurus’ appearance was the frills around its face, which made it instantly recognizable to dinosaur enthusiasts.

Another important but unique part of the Styracosaurus’ appearance was the frills around its face, which made it instantly recognizable to dinosaur enthusiasts. One of the factors behind Jurassic Park ’s success was how it brought the weird and wonderful prehistoric creatures to the big screen, and how they looked was an important part of this. The Styracosaurus’ features were both practical and fun to look at, two qualities that would make them an ideal new dinosaur to join the Jurassic Park franchise.

2 Deinocheirus

One of palentology's greatest mysteries.

Paleontologists didn’t find Deinocheirus fossils until 1965 when a skeleton was discovered in Mongolia, which was considerably later than for many other dinosaur species. Research on the species was minimal, and little was found about the Deinocheirus initially, but it was known that they were incredibly bulky yet had hollow bones. They had longer arms than any other bipedal dinosaur in existence, each with three blunt claws and along their backs, vertebrae that looked like a sail.

However, the Deinocheirus’ diet has remained an enigma for decades, something that the Jurassic Park films could focus on.

However, the Deinocheirus’ diet has remained an enigma for decades, something that the Jurassic Park films could focus on. The species’ unusually short and bent back legs gave it an odd body structure, too, which could be an interesting image for audiences to watch if it were included in the series. Because the Deinocheirus has been shrouded in mystery for so long, it could be an advantage to the Jurassic Park franchise, and it would allow the writers to create the species a fictional backstory.

9 Jurassic Park Dinosaurs That Were Wildly Inaccurate Compared To Real Life

1 psittacosaurus, the dinosaur species looked part porcupine, part dragon.

The Psittacosaurus lived in the Early Cretaceous period in various parts of Asia, including China and Thailand. The species’ intriguing appearance included porcupine-like quills on the base of its tail and high skull, as well as a rounded face and beak-shaped mouth that could be compared to a turtle. From a certain angle, some Psittacosaurus skeletons looked like tiny dragons, which made sense, considering their scaled skins. Unlike many species, researchers believed that they had discovered as much as possible about the Psittacosaurus.

The Psittacosaurus were herbivores, too.

The Psittacosaurus were herbivores, too. Throughout the Jurassic Park films, there weren’t very many plant-feeding dinosaurs, which was a shame, although it made sense as the primary focus was on how the creatures broke out of captivity and caused destruction. Between their non-toxic filaments and the evidence researchers have provided on the Psittacosaurus, they have the potential to be an amazing addition to the franchise.

Jurassic Park

The Jurassic Park franchise is an action-adventure sci-fi series that began with Michael Crichton's original novel. The series explores the dramatic repercussions of resurrecting dinosaurs through advanced genetic science. Set primarily in a disastrous theme park, Jurassic Park explores the profound ethical dilemmas about tinkering with the DNA of long ago extinct creatures and the manipulation of the natural world through science.

Scarlett Johansson will produce the new Jurassic World movie

Scarlett Johansson is set to produce the new 'Jurassic World' film.

The 39-year-old actress is taking on the lead role in the latest movie in the dinosaur franchise and has now signed up to take responsibility behind the camera as well, just as Margot Robbie did with 'Barbie'.

Scarlett is set to have considerable input into the creative process of the movie – which is thought to be launching a "new Jurassic era" with a brand new storyline – alongside director Gareth Edwards.

A movie insider told The Sun newspaper's Bizarre column: "Scarlett has been in talks with the studio for months and made it clear that Gareth was her first choice to be the director.

"He wanted a big fee but has now signed. With him being her top pick, she is now far more interested in being part of the movie and her role as an actress and producer is justifiable."

'Bridgerton' star Jonathan Bailey is also in talks to appear in the film – slated for release in July 2025 – but returns for the 'Jurassic World' trilogy character played by Chris Pratt and Bryce Dallas Howard appear to be off the table.

Sam Neill, Laura Dern and Jeff Goldblum are also unlikely to feature in the new picture after the trio reprised their roles for the 2022 movie 'Jurassic World Dominion'.

Steven Spielberg will executive produce the latest film after helming the first two movies in the series in the 1990s.

The upcoming flick is the seventh movie in the franchise but filmmaker Colin Trevorrow suggested that the sequels should never have been made after his film 'Jurassic World Dominion' suffered from negative reviews.

He told Empire magazine: "There probably should have only been one 'Jurassic Park' – but if we're gonna do it, how can I allow them to tell stories in a world which dinosaurs exist, as opposed to, here's another reason why we're going to an island?"

Scarlett Johansson will produce the new Jurassic World movie

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Keke Palmer And SZA To Star In Issa Rae-Produced Buddy Comedy From TriStar Pictures

By Justin Kroll , Matt Grobar

EXCLUSIVE: It looks like the recent team-up on Saturday Night Live went very well as Keke Palmer and four-time Grammy winner SZA are set to star in an untitled buddy comedy movie from TriStar Pictures , with producer Isaa Rae producing. Rap Sh!t director Lawrence Lamont is set to direct, with the screenplay written by his Rap Sh!t teammate Syreeta Singleton, who served as the series’ showrunner.

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The project came together from the CoCre lab at Sony Pictures. The lab was a previous pact between ColorCreative and Columbia Pictures to source and incubate emerging, diverse screenwriters to develop and write their first studio feature based on original ideas.

Palmer and SZA teamed for Saturday Night Live when Palmer hosted and SZA was the musical guest. The movie marks SZA’s acting debut; the musician had been considering a number of projects, and the opportunity to reunite with Palmer was too good to pass up.

Palmer rose to prominence through her breakout role in Akeelah and the Bee and has gone on to star in more than 25 films and 30 TV shows including Jordan Peele’s Nope ; Roadside Attractions’ Alice , which she also executive produced; STX’s Hustlers , Fox’s Scream Queens ; and Nickelodeon’s True Jackson, VP. She recently launched her podcast Baby, This is Keke Palmer for Wondery/Amazon, and founded her own digital network, KeyTV, for which she has written, produced and starred in various original content including her directorial debut, the short film Big Boss , accompanied by an album of the same title, released in May 2023.

Palmer earned a 2021 Emmy Award for her self-created series Turnt Up With the Taylors , and recently made history as the first Black woman to win Outstanding Host For A Game Show at the Emmys for her work hosting NBC’s reboot of Password .

Lamont has directed music videos for some of the industry’s biggest artists including J. Cole, Big Sean, Kanye West, O’Shea Jackson Jr., Jhene Aiko, Nas and Snoop Dogg. His music video for Big Sean’s “IDFWU” won BET’s Video of the Year and most recently MTV’s Best Hip Hop video.

Palmer is repped by 3 Arts Entertainment, Hertz Lichtenstein, Young & Polk and LUNA PR. SZA is repped by WME for theatrical and Top Dawg Entertainment. Lamont is repped by CoCre and Johnson Shapiro Slewett & Kole. Singleton is repped by CoCre and UTA.

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Boy Kills World is a litmus test for fans of video game-inspired movies

What makes a video game movie fun? And does this movie’s incredibly brutal mortal combat make a difference?

Boy (Bill Skarsgård, in a red, sleeveless leather jacket, and spattered with about a gallon of blood) stares grimly into the camera with his mouth hanging dorkishly open in Boy Kills World

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The most crucial thing to know going into the action-thriller Boy Kills World is that it eventually features a phenomenally bloody fight scene — a brutal extended throwdown where faces are smashed, fingers purposefully dig into open wounds, and combatants slowly drag a sharp object through each other’s bodies, ripping through skin and muscle with a tactile squelch. It’s a fight so grueling and brutal that even seasoned action-movie veterans might clench their teeth and mutter in reflexive empathy.

But while squeamish viewers will want to know how messy the movie gets so they can steer clear, everyone else will want to know what to expect because Boy Kills World otherwise seems so weightless, goofy, and far from reality that it lacks any kind of serious combat stakes. The smirky way director Moritz Mohr frames combats around video game references — complete with voice-over narration saying things like “Fatality!” and “Player two wins!” — doesn’t exactly prepare viewers for a face-off where the combatants’ pain meaningfully matters and the characters actually seem to be getting hurt.

But that final fight gives Boy Kills World more weight than the rest of its run time, and opens it up to action and martial arts fans who might otherwise be put off by the movie’s strident, referential humor. The film was largely built strictly for a specific brand of video game movie fans: It’s a checklist of retro beat-’em-up references and meta comedy tropes that some audiences are inevitably going to find broad, excessive, and off-putting, and some are going to find playful and energizing.

This isn’t quite Edgar Wright’s Scott Pilgrim vs. the World , with its pop-up “Pow!” and “Kerblam!” animated effects for big hits, or its antagonists exploding into coin-drop victory rewards at the end of every fight. But it’s just about as silly and surfacey, with world-building that’s little more than an apathetic shrug, and a plot that’s largely an excuse for creatively staged fights that range from dopey humor to surreal mind game to that final, surprisingly serious battle.

Bill Skarsgård stars as the otherwise unnamed Boy, a tragic victim, comically hapless doofus, and world-class combatant whose skills were honed through years of jungle training with The Shaman (martial arts movie stalwart Yayan Ruhian, of The Raid: Redemption and The Raid 2 ). Boy is none too bright and painfully naïve, and he’s all-in on the mission The Shaman has given him: to take down Hilda Van Der Koy (Famke Janssen), the totalitarian figurehead ruling their country.

Boy (Bill Skarsgård) crouches between two allies (Isaiah Mustafa and Andrew Koji) on a TV set styled like a winter wonderland, and holds up one hand decked out with a ridiculous fist-gun in Boy Kills World

Naturally, she has a small army of well-armed mooks and a monstrous family Boy has to battle his way through as he climbs the ladder to avenge the family she took from him — including his little sister, Mina (Quinn Copeland), whose death he vividly remembers, but who hangs around him as a cheery hallucination who sees his grim battle for vengeance as a fun adventure where she gets to dress up like a ninja butterfly.

Boy had his tongue removed and his eardrums burned out when he was a child, part of the legacy of brutality in his vaguely delineated, cliché-riddled fascist state. His deafness is played for uncomfortable laughs — all the audible dialogue throughout the film is stylized as what he gets from lip-reading, so when he meets someone he can’t interpret clearly, they appear to be spouting gibberish that Boy then literalizes and vividly visualizes. And his muteness is played even more for comedy, thanks to a wall-to-wall voice-over from H. Jon Benjamin, doing his best Mortal Kombat - announcer bass rumble as he narrates Boy’s thoughts.

That voice-over is taken from Boy’s favorite childhood video game, Super Dragon Punch Force 3 , a fictional game getting its own release as a tie-in project . And it’s a make-or-break element for Boy Kills World. Anyone who doesn’t see Benjamin’s nonstop stream-of-consciousness chatter as hilarious is likely to find this movie unbearably grating. Mina’s chirpy commentary on Boy’s violent misadventures in assassination is just as intrusive: He knows she isn’t really there, but still can’t stop himself from arguing with her or fighting to save her from danger, which throws an extra layer of slapstick on top of the already absurd action.

One of the antagonists in Boy Meets World, a woman in black and yellow biking leathers, with a motorcycle helmet where the visor is made up of LEDs, in this case reading DIE

Boy Kills World feels like a litmus test for self-identified fans of video game movies. It’s a worksheet-style experience where anyone can add up the elements this movie does and doesn’t share with other films in its subgenre, and do the math about what makes a video game movie really land as a video game movie for them. Boy Kills World doesn’t have the specific, recognizable characters; nostalgia factor; or cultural cachet of a Sonic , Super Mario Bros. , or Minecraft movie . It does have the tongue-in-cheek attitude that beat-’em-ups are not-too-serious fun, and that everyone recognizes the tropes and references that come with them. It isn’t immersive or experiential, but it does follow the escalating flunky-to-miniboss-to-boss-fight dynamics familiar from so many games.

A character taking extreme damage, eating something, and shaking that damage off? Yep. Cutscenes that progress the story while the protagonist stands by and can’t interact with anything? Yep. Ridiculously colorful antagonists, including a woman (Jessica Rothe) whose LED-enhanced motorcycle-helmet visor spells out insults and orders in combat? Check. Unlikely weapons, from improvised stabbing tools (in one case a carrot) to a brass-knuckles-plus-gun combo? Ayep. A power fantasy where one person can slice his way through an entire oppressive government, one fight at a time, through sheer skill? Sure. A story built around elaborate combat sequences? Certainly. All Boy Kills World is missing is upgrades, loot drops, inventory-swapping, and gathering mechanics for crafting. (Don’t laugh; some video game-inspired movies lean hard into those kinds of mechanics.)

Some of the baddies in Boy Kills World stand in a run-down slum they’re terrorizing, with yellow-and-black-clad soldiers holding a crowd of locals down on their knees in the background. In the foreground: a couple more of those soldiers, nattily dressed dandy Glen (Sharlto Copley, in red pants, black vest, and blue striped suit jacket), and thuggish Gideon (Brett Gelman, in a big black open-fronted fur coat).

It isn’t that any of these things specifically defines a video game movie, or even, more specifically, a satirical action movie expressly made to feel like an installment in a specific video game subgenre. It’s more that the game of recognize-the-trope or get-the-in-joke is the entirety of Boy Kills World. Mohr knows exactly the audience he’s aiming for, and it’s a fairly specific, narrow one. It isn’t enough to know the kind of games he’s lampooning, have a strong affection for them, and have a taste for graphic bloodshed without needing it to be played seriously.

It also isn’t enough to find Benjamin endlessly hilarious, though that certainly helps. Boy Kills World requires viewers to thread a specific needle of caring about Boy and a few other side characters enough to engage with their goals and feelings, but not caring so much that they poke at the many holes in this world, or squint a dubious eye at the way the film revolves around just a few white characters, on both sides of the good/evil divide, slaughtering their way through a field of people of color. It’s a curiously specific movie, a gag aimed at fans of joyously culty, messy nonsense like Guns Akimbo or Crank — at least, until that final fight suddenly starts taking the narrative seriously. Even then, though, it’s best to watch Boy Kills World with the same snarky detachment the rest of its run time encourages.

Boy Kills World debuts in theaters on April 26.

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