Review – Jurassic World: Evolution

Jurassic World: Evolution is a flawed game, but it’s also an excellent addition to the Jurassic Park franchise and a lovely companion to both the original novel and the new Jurassic World films.

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The concept is simple enough: it’s a park management sim, like Zoo Tycoon or Roller Coaster Tycoon (Evolution was in fact developed by Frontier Developments, which released Planet Coaster in 2016). A park management sim with dinosaurs is not exactly a new idea: Zoo Tycoon had Dinosaur Digs in 2002 and Zoo Tycoon 2 had Extinct Animals in 2007, while the Jurassic Park franchise has already had Jurassic Park III: Park Builder (GBA, 2001), Operation Genesis (Xbox, PS2, PC, 2003), and the mobile titles Jurassic Park Builder (2012) and Jurassic World: The Game (2015). Most of those were not very good–the mobile games are tedious time-wasters, and while I’ve never played the GBA park builder, its reviews were not positive. But Operation Genesis proved the obvious, that a film franchise about building a dinosaur park that falls to chaos would be a good fit for a game about managing the dinosaur park in the face of system failures.

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I previously wrote about how Evolution looks like a spiritual successor to Operation Genesis. Having now played Evolution for more than sixty hours, I feel completely validated in that impression. The overall game involves developing dinosaur parks across six islands; there’s an overarching campaign tied loosely together with missions across Las Cinco Muertes, with advancement from island to island dependent upon reaching an adequate park rating across the archipelago, and Isla Nublar also appears as a sandbox park with unlimited cash at your disposal and all buildings, upgrades, and dinosaurs available that you have unlocked across the other islands.

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Management of the parks involves producing operations facilities (ranger units to feed and medicate the dinosaurs,  Asset Containment Units or ACUs to tranquilize and transport them, storm towers to predict and protect against storm damage, and a variety of support buildings like expedition centers to launch new digs and fossil centers to use the results of those digs to unlock new dinosaurs and research centers to unlock new upgrades), guest facilities (some used to satisfy guests, some used to provide adequate guest capacity, and some to keep guests safe), enclosures (including fencing, guest viewing structures, and feeders), and power infrastructure (to keep all the above humming along). Successful park management will quickly become micromanagement; while you can choose between manually handling the day-to-day tasks of the rangers and ACU teams or simply delegating the tasks to them, you will never have the ability to unlock any sort of automatic designation of assignments, so that even ensuring the regular restocking of feeders must be directly assigned by you. A ranger will drive by a sick dinosaur or empty feeder and take no action without your direct input. And there were the occasional path-finding issues (though not too frequent) that added a little extra inconvenience.

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The micromanagement might seem tedious, and it can be, but it adds to the sense of chaos when things start to fall apart–and they will. Tropical storms, sabotage, dinosaur disease epidemics, and escape attempts blossom into a thousand concerns all at once, and even more red alerts flash at the top of your screen as feeders run out or dinosaurs get loose in the midst of it all. Small problems and large problems alike can seem overwhelming, and sometimes you’ll be racing about, switching between manual control and delegation, as you attempt to triage the situation and respond to appropriately prioritized tasks. This game succeeds in not just being a park management sim, but in accurately portraying the loss of control amid inevitable chaos that the Jurassic Park franchise is all about! That element is masterful, though reflective of a minority of the time spent in the game.

Because failure is inevitable, the game is actually rather forgiving. It is certainly challenging, but it’s not really difficult. While you have the option to reset a park if things get too out of control, I never had to use the tool. Still, in the midst of a spiraling set of problems, the game can be tense–basically always in a fun way. Big problems call for big problem-solving and quick thinking! Outside of the moments of crisis, though, success is largely a matter of time and responsiveness. Keep the animals healthy and the guests at least somewhat satisfied, and your park rating (and profits) will rise. Even if cash is tight, having a single dinosaur and a fast food joint can be enough to get an early-stage park on the path to success.

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There are a lot of deep statistics that are never explained anywhere in the game, but you only have to get a cursory understanding of any process to make it work. I still don’t fully understand how staffing, item quality, and price affects guest satisfaction with a particular store, and other than knowing that sales price should at least be higher than my own cost, I never did bother to figure it out. I didn’t need to. After I grew frustrated with one park always hovering around 4.5 stars because my continued success would draw down guest satisfaction as demand would continuously outstrip supply, I discovered via a forum tip that you could just close your park down briefly–then everyone would be excited with the reopening and the overcrowding would be gone, solving the problem for a while. Again, the game can be challenging, but it’s typically open to being exploited–and since it’s all about the bottom line with profits and divisional reputation, the game sort of encourages that exploitative mentality.

Even the unlocking of database entries, that wild goose chase of achievement hunting, was largely accomplished by accident, with me just stumbling across new entries without any effort or intent. By the end, after lucking into everything else, I was able to determine (thanks to the alphabetical ordering) that I was only missing two characters, Paul Kirby and Simon Masrani. I couldn’t figure out what to do, though I suspected that Paul might have something to do with the Ceratosaurus or Spinosaurus, while Masrani might have something to do with pteranodons (not in the game) or the Indominus. I looked that up–turned out that it involved letting guests get eaten by certain types of dinosaurs! So the biggest challenge was simply letting myself fail more than I had so far (though I’d be lying if I denied having many, many, many dinosaur escapes and resultant guest deaths).

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Perhaps my favorite part of the game was just driving around in the ranger vehicle. Doing this results in a lot of random fun, like catching air over a slight rise or fishtailing around a tight turn or sending guests fleeing from my path (the game causes them to always dodge, so I grew more reckless as I stopped worrying about vehicular manslaughter). Even the everyday tasks can be fun: every attempt to medicate a dinosaur is an accuracy contest against surprisingly quick moving targets. There’s a lot to enjoy in the little things. And the dinosaurs are just absolutely beautiful. There was obviously a lot of investment in the dinosaur appearances, animations, sounds, and behaviors (they often act like convincing animals in enclosures). There are so many of them, too! Literally dozens of species, and even more after the free Jurassic World: Evolution update and if you pay the little extra for the Deluxe DLC (the total reaches 48 dinosaur species with all the above).

I hope there will be more content releases. Notably absent at this point is the Compsognathus from the films. But it would also be cool to have the additional dinosaurs from the books that didn’t make the final cut, including Euoplocephalus, Hypsilophodon, Microceratus, Othnielia, and Procompsognathus. Most of the dinosaurs from this group match the compys from the films in being small to mid-size, so maybe there was a sizing issue. Or maybe we’ll see some later on. The Euplocephalus, however, was somewhat bizarre to exclude, given that ankylosaurs including Ankylosaurus, Crichtonsaurus, Nodosaurus, and Polacanthus made it (though I do appreciate the nod with Crichtonsaurus to the late Michael Crichton, who after all is the reason Jurassic Park exists). The cearadactyls from the first book, and the pteranodons and dimorphodons and mososaur from the films, are completely absent. Especially given how significant the pteranodons and mosasaur have been to the Jurassic World films, I wouldn’t be surprised if we get flying and marine reptile updates later on.

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I also hope that future updates might allow for the possibility that the dinosaurs will start breeding. On Isla Sorna, a fun surprise is that you start the park with a tightly guarded guest center area that opens up into vast rugged forests populated by herds of Stegosaurus and a Spinosaurus. The Spinosaurus preys on the stegosaurs, and the stegosaurs live off the foliage (actually concealed feed dispensers). But as soon as this park is accessed, I knew that their survival was numbered. The game does not currently allow for breeding, and so these animals would all eventually die out. It would be cool to truly be able to set up a “kind of biological preserve.” (Though the lack of breeding drives home the irony of the InGen Science Division’s efforts to set up working ecosystems on Isla Sorna in the game–none of them are sustainable without a heavy human hand). Similarly, it would be nice if the herbivores could live off the local plant life instead of relying exclusively on feeders.

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A list of some patches from the Fallen Kingdom update. I personally love “Fixed helicopters falling out of the sky on loading,” “Helicopters now try their best to avoid monorails,” and “Dinosaurs try to avoid fighting underwater.”

 

There’s a camera mode, where you can make extra cash snapping pictures of the dinosaurs. I was disappointed to realize rather late on that the photos you take aren’t automatically saved (or if they are, I haven’t found where they’re saved to yet, and there doesn’t seem to be an obvious way to review them in-game). I did use the camera tool even after this realization to set up shots that would be worth screen-capping, images that were up-close to the animals, but I found that it could be just about as good to take screen-captures even outside of the photo mode. Aerial shots of big dinosaur herds were sometimes more impressive, and I could easily capture scenic views of the island landscapes (even the islands themselves are gorgeous). The graphically weak elements are the buildings, which simply look mundane and maybe a tad cartoonish, and the guests, who look like plastic mini-figures. But my eyes were on the dinosaurs most of the time.

At first I was terrified to go into carnivore enclosures–they’ll roar and charge at you. But the dinosaurs can’t hurt you, and you can’t hurt them. The worst is that they’ll knock your car around a bit, which is fun in its own way. So once I discovered that, carnivores became some of my favorite photo subjects–especially the fearsome Tyrannosaurus rex.

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The first time a Tyrannosaurus bounded out of containment and into the enclosure was magic. And I never got tired of hearing its roar echoing across whatever park I put it on. There were other moments that were special, like with the first dinosaur you release into the park ever, or when my childhood favorite Triceratops was introduced, but the tyrannosaur was the most remarkable. Film-accurate, indeed.

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There is a plot, but it doesn’t amount to anything. There’s a lot of suspicion and mistrust between the different divisions. The PR executive who oversees you is suspicious of your intentions and worried that you’ll outshine him. You carry out missions with the Science, Entertainment, and Security divisions to curry favor with them. The Science Division is focused on research and developing new animals, blinding them to other concerns. The Entertainment Division wants to make money and get guests into the park, and they’ll do risky and dumb things to make that money. The Security Division is willing to bleed money from the park to ensure that security protocols are sufficient, but they’re also in bed with Dr. Wu’s research into hybridization and militarization of the dinosaurs, resulting in some Bad Things happening. In addition to the missions, you’ll also get more randomized contracts. The division heads get voice overs, helping develop their personalities. We also have Jeff Goldblum back as Ian Malcolm, Bryce Dallace Howard as Claire Dearing, BD Wong as Henry Wu, and (for some reason) a guy who kind of sounds like Chris Pratt as Owen Grady. While Wu makes sense, it’s hard to understand why Dr. Malcolm, Claire, or Owen would be involved with the park again. You just have to accept that they have their reasons (which are never articulated but seem to be based around mistrust in InGen and the hope that their involvement can moderate the company). It’s obviously set in an alternate universe that appears to split off after the events of Jurassic World; there’s no doubt of that after the events detailed in Fallen Kingdom.

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Over the course of the game, you’ll get some offers that are frankly unethical, like pitting dinosaurs against each other. At first, I refused. But as some missions (required for full game completion and technology unlocks) required some of that behavior, my moral guidelines loosened and I began to indulge in some frankly Evil Corporate Bullshit. Dr. Malcolm and Claire seemed to become increasingly distressed with my decision-making, and Wu and the PR exec became more envious and distrustful. And all the while, there was obviously secret research being conducted behind the scenes. But it never really built anywhere, even in the “memos” (actually transcripts would be more accurate) that you unlock as you (at least briefly) max out reputation with each division on an island. I think that video game stories can be really powerful when they lead a player to make decisions that are part of that story-telling, that feed into the narrative’s themes. This game does that. But there’s not really any payoff. Malcolm talks a lot about chaos, and Claire and Owen worry about the condition of the animals, and Wu does his Bond villain thing, but there’s no conclusion! We just end with a series of successful parks, all the corporate mistrust and secret dealings still simmering in the background and not fully revealed. The credits roll a couple of times–I believe it was once with completion of all missions and once with five-star ratings across all islands. Then you just hop back in and get back to work, grinding out whatever few achievements you may have left and building up your parks’ reputations. For most of the game, I thought that Evolution might miraculously be the best sequel in the franchise, a worthy successor to the original film and an interesting sibling to Jurassic World with its corporate and personal greed, militarization of technology, and rampant discussion and demonstration of chaos theory in action. But since the story goes nowhere, and there are no real consequences for the player’s, well, playing along (other than massive success), it’s ultimately disappointing.

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I was also somewhat disappointed with the modification options for the dinosaurs. Over the course of the game, you assign fossil digs to collect genetic material that can further refine the genetic code for the dinosaurs. Separate research projects can provide new color patterns or improvements like extended lifespan, disease resistance, better defense, or increased attack power. While we get the Indominus and the Indoraptor hybrids, there’s no real way to make new custom animals outside of the slight genetic tweaking from the research projects. Still, while customization is limited, I loved the cosmetic changes available, especially with the Rainforest and Vivid palettes that brought bright blues and purples to my “assets.” Some of these changes seemed to accommodate the different appearances of the dinosaurs over different films.

Unfortunately, the search for a purer genetic code for the dinosaurs and the existence of cosmetic alterations makes me even more disappointed that the dinosaurs retain such an outdated appearance. I recognize that an established franchise doesn’t want to remake its dinosaurs, especially where there is still speculation about appearance, but its Velociraptor and Dilophosaurus, for instance, have always been inaccurate, and Jurassic World made explicit Dr. Wu’s contentions from the first book that none of the animals in Jurassic Park were accurate. Where a game specifically provides for “improving” the genetic code of the animals, why couldn’t we get to the point that a Velociraptor is small and feathered? Or that the Dilophosaurus is larger and frill-less?

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The worst part for me was the inclusion of Deinonychus, yet another dromaeosaur, and instead of feathering it, giving it a couple of leathery ridges along head and tail! The game’s database entry for Deinonychus even references its link to research that would ultimately connect birds with dinosaurs.

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But more generally, why not allow for dinosaurs with slightly updated appearances to better reflect current paleontological ideas? These dinosaurs could be unlocks at 100% genome completion, and there’d be no requirement that anyone produce these more accurate dinosaurs over their historic depictions. We could even have this decrease a dinosaur’s rating, with guests expecting to see the massive and leathery Velociraptor, for instance.

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Not that this complaint stopped me from enjoying the hell out of the game. It’s one of the few games I’ve ever completed 100%, with all unlocks and all missions completed and ratings maxed and every achievement reached. It’s also probably the biggest game that I’ve ever done this with.

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Sadly, I’m probably at the point where I’m done with the game, at least for now. I might hop in occasionally to snap some dinosaur pictures or to review the surprisingly vast database of Jurassic Park lore contained within. If there’s new content out, I expect to be back for that. But there’s nothing compelling me to just manage a fully established chain of parks. It’s mundane, the challenge is removed, and now it’s just a matter of deploying the appropriate team to fulfill the appropriate task. There’s nothing to keep me going, and there’s no reason to replay.

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Still, this was a game that was worth its cost. I had a lot of fun and will have some good memories. If you love Jurassic Park and can at least tolerate management simulator games, I would highly recommend this title.

Review – Jurassic World: Fallen Kingdom

I went into Jurassic World: Fallen Kingdom with low expectations. Those expectations were surpassed considerably. It might take a while for me to shake out how much I like the movie, and how I’d rank it compared to the other films, but it’s safe to say that it’s good, not great.

Fallen Kingdom opens with an incredibly intense mercenary operation in the midst of a driving rainstorm in the dead of night to retrieve a sample from the remains of the Indominus rex at the bottom of the mosasaur lagoon. The action switches from a submersible in the lagoon depths to a rain-slicked landing site and stormy helicopter escape. Tension builds quickly, and the prehistoric beasts we encounter early on are glimpsed first as shadows and tricks of the light. It is terrifying! And more than ever, the carnivores of Jurassic Park feel truly monstrous, seemingly more like looming malevolent spirits than fully corporeal animals.

After this incredible opening sequence, the film slows a bit to reintroduce Owen Grady (Chris Pratt) and Claire Dearing (Bryce Dallas Howard) in their post-disaster lives and to establish the narrative conceit: the dinosaurs of Isla Nublar are threatened with re-extinction because the long-dormant volcano on the island is active once more and soon to erupt cataclysmically.

We aren’t ever told what happened to the dinosaurs on Isla Sorna (Site B, from the second and third movies), but for us to believe in Claire’s idealistic motivations or the sense of urgency in rescuing these animals, we must accept that Isla Nublar is now the only island with dinosaurs, and this eruption will drive them all back into extinction. This narrative decision is especially frustrating for a few reasons:

  1. Isla Sorna is specifically mentioned in the film, one time, but its context in the larger plot is never addressed, and that single reference doesn’t even state that the dinosaurs on Isla Sorna are gone;
  2. Benjamin Lockwood (James Cromwell), Hammond’s never-before-mentioned former partner and a wealthy philanthropist who launches the expedition to save the dinosaurs, has plans to move them to a safe island habitat where they can live naturally–but it’s unclear why this wouldn’t be Isla Sorna; and
  3. Isla Sorna is prominently featured in the recently released tie-in game, Jurassic World: Evolution.

An answer is proposed in ancillary marketing materials published in the buildup to the film’s release, of all places. There’s a fairly elaborate history of InGen and the world’s reaction to its dinosaurs that is spelled out on the in-universe Dinosaur Protection Group website; this includes the assertion that “the surviving animals [on Site B] were reportedly moved to Nublar to be housed as future attractions at Jurassic World.” Why not just mention this in passing in the film? Regardless, I’ve spent too much time on a plot point that the movie just ignores, so let’s move on.

In short, Claire convinces Owen to go back to the island to try to rescue Blue the Velociraptor. There are a few clips recorded from his days of training young Blue and the other raptors that we see over the course of the adventure, and these segments do a wonderful job of developing both raptor and trainer. Claire and Owen have an on-again, off-again relationship of opposites that flares up in moments of crisis or when it’s convenient; they’re not particularly interesting. But Owen and Blue have a rich and complex relationship, of a nurturing past and a series of betrayals by both up through the present. That relationship becomes the heart of the film in a way that the first Jurassic World only hits at. Sure, it’s revisionist, and making Blue exceptionally intelligent and empathetic as compared to her cohort might strike some as silly, but the emotional payoff of that relationship is rewarding.

In preparing for or setting off on this rescue mission, we meet the remainder of the new cast. The aforementioned Benjamin Lockwood was cut out of a partnership with John Hammond because of some perceived sin (I’ll get to that later), but now he seeks redemption in the preservation of the once-more-endangered dinosaurs. Young Maisie (Isabella Sermon) is his precocious granddaughter, tended to by her stern yet loving nanny, Iris (Geraldine Chaplin). Franklin Webb and Zia Rodriguez (Justice Smith and Daniella Pineda, respectively) are members of Claire’s dino-advoacy group who join her on the island; Franklin’s an IT expert needed to get the Jurassic World dinosaur-tracking system back online, while Zia is a paleo-veterinarian. Meanwhile, Rafe Spall plays Lockwood’s right-hand man and organizer of the rescue mission, Eli Mills, as a slightly more charming and slightly more evil version of Peter Ludlow, while Ted Levine plays the familiar “great white hunter” archetype like a cruel, dumb, and mean Roland Tembo knockoff (Owen Grady specifically comments on the use of the over-worn trope when he meets Wheatley).

That last sentence above should make it clear: Fallen Kingdom draws heavily from The Lost World in the same way that Jurassic World drew from Jurassic Park. A team meant to support dinosaur conservation efforts, and organized by a remorseful and fabulously wealthy old man, finds itself at odds with a bigger, InGen-backed mercenary outfit assigned to poach dinosaurs for transportation back to the mainland to generate profits for the greed-driven young shark successor. Except now we have a ticking time bomb in the form of the volcano. And where The Lost World only has a brief T-rex interlude back on the mainland at the end, Fallen Kingdom gets us back to humanity about halfway through and plays around with the idea of dinosaurs in the modern world quite a bit more. The Lost World ends with the dinosaurs back in the box (literally, with the Tyrannosaurus back in the cargo hold, but also figuratively, with the dinosaurs contained on Isla Sorna), while Fallen Kingdom has them bursting forth.

The second half of the film shifts from the Lost World adventure story trappings to a dark and disturbing Gothic horror story, complete with a haunted mansion, a locked wing (or, in this case, sub-basement) of the manor with a horrific mystery, and unnatural family secrets that are slowly unearthed. We have a new hybrid star, the Indoraptor, which is even more a monster than the Indominus, but scaled down to snack on misguided mercenaries in dimly lit but finely furnished hallways. BD Wong returns to portray an increasingly deranged Dr. Henry Wu, who by this point seems like he’s just a few steps away from becoming the leader of SPECTRE; Wu has designed the Indoraptor using DNA from sources including the Indominus rex and the Velociraptor (but isn’t the Indominus already part raptor?), and the resultant creation is difficult to control and prone to senseless killing. When the Indoraptor breaks loose, it’s a full-on horror movie. My wife and I were on the edge of our seats, and I succumbed to quite a few jump scares (though honestly that’s more a reflection on me than the quality of the scares).

This second half also leads up to the dinosaurs loose across the American Southwest, with some of the dinosaurs sold off to nations, mega-corporations, arms dealers, and wealthy individuals. It’s a thrilling concept, and yet the naked desire on the part of the filmmakers to establish a genuinely franchise-worthy Jurassic World is apparent. I can’t hate on them too hard, though; while I’m sick of the exponentially increasing number of expanded cinematic universes and films set within them, I like the idea of the Jurassic Park franchise being able to play with the dinosaurs in some radically new ways. And if they’re going to keep making these movies, at least they finally got away from the islands! It’s a daring move to make, and I think it mostly pays off.

There are a lot of interesting ideas under the hood in this film, but none are really developed very much. The destructive, over-reaching nature of humanity and the rapid weaponization of new technologies are pretty central. There are also questions about whether humanity has a responsibility to preserve life, especially when we are responsible for endangering it–or even when, as here, we are the reason that that life exists in the first place. There’s not a lot of heavy philosophizing, except for the maybe ten minutes that Jeff Goldblum appears throughout the film to lecture as Ian Malcolm in an apparently perpetual Congressional hearing. There are a couple of poorly considered jabs at Trumpian smugness and greed; Wheatley says that one character is such a “nasty woman,” and the auctioneer responsible for selling the dinosaurs brought back to the mainland has horrible reddish-blonde hair arced in a fluffy comb-over. (I don’t like Trump, I’m opposed to his policies, and I didn’t vote for him, but these little side-swipes added nothing to the film’s themes or philosophy and frankly weren’t very funny.)

The dinosaurs themselves are mostly great. Sometimes they look very obviously like computer-generated animals, but most of the time they’re beautiful or terrifying or both. It’s disappointing that we still have dinosaurs drawing from nineties paleontological visions, but those are the animals we had in all the other installments in the franchise, and I suppose that only a hard reboot would correct course now.

My biggest complaint is that this is not just another Jurassic Park movie; it’s something new. In other words, it’s less that I think its tone is flawed, but it’s alien to me and doesn’t quite jibe with my expectations. Jurassic Park, from the beginning, has always been a bit scary and full of action, but it’s also always clearly portrayed the wonder and mystery of these prehistoric animals. And they are animals, not just simple monsters! Fallen Kingdom pays lip service to the idea. Claire monologues about how the return of the dinosaurs is a miracle and how first seeing these mythic creatures is awe-inspiring. And we have a single scene in which paleo-veterinarian Zia is overcome by the experience of seeing a Brachiosaurus up close and personal–but that scene felt cold, the Brachiosaurus unconvincing, the pacing rushed to get to the next action set, all of it just a cute nod to the first big reveal in Jurassic Park. Most of how we actually see the dinosaurs in this film is in moments of violence and bloodshed. Carnivores fight herbivores and other carnivores. Lots of people get killed. Lots of dinosaurs get killed. And the central antagonist of the film, the “dinosaur” that likely gets the most screen time, is the hybrid Indoraptor, a cold-blooded killing machine that makes all the other carnivores seem warm and cuddly.

A big reason why I’ve always loved Jurassic Park is that I’ve always loved dinosaurs, and I could relate to the sense of wonder at seeing these animals in the flesh, could understand the temptation to risk so much to attempt to bring them back. It’s part of why Jurassic Park III, with its villainous super-predator Spinosaurus and its exceptionally cruel Velociraptors (poor Udesky), was such a disappointment to me. It’s why an otherwise fine nostalgia vehicle like Jurassic World still ranks below The Lost World to me (poor Zara). The more that the films shift toward horror, and the more that they seem to delight in the suffering of characters on camera (without much characterization invested in them prior to that), the less I’m interested. But that said, Fallen Kingdom works really well as Gothic horror! And it was fun to see the franchise do something different! It’s just not sitting quite right with me as a fan, but that’s not necessarily a condemnation of its quality.

I am interested to see where the next film goes, though. Thanks to Fallen Kingdom, they can do just about anything. And I’m pretty sure that whatever it is, it’ll be a good time.

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Finally, to veer hard into spoilers, I thought that Maisie Lockwood’s character was fairly pointless, even though I thought that Isabella Sermon was excellent in the role. Maisie existed largely to be yet another kid in a traumatic situation, with plot-related justifications engineered out of that formulaic starting point. You see, Maisie, it turns out, is a human clone of Benjamin Lockwood’s original daughter. Sure, the ethics of human cloning is fraught with pitfalls. But this film does not explore those concerns and treats the very idea as something that should be repugnant and shocking. Yet this is a film where genetically engineered dinosaurs are just a fact of existence–including dinosaurs like the Velociraptor, which in the film franchise’s canon are at least as smart as primates. There is a lot of foreshadowing to build to what is a fairly disappointing reveal of Maisie’s clone identity, with virtually no narrative impact, except that when Maisie impulsively releases the caged and dying dinosaurs into the wild at the end when Claire decides not to, her justification that they deserve to live just like her seems reasonable enough coming from a child. (Seriously. It’s such a dumb explanation for such a radical action. You’re risking environmental catastrophe here, kid. These dinosaurs are from a paleo-ecology with virtually no relation to our own.) Oh, I guess she also finds out about Eli’s scheme to sell the dinosaurs, but this information only gets her grandpa/dad killed and serves to dump exposition on our protagonists while they are literally watching the auction happen.

Okay, one other complaint. The bad guys capture our heroes and lock them in a cage before the auction. The bad guys already tried to kill them. Everyone thinks they died on the island in the volcanic eruption anyway. If they get out, the bad guys’ plans are ruined. The bad guys imply that they’ll kill them later anyway. So why don’t the bad guys just kill them? I’m willing to accept any arbitrary explanation–the bad guys like to gloat, they want the heroes to see how they failed, the bad guys want to be merciful and may not kill them after all, the bad guys want a bargaining chip, etc. I’ll take any contrived, overused explanation you’ll give me to get through the second-act-low-point. But you have to give me something! And that was absent here. Hell, I’ll accept that the dinosaurs in these movies always conveniently get clumsy and slow and disoriented whenever chasing the protagonists in these films, no matter how ridiculous this recurrent excuse gets for these alleged cheetah-speed animals. I’ll take anything. And nothing was provided.

Still, these concerns don’t wreck the movie. Keep your expectations set for fun, not life-changing, and you’ll probably enjoy it.