Review: Jurassic World Rebirth (2025)

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Jurassic World Rebirth (2025)

This brief commentary on Jurassic World Rebirth (2025) is informed by the perspective of a Hong Kong audience. The blockbuster film has received undue criticism; however, upon viewing the film in its entirety, it becomes evident that it merits a higher level of appreciation. As a long-time enthusiast of the Jurassic Park franchise, I was intrigued by the release of the Jurassic World-inspired full-scale dinosaur theme park in Okinawa, Junglia, which took place in late July.

As with any film of this magnitude, there are advantages and disadvantages to consider.

Advantages:

1. The phenomenon of "woke" political correctness, which has gained significant traction in Hollywood films, is predominantly characterized by the promotion of basic principles of racial and gender equality. Universal Studio demonstrated its capacity to adapt its ideological overtness to align with both conservative and progressive audience members' dispositions. Consequently, even conservatives perceive this as exemplifying the conventional family values and corporate ethics of altruism. The film has liberated itself from the radical environmentalism that characterized its predecessors. This is a highly appraisable asset.

2. The creative approach was constrained by the production time constraints. This resulted in the provision of a reduced number of characters, which led to the most sophisticated outcome. The characters were distinguished from one another, and their memorability and vitality were enhanced. This distinction is particularly noteworthy when compared to previous films in the series. The acting roles of the primary characters have undergone deliberate expansion, while the roles of non-primary characters have undergone significant reduction, becoming limited to minor background roles. This approach contributed to the compacted grasp of the story and soothed pacing for the audience. The most significant effect is its memorability, which remains intact even when disregarding the enumeration of their heads and names. This is particularly noteworthy in light of the fact that, in addition to Scarlett Johansson, the other leads are not well-known to the local audience. This phenomenon does not disrupt the viewer's experience of the film. The characters under scrutiny in this analysis are the 'mercenary' team, comprising Zora Bennett (equilibrium of Roland Tembo), Duncan Kincaid, and Dr. Henry Loomis, who symbolizes the equilibrium of Alan Grant and Ian Malcolm, is one example. Another is Martin Krebs, the antagonist representing an unnamed pharmaceutical company seeking to patent a dinosaur-blood-based heart disease cure and personifying capitalism. He represents the equilibrium of the pair Dennis Nedry and Peter Ludlow. Additional characters include Bobby Atwater, LeClerc, and Nina, the family in the summer boat near the equator; Reuben Delgado, Teresa Delgado, Xavier Dobbs, and Isabella Delgado. The two units have been administered nearly all lead treatment due to the fact that, for the majority of the narrative, they are present in shared sequences. This constitutes a novel and sophisticated concept within the domain of narrative theory.

3. Historically, mercenaries have been portrayed as antagonists due to their involvement in warfare, which is regarded as a destructive and illegitimate activity. However, in contemporary times, mercenaries have become an integral component of conventional warfare, playing a significant role in military operations conducted by the powerful Western and Eastern nations. This film is indicative of a global trend in the evolution of the status of mercenaries, as embodied by the character of Zora (Scarlett Johansson). Furthermore, in contrast to previous installments, the presence of executives and other members of the elite is conspicuously absent from the social structure depicted in this blockbuster. It is important to note that even Martin Krebs holds the rank of project manager, not an executive position. It is evident that the class adjustment of characters is intended to foster a more intimate connection with the majority of the audience compared to that of previous franchise films. Upon initial observation, the Delgados appear to be an illegal migrant family. However, this assumption is not logical, given that they possess a costly cruising vessel that is larger than the Orca, a 42-foot-long former lobster boat in JAWS (1975). The subjects in question are firmly situated within the middle-class demographic; they do not belong to the category of impoverished undocumented migrants. Therefore, the class orientation of this film represents an enhancement in comparison to the elitist-oriented characteristics of previous installments.

The following section will address the potential disadvantages of the aforementioned topic.

1. The integration of animatronics and computer-generated imagery (CGI) in this production does not generate the same awe-inspiring effect achieved in Jurassic Park (1993), primarily due to the technological limitations imposed by the production's schedule. Consequently, the complete CGI dinosaurs bear a resemblance to the deceptive anacondas in certain respects.

2. The creature designs and sounds are conventional and unoriginal. Consequently, it has not been endowed with any new species of dinosaur. The prevailing sentiment among viewers is that they seek to witness the authentic depiction of a dinosaur from a bygone era, as opposed to the contrived and clichéd representations often seen in contemporary science fiction cinema.

3. It is evident that the initial installment serves as the template for this latest film. This notion is exemplified by the straightforward prediction of the dinosaur battle, wherein the T-rex assists the protagonists at the culmination of the narrative. The Third Act orchestrates events to this outcome, yet it ultimately acts in a manner that is contradictory to its own intentions. This is an inherent benefit in terms of narrative development, yet it concomitantly hinders audience engagement by allowing spectators to anticipate the inevitable conclusion.

In conclusion, Jurassic World: Rebirth (2025) is a quality film and exemplary Hollywood reform in narrative that represents the cutting-edge stage of the development. The crux of the matter lies in their self-criticism of their own societal elitism. The objective of Zora is to disseminate the novel pharmaceutical agent without the imposition of a patent, thereby rendering it as open source for the global population. This objective underscores the central tenet of achieving universal appeal.

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