Four years after the destruction of Nublar Island and the outbreak of dinosaurs in the contemporary world, human society finds itself forced into a forced coexistence with these creatures. The prologue conceived in the form of a documentary summarizes the situation very well and opens up to the different fronts in the field, which are basically two.
The first sees Owen Grady and Claire Dearing grow together into a teenage Maisie Lockwood, the first human clone in the story and the central pivot of the story. In the second, Dr. Ellie Sattler joins forces with their old partner, friend, and colleague Alan Grant and the charismatic Ian Malcolm to expose the plans of a dangerous multinational. The Dominio immediately makes clear its more globetrotting breath with the pace of history, passing from the snow-capped mountains of the north of the United States to Malta and then up to the Italian Alps. A great film that wants to show that it is, especially in the second act, but it inevitably has to deal with some focal points from the plot and with the characters on the pitch. On the one hand, the evolution of the Grady front takes us right into the yellow walls of Valletta, in a sort of underworld underground where dinosaurs are entertainment and valuable commodities, on the other, the Sattler one becomes a strange mix between spy, heist movie and comedy that rarely leaves satisfied or surprised. The choral character of the protagonists is mitigated by the choice of subdivision of the narrative arcs, where the action is at the service of the "younger" while the research is left to the "older".
The pace keeps on fast and the film does not suffer from particular moments of tiredness but it is as if it does not know how to behave, what to choose first, what to give more importance to and what to think to surprise. And in fact, it rarely manages to excite at full capacity except for a few well-conceived sequences, citing the past here and there and even some cinematic glories such as Indiana Jones. The most dynamic and adrenaline-pumping part is certainly Malta, the most tiring one is the long re-introduction of the protagonists in the first act. It is certainly nice to see again the faces of Laura Dern and Sam Neill within the saga that they contributed to making legendary, but there is no real emotion, there is no curiosity, there is no total transport towards them, besides any form of plausible good.
However, the soul of the series and the founding and unique faces of the same remain, as well as the legendary Jeff Goldblum, who once again becomes the great protagonist of the scene. Chris Pratt, on the other hand, continues his path as an all-around man of action and continues to convince Bryce Dallas Howard in this sense, especially when it comes to returning terror to the public. and tension, yet the cure for the drama doesn't seem to be a friend of Trevorrow's and Emily Carmichael's pen even in this film.
A different future
Net of promises of great capacity and a different final chapter, the truth is that, although in fact more globetrotter, Jurassic World Dominion fails to make the most of its great potential, reducing it gradually more and more. The broader scope and the initial concept are in fact resized with cunning to bring the cinematic status quo to a new starting point, re-inventing with cunning to persistently reiterate well-known solutions that perhaps it is time to overcome.
There is no genre game as experienced by Bayona with her brilliant re-take of dinosaur-themed Nosferatu in a particular sequence from Jurassic World Fallen Kingdom and, aside from a few really compelling sequences, the film has little to add to what has actually been saying and repeated in the past five chapters, whether it is the law of chaos or the necessary coexistence between species. The issue of human cloning is crushed under the weight of the inadequacy of the commercial medium tout court, which inevitably prefers entertainment or fanservice to the courage of deep exploration of the subject, leaving it there, facing it without being hurt.
At the same time, the motivations of some new characters leave the time they find both on the help and danger front, but it all falls within the stringent Universal requests, in the many needs to be respected and in the too many compromises to be made, especially for a final chapter like this. And all in all, the Dominio manages to pull the strings of a three-decade-long saga with certain mainstream goodness and an evident underlying coherence, net of continuous changes of skin and direction.
It seems almost a constant of the new Hollywood maxi-budget productions: the ability to disappoint premises, promises, and expectations, and the latter Jurassic World is no species. Perhaps the future will bring with it new horizons to explore, perhaps more daring and perhaps more original, but this of Il Dominio is the ending that has been delivered to us, not a fiery and destructive meteorite as we expected but an accommodating stone thrown into the cinematic pond. without particular reverberation.
Jurassic World: The Domain becomes a conceptual and content summa of the past and present of the franchise, resulting in nostalgia and accommodation. It insistently reiterates situations and ideas that do not help the original vein of the story, opening up first to a more globetrotting and compelling breath and then returning to close in on itself, almost starting from scratch. The return of Alan Grant, Ellie Sattler, and Ian Malcolm is certainly an added value to the film, which however is not exploited to the best of its potential, sometimes even superficially treated concerning the narrative arc dedicated to the more novices Owen Grady and Claire Dearing, much more action, frenetic, exciting and fun. Squeezed in the grip of production needs and fanservice, Trevorrow proves that he still does not have a strong and courageous signature, which also knows how to give emotions and satisfaction, a clear idea of cinema, as well as some beautiful and sporadic sequences. There is no inspiration and there is no determination but only a final chapter that tries to do well as it can, sometimes succeeding, others not. Dominion over the saga remains with Steven Spielberg.