A FRANCHISE RUNNING ON FOSSIL FUMES

In 2022, Universal Pictures released Jurassic World: Dominion, the sixth installment in the Jurassic Park franchise and the third entry in the Jurassic World saga. Directed by Colin Trevorrow and starring Chris Pratt, Bryce Dallas Howard, Laura Dern, Jeff Goldblum, and Sam Neill, the film is set four years after Fallen Kingdom and follows Owen Grady and Claire Dearing on a global rescue mission, while the original Jurassic Park trio works to expose a Biosyn conspiracy in a world now shared with dinosaurs. Heavily promoted for uniting the new and legacy casts, Dominion was released on June 10, 2022, and became a global box office success—earning over $1 billion and ranking as the third-highest-grossing film of the year, behind Top Gun: Maverick and Avatar: The Way of Water. However, critical reception was far less kind, with many citing its convoluted plot, weak character development, excessive nostalgia, poor pacing, and lack of suspense. Now, nearly three years later, Universal Pictures and director Gareth Edwards return with Jurassic World: Rebirth, the next chapter in the saga. But does this latest dino blockbuster reclaim the franchise’s cinematic roar or is it just another fossilized, cookie-cutter sequel destined to go extinct?

THE STORY

Several years after dinosaurs returned to roam the Earth, humanity has learned to coexist with the prehistoric creatures. However, due to worsening ecological and climate conditions, the animals are slowly dying off—now largely confined to tropical zones near the equator, where humans are strictly forbidden from entering their habitats. Martin Krebs (Rupert Friend), an ambitious representative of the pharmaceutical giant ParkerGenix, is tasked with recovering blood samples from three rare dinosaur species located on Île Saint-Hubert, an abandoned island once used by InGen for DNA experimentation. Though the facility has long since been cleared out, the island remains overrun by hybrid-engineered mutations that have claimed it as their own. To complete the mission, Martin hires Zora Bennett (Scarlett Johansson), a skilled mercenary with a reputation for high-risk covert ops, willing to take the dangerous job for the right price. Joining them are paleontologist Dr. Henry (Jonathan Bailey) and Zora’s longtime ally Duncan Kincaid (Mahershala Ali), as they assemble a crew to journey to the island and collect the DNA samples. Meanwhile, Reuben Delgado (Manuel Garcia-Rulfo), a single father desperate to reconnect with his daughters, sets out on an extended boating trip to impress his curious youngest, Isabella (Audrina Miranda), and recapture the attention of his teenage eldest, Teresa (Luna Blaise), who’s preoccupied with her dimwitted boyfriend, Xavier Dobbs (David Iacono), tagging along uninvited. But when their boat drifts too close to Île Saint-Hubert, their vacation collides with Zora’s mission—sparking a desperate struggle for survival against the mutated dinosaur threats lurking across the island.

THE GOOD / THE BAD

“The epic conclusion of the Jurassic era…” — or so the tagline promised upon the release of Jurassic World: Dominion. Personally, I have something of a love/hate relationship with that film—though truthfully, it leans more toward the hate. Like many fans, I was excited for the blockbuster event and thrilled by the idea of seeing the original Jurassic Park trio (Sam Neill, Laura Dern, and Jeff Goldblum) reunited and interacting with the new cast (Chris Pratt and Bryce Dallas Howard). It was billed as a fitting send-off for the franchise. Unfortunately, what Dominion delivered was anything but.

The film had the right setup in place following Fallen Kingdom, but it fumbled its own potential. The intriguing concept of humans coexisting with dinosaurs was glossed over far too quickly—something that could’ve easily carried the entire narrative. Instead, we were dragged back into another round of genetic tinkering, corporate greed, and hybrid dinosaur clichés. The continuation of Maisie’s storyline was appreciated in theory, but her arc didn’t quite click, and the genetically engineered giant locust subplot felt shoehorned and clunky. While the ensemble cast gave solid performances and I still appreciated the “old meets new” crossover, the overall execution felt unbalanced and ultimately unrewarding.

In the end, Jurassic World: Dominion came across as the weakest installment in the Jurassic World trilogy, and perhaps the entire Jurassic Park series, concluding Owen and Claire’s journey not with a roar, but a disappointing whimper.

Which brings me to Jurassic World: Rebirth, the fourth entry in the Jurassic World narrative and the seventh film in the franchise overall. After Dominion, it felt like the story was done, especially for Owen and Claire. So when a new Jurassic film was announced, it came as a bit of a surprise. Sure, Dominion made a ton of money, but its lukewarm reception didn’t exactly leave audiences clamoring for more. Still, in typical Hollywood fashion, the studio saw dollar signs, and development moved forward.

Details slowly emerged: Gareth Edwards (Rogue One and Godzilla) was set to direct, and the cast would feature Scarlett Johansson, Jonathan Bailey, and Mahershala Ali. Notably, Pratt and Howard were absent, with the new film set several years after the events of Dominion. A bold decision, and probably a smart one.

As the trailers and marketing began rolling out, I found myself cautiously curious. Yes, the previews hit all the Jurassic trademarks, dinosaurs, action, tropical terror, but there was also a familiar sense of déjà vu. It looked, for better or worse, like more of the same. Still, I was willing to give it a chance and saw it shortly after its release on July 2, 2025, waiting a few extra days to fully sit with the experience before forming a final opinion.

Now that I’ve had time to reflect, what did I think? Honestly… it was pretty meh and disappointing. Jurassic World: Rebirth makes a visible effort to return to the franchise’s roots and leans into some large-scale creature feature thrills, but the end result is one of the weaker entries in the series. While it has its moments, it ultimately feels redundant, generic, and stuck on autopilot in both story and character.

Jurassic World: Rebirth is directed by Gareth Edwards, whose previous works include Godzilla, The Creator, and Rogue One: A Star Wars Story. Given his track record with large-scale, blockbuster storytelling, Edwards feels like a natural fit to helm the next dinosaur-filled chapter in the Jurassic Park saga. Rebirth hits many of the expected beats for giant-monster spectacle, and in that regard, Edwards proves to be the right person for the job. He understands what audiences want, and delivers it in full: large-scale dinosaur chaos, intense close calls, lavish visual effects, and plenty of mindless popcorn thrills worthy of the franchise brand.

There’s no shortage of creature-feature moments here, with Edwards leaning into the blockbuster mayhem with precision and tension. One could argue that it’s nothing particularly new for the series and that the film leans heavily into fan service (more on that below), but like many long-running franchises (Rocky, Fast & Furious, Mission: Impossible), Rebirth knows its audience and unapologetically gives them what they came for. In this case, that means mutant-engineered dinosaurs, bigger, meaner, and sporting more teeth, with Edwards clearly relishing every moment of dino-driven spectacle.

Another strength Edwards brings to Rebirth is his decision to scale the story back to something more grounded, echoing the simpler, more intimate tone of the original Jurassic Park. He wisely avoids the overcomplicated plot mechanics of Fallen Kingdom and Dominion, skipping political overtones, clone conspiracies, and those baffling genetically engineered locusts. Instead, the film embraces a “back to basics” approach: a remote island setting, a cast of characters navigating perilous run-ins with dinosaurs, and a tone that blends awe and fear in equal measure. It’s a refreshing return to form, one that often evokes the magic and danger of Spielberg’s 1993 classic.

To that end, Rebirth is packed with callbacks and Easter eggs for longtime fans, some more overt than others. One particular scene even nods to a moment from Michael Crichton’s original novel, something fans have long hoped to see brought to life onscreen. For me, one sequence stood out as a clear homage to the first film, capturing the majesty of the dinosaurs with swelling music and sweeping visuals, it was genuinely beautiful and nostalgic (you’ll know it when you see it). Edwards earns credit here for tapping into the series’ narrative roots and choosing a more straightforward, character-driven path. Sometimes, less really is more.

Also worth noting: despite Rebirth being the second-longest film in the franchise (running roughly two hours and thirteen minutes), it rarely feels bloated. Edwards keeps the momentum going at a steady pace, and while a few scenes could’ve been trimmed or tightened, the film as a whole maintains a sense of urgency and rarely drags.

In terms of presentation, Jurassic World: Rebirth is actually quite impressive, capturing the same cinematic bravado that most entries in the franchise have delivered. With Edwards steering the film back to its roots, the tropical jungle setting plays a major role—evoking not just the original Jurassic Park, but also its first two sequels. The lush, untamed environment is richly realized, offering a diverse array of landscapes for both the characters to explore and the dinosaurs to dominate. The inclusion of a derelict research facility layered with modern sci-fi elements further strengthens that nostalgic connection to the first film. In many ways, the setting becomes a character in and of itself, adding weight and texture to the overall narrative. Credit goes to the film’s behind-the-scenes talent for bringing this world to life. James Clyne (production design), Rob Cameron and Rungrudee Pracharomyen (set decorations), Sammy Sheldon (costume designs), and the entire art direction team deserve praise for creating a vibrant, immersive environment that feels authentically Jurassic, both familiar and visually fresh.

The cinematography by John Mathieson is another highlight. Throughout Rebirth, he captures striking visuals with dynamic camera work, dramatic angles, and an evocative use of light and shadow that enhances the film’s tension and grandeur. Whether showcasing an intimate character moment or a sweeping dino encounter, the visuals often feel polished and purposeful. Sound design is equally strong. As expected in a Jurassic film, everything from the guttural roars and screeches of the dinosaurs to the thunderous gunfire and frantic human screams feels crisp, immersive, and effective, adding visceral weight to every encounter.

Lastly, the film’s musical score, composed by Alexandre Desplat, is a solid addition. His compositions effectively heighten the action with bombastic energy and scale things back with softer, emotional motifs during more reflective moments. Most notably, Desplat weaves in John Williams’s iconic Jurassic Park themes at just the right moments, including one standout scene where the classic melody swells to full force, both nostalgic and earned. It’s a brilliant touch that ties past and present together with cinematic finesse.

Unfortunately, Rebirth is far from the dino blockbuster many were hoping for. While it delivers on surface spectacle, the film ultimately feels like more of the same, only weaker, scraping the bottom of the franchise barrel and diluting its own Jurassic potential.

The biggest culprit is the story, which plays like a mismatched fusion of two different scripts forced into one production. On one hand, there’s Story A, the more urgent and marketable narrative teased in the trailers: a team of hired mercenaries dispatched to an island overrun with genetically modified dinosaurs to retrieve valuable DNA samples. Then there’s Story B, a more grounded subplot involving a family accidentally caught in the chaos while on a vacation gone wrong. The two threads constantly compete for screen time, with frequent back-and-forth cuts that feel jarring and underdeveloped. Neither arc is given the depth it needs, and the result is a movie that feels disjointed, half-baked, and oddly hollow, removing either storyline would essentially unravel the entire structure.

The screenplay, penned by Jurassic Park veteran David Koepp, tries to recapture some of the original’s spirit by recycling familiar story beats. Unfortunately, what emerges is a hollow echo of better installments. The background lore casually dismisses the major world-building developments from Fallen Kingdom and Dominion—like the global coexistence of humans and dinosaurs—without much explanation. These threads are dropped in favor of the tired trope of yet another hybrid “big bad” dinosaur: the Distortus Rex. After the Indominus Rex, Indoraptor, and Giganotosaurus, this new mutation feels like a lazy, uninspired addition rather than an evolution of the idea.

Even the characters feel thin and generic, stock archetypes pulled from a template with little depth or personality. I wasn’t expecting layered character drama, but the cast feels disappointingly flat, complete with cheesy dialogue and uninspired interactions. As one online commenter aptly put it, Rebirth plays like a video game “open-world” campaign: a flashy visual playground with little narrative ingenuity.

From a directorial standpoint, Gareth Edwards clearly wants to steer the franchise back to its roots, but in doing so, he often plays it far too safe. While his staging of large-scale dinosaur encounters is solid, it’s all very familiar. The chase scenes, the suspenseful near-misses, the setup of action beats—they’re competently executed, but also predictable and formulaic. The characters fall into familiar roles: the noble heroes, the shady corporate villains, and the expendable extras. Fans may find comfort in this nostalgic formula, but Edwards doesn’t push the envelope or offer anything fresh—he simply hits the franchise’s “greatest hits” playlist. It’s a double-edged sword: faithful to the brand, yet creatively stagnant.

Aside from the standout raft sequence (a direct nod to Michael Crichton’s original novel), Rebirth mostly coasts on autopilot. Even the climactic final battle fails to leave a lasting impression, lacking the intensity or emotional payoff it clearly aims for. There are a few nice visual flourishes here and there, but they’re not enough to elevate the underwhelming conclusion.

As a minor point of criticism, I also noticed a few visual effects hiccups. In certain shots, the green screen backgrounds are distractingly obvious, especially during scenes combining large-scale spectacle with human characters. It’s not a deal-breaker, but for a film with a reported $180 million budget and big-studio backing, those visual seams stand out more than they should.

The cast in Rebirth is populated with several recognizable acting talents throughout the feature, which did get me quite interested to see what there characters were going to be and play out in the plot being told in the feature. Unfortunately, how each of the characters are written is where things fall apart, with many falling back on the franchise familiar tropes and cliches, creating more characters than anything that has come before. Even worse, some of the acting talent involved seem to be running on autopilot, bringing no charisma to their roles beyond their screen presence, Jurassic World: Rebirth features a cast filled with recognizable talent, an element that initially piqued my interest and had me curious to see how these characters would play out in the story. Unfortunately, the writing is where things begin to unravel. Most of the characters fall back on tired franchise tropes and clichés, making them feel more like placeholders than fully realized personalities. Even worse, some of the film’s biggest stars seem to be running on autopilot, offering little more than their screen presence, which is disappointing, to say the least.

That criticism lands squarely on the shoulders of the film’s two marquee stars: Scarlett Johansson and Mahershala Ali, who portray ex-military covert operatives Zora Bennett and Duncan Kincaid, respectively. Johansson, known for her standout roles in Avengers: Endgame, Her, and Black Widow. is no stranger to blockbuster filmmaking, so her presence in a Jurassic project seems like a natural fit. She has the gravitas to carry large portions of the film, but here, she seems largely disinterested. Her performance as Zora feels flat and disengaged, as if she’s merely going through the motions. The character itself is painfully generic: a tough, stoic mercenary leader with a swagger that tries, and fails, to emulate Chris Pratt’s Owen Grady. It’s a bland archetype, and Johansson’s portrayal, while competent, brings nothing fresh to the role. She’s here for name recognition, and it shows.

Likewise, Ali, known for Moonlight, Green Book, and House of Cards, fares slightly better. He brings a bit more emotion and presence to his role as Duncan, the more compassionate of the two operatives. He certainly feels more engaged than Johansson, but still doesn’t bring the depth one might expect from an actor of his caliber. Like Zora, Duncan is thinly sketched, saddled with a backstory that goes nowhere and a character arc that lacks payoff. Of the two, Ali gives the stronger performance, but it’s still underwhelming, especially considering his proven range.

Stepping in to fill the charisma void left by the two leads is actor Jonathan Baileyas Dr. Henry Loomis, a paleontologist eager to rekindle public interest in dinosaurs. Known for Bridgerton, Fellow Travelers, and Wicked, Bailey brings a welcome charm to the film. His performance is easily one of the highlights of the cast, he’s likable, engaged, and injects some much-needed energy into an otherwise routine character. Yes, Loomis fits the stereotypical “nerdy scientist” mold, but Bailey elevates the role with enough personality to make it work. He may not have the most complex arc, but he’s one of the more memorable characters in Rebirth.

As for the film’s antagonist, actor Rupert Friend (Pride & Prejudice and Homeland) plays Martin Krebs, an ambitious and arrogant representative of the pharmaceutical company ParkerGenix. Friend leans into the role with smug gusto, giving Krebs the right mix of smarm and self-interest to make him entertaining, even if he’s little more than a cookie-cutter corporate villain, a familiar type for this franchise. He plays it well, but the character brings nothing new.

That covers the Story A cast. Over in Story B, we follow the Delgado family: Reuben, who is played by actor Manuel Garcia-Rulfo (Lincoln Lawyer and The Magnificent Seven), his two daughters (Tersea and Isabella), who are played by actresses Luna Blaise (Fresh off the Boat and Manifest) and Audrina Miranda (Criminal Minds and The Phoenix), and lastly Xavier Dobbs, Tersea’s boyfriend and who is played by actor David Iacono (The Summer I Turned Pretty and The Flight Attendant).As expected, these characters fulfill the series’ long-standing tradition of placing families—and especially children, in harm’s way. Garcia-Rulfo is the most effective of the group, bringing a grounded and relatable presence as a concerned father trying to hold things together. Still, his arc falls into predictable territory. Teresa and Isabella are Rebirth’s versions of Lex and Tim, or Zach and Gray, standard-issue kids caught in the chaos. Blaise and Miranda are decent in their roles, but neither leaves much of an impression.

Xavier, unfortunately, is the weakest character in the entire film. Written as a bumbling, clueless tagalong, he feels more like a reject from a Transformers movie than a character suited for a Jurassic installment. While Iacono does what he can, the role is so poorly conceived and irritating that removing him entirely would’ve improved the film without affecting the plot in any meaningful way.

Rounding out the cast are supporting players like actor Ed Skrein (Game of Thrones and Midway) as Bobby Atwater, actor Bechir Sylvain (Black Summer and Diarra from Detroit) as LeClerc, and actress Philippine Velge (Station Eleven and Summer of 85) as Nina, all which member of Zora / Duncan’s team. They fill out the usual minor roles that one expects in a Jurassic Park movie, which is to say: don’t get too attached. Their fates are as predictable as their character types.

FINAL THOUGHTS

A new era is reborn as a group of individuals find themselves stranded on a strange tropical island, tasked with retrieving dinosaur DNA samples—only to discover the island is crawling with sinister, mutated predators in Jurassic World: Rebirth. Director Gareth Edwards’s latest entry attempts to steer the Jurassic Park franchise back to its blockbuster roots, aiming for a more traditional experience that echoes the tone of the original film. The result, however, is a dino-sized mess. There are flashes of spectacle here, classic Jurassic encounters that Edwards clearly enjoys staging, along with a few nostalgic callbacks, but the majority of the film is bogged down by predictable storytelling, a clunky fusion of competing plotlines, wooden dialogue, and paper-thin, formulaic characters. Despite the involvement of a talented cast, most feel underused, uninterested, or just plain miscast. Personally, I found Rebirth to be disappointingly “meh.” I didn’t walk in with high expectations, Dominion had already lowered the bar, but even with that mindset, the film still managed to underwhelm. Its plot points are vague and recycled, its execution feels bland and by-the-numbers, and its characters border on caricatures, some of whom look as if they’d rather be anywhere else. It’s a letdown from start to finish. Thus, my recommendation for the film is a solid “skip it”. Hardcore fans might feel the fatigue setting in from yet another lackluster sequel, while casual viewers are unlikely to find much excitement here. The film’s ending teases more to come, but if another installment is greenlit, it deserves far better treatment than what Rebirth delivers. In the end, Jurassic World: Rebirth plays like a desperate course correction that fails to chart a clear path, biting off more than it can chew and proving, once again, that maybe it’s finally time for this franchise to go extinct.

2.6 Out of 5 (Skip It)

The Official Website for Jurassic World: Rebirth Link: HERE

Released On: July 2nd, 2025

Reviewed On: July 13th, 2025

Jurassic World: Rebirth  is 133 minutes long and is rated PG-13 for intense sequences of violence / action, bloody images, some suggestive references, language, and a drug reference

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