Jurassic World launches a sequel trilogy while doubling as a commentary on Hollywood’s thirst for nostalgia-driven, high-stakes entertainment.

Fourteen years after Jurassic Park III, the dream of a functioning dinosaur park has come true. Jurassic World has operated for a decade on Isla Nublar, drawing massive crowds. But the novelty has worn off, and the park’s creators know it. Early on, operations manager Claire Dearing (Bryce Dallas Howard) pitches a terrifying new hybrid, the Indominus Rex, to potential sponsors. This isn’t just science fiction—it’s biting satire aimed at a Hollywood system obsessed with bigger, louder, and more bankable entertainment.

Claire’s pitch to Verizon Wireless is the film’s thesis in miniature. It reflects how corporate interests now dominate blockbuster filmmaking. Naming rights, IP synergy, and spectacle rule the day. Even the park’s gates, lifted directly from Jurassic Park, serve as a literal doorway into recycled nostalgia. The script is self-aware enough to poke fun while still delivering the thrills fans expect.

Claire’s focus on investor satisfaction contrasts sharply with park owner Simon Masrani (Irrfan Khan), who believes in preserving wonder. “The key to a happy life is to accept you are never actually in control,” he tells Claire. That theme echoes throughout the film. Science keeps pushing boundaries, but no one stops to ask whether they should. The Indominus Rex, a blend of multiple carnivores, is the ultimate symbol of unchecked ambition—and things spiral quickly.

To inspect the creature’s paddock, Claire calls in Owen Grady (Chris Pratt), a Navy vet who trains a pack of Velociraptors. Owen’s dynamic with the raptors recalls Alan Grant’s skepticism but adds a military edge. InGen’s security chief, Vic Hoskins (Vincent D’Onofrio), wants to use the animals as weapons, sparking ethical questions that linger into the sequels. Owen pushes back, but it’s clear this park isn’t built on responsibility—it’s built on profit and control.

Meanwhile, Claire’s nephews Zach (Nick Robinson) and Gray (Ty Simpkins)–visiting during the holidays–explore the park on their own after escaping Zara Young’s (Katie McGrath) supervision. Their experiences echo Tim and Lex in Jurassic Park, but they lack an Alan Grant figure to guide them. From the Mosasaurus feeding show to the Gyrosphere ride gone wrong, the film mixes theme park thrills with real danger. When they stumble into the original visitor center, the film seamlessly merges new and old, reminding us what made this franchise so special.

Not everything hits the right note, though. Zara, Claire’s aforementioned assistant, gets one of the most over-the-top death scenes in the franchise—despite being a minor character who didn’t deserve such a grim fate. It’s an oddly mean-spirited moment in an otherwise crowd-pleasing movie. There are plenty of characters in this film—and in the overall franchise—whose deaths felt narratively earned. Sadly, Zara’s was not.

The final battle is pure blockbuster chaos—with the T. rex stepping in like an aging champion reclaiming her throne. Flare and all, it’s a callback done right. Her fight with the Indominus, alongside Blue the raptor, delivers a satisfying mix of fan service and earned payoff. She might not say it aloud, but the message is clear: the queen still rules the island.

Trevorrow fills Jurassic World with visual and emotional tributes. Mr. DNA returns, along with a statue of John Hammond and the Samsung Innovation Center that nods to the original visitor’s hub. The fallen Apatosaurus scene, featuring an animatronic dinosaur, evokes the sick Triceratops moment from 1993—an emotional beat grounded in practical effects. There’s even a restaurant, Winston’s Steakhouse, named after Stan Winston, honoring the legendary creature designer.

Lowery (Jake Johnson), one of the park’s control room techs, also bridges old and new. His Jurassic Park T-shirt (bought on eBay for $150) is a cheeky reminder of the original park, and his cluttered desk evokes Dennis Nedry—though with far less menace. He’s a fanboy embedded in the system, giving voice to the audience’s love of the franchise while poking gentle fun at corporate overreach.

Composer Michael Giacchino builds on John Williams’ iconic Jurassic Park themes but makes them his own. The result is a Jurassic World score that feels both familiar and fresh—echoing the film’s ability to bridge legacy and reinvention. Giacchino’s cues add suspense, wonder, and nostalgia without leaning too heavily on the past.

Under Dennis Muren’s visual effects supervision, the dinosaurs look incredibly lifelike. CGI blends seamlessly with animatronics, creating a world that feels both futuristic and tactile. With what we now know about dinosaurs, it’s tempting to wonder if a special edition with feathers could someday reflect updated science. Still, for a 2015 release, Jurassic World‘s visuals hold up impressively well.

Following his indie breakout Safety Not Guaranteed, Colin Trevorrow was handed the reins to Jurassic World by Steven Spielberg—and he doesn’t disappoint. Trevorrow balances awe, tension, and satire while rebooting the franchise for a new generation. He may have lost his shot at directing Star Wars, but he brought this dino-park juggernaut roaring back to life with style and energy.

Jurassic World remains just as thrilling and nostalgic as it was in 2015. While Jurassic World is not a perfect film, but it knows exactly what it is: a high-concept, self-aware spectacle that entertains while asking whether spectacle alone is enough. That’s what makes it a worthy entry in the Jurassic Park legacy.

DIRECTOR: Colin Trevorrow
SCREENWRITERS: Rick Jaffa & Amanda Silver and Derek Connolly & Colin Trevorrow
CAST: Chris Pratt, Bryce Dallas Howard, Vincent D’Onofrio, Ty Simpkins, Nick Robinson, Jake Johnson, Omar Sy, B.D. Wong, Judy Greer, Lauren Lapkus, Andy Buckley, and Irrfan Khan

Universal Pictures released Jurassic World in theaters on June 12, 2015. Grade: 4.5/5

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