Dolly the sheep was angry

Continuation of the «Jurassic Park» was like no less than the continuation of the «Indiana Jones». And now — 14 years have passed since the picture of Joe Johnston, who has a rather complicated relationship with the audience, and a new Jurassic park has burst. And how he struck! Already comes on the heels of the highest-grossing films …

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It would seem — the peak of interest in dinosaurs has long passed, the collections of each subsequent part of the «PJUP» turned out to be exactly half the previous one, and the audience is now interested in something else. But the «World of the Jurassic Period» smiled luck — its most wide Hollywood smile.But the whole film is the same miracle of cloning and genetic engineering, about which so much is said in the film. Nothing in it is real, everything is artificial. The script has nothing to do with Crichton’s novels, the characters — no life truth, the situation is justified except by the phrase «and why not.» In this film there is no creative spark, no miracle of creation. This is just a factory product — moderately tasty and moderately nutritious, rather satisfying and in very beautiful packaging, which, however, does not excuse its inferiority.

«The world of the Jurassic period» is a clone of the third part. It’s strange that the third «Jurassic Park» audience did not like, and his clone caused so much excitement. However, in fact everyone knows the lamb Dolly, but the sheep-prototype hardly anyone will remember. And whether it is worth whining about the second-rate and banality of the plot. What is there to shoot? All that could be squeezed out of an idea invented by Crichton and a modified «theory of chaos», Spielberg wrenched in the first two films, which, with all the fantasy of the plot, shook their authenticity. In the final part of the second part it became clear: if someone continues this, only pure adventures remain. New dinosaurs (more, more terrible, teeth-the principles of not only capitalist-dinosaur dispensers, but also capitalists-creators of the film), running from them and, if possible, spectacular battles.

«MUP» is subject to all the diseases of blockbusters. First of all — the sacrifice of history and characters non-stop action. The viewer does not want to be explained to anyone, interpreted and told. The viewer wants to jump in the chair, participating in adrenaline jumps for survival, which he is deprived of in everyday life. From this point of view, «MJUR» is almost a masterpiece — it performs its function of hobby and entertainment for one hundred percent. Emptied, even from the shadow of any thought (weak attempts to bring the idea of ​​the militaristic orientation of any big business of modern technocratic civilization disappear in vain — they still do not listen), «MUP» sweeps past the viewer without promptly catching anything, except for bouts with monsters. The story is very conditional — again the park, again the children (for it is much easier for them to worry than for adults), again the hero is a savior, again nature and evolution do everything for people, but life «finds a way out.» All as before, only faster and more stupid.

Another disease: a group of writers do not bring to completion many storylines. Why was such a fat accent on the divorce of the parents of the heroes made? Why were in the frame of their parents in general? Why did the heroine become their aunt? In general, it is clear — to learn responsibility and cure traditional Hollywood workaholism, but — why? All this had absolutely no effect on the plot and the final.

Why so much talked about mutations and genetic engineering, why did the hero D’Onofrio wrestle so fiercely with the help of velyciraptors, if in the end they reduced to the traditional «what did he fight for and broke?» Even the motivation for the appearance in the frame of the main character is so sewn with white threads that it just shines through. Not to mention the traditional blockbuster bluffs, like heroes, shot a couple of times on pterodactyls, and pretending that all the fliers have already been killed. And no one calls from the mainland helicopters for evacuation, everyone sat down and waited for death in the pen. All 20 000 people. They are not heroes. Let them sit. The weak detail of the world does not cope with the scale of the idea.

Unfortunately, in spectacular screen adventures there is no life truth, situationally justified truth, which has always distinguished Spilberg’s creations from other directors-moneymakers. It is clear that the modern blockbuster does not need Spielbergs. To manage the Hollywood machinery, you just need an ordinary professional artisan who will collect a puzzle of stamps and special effects for the joy of the popcorn audience.

And in the movie, absolutely no main characters. True, Howard’s daughter is a miracle as good, she made you think of Kathleen Turner in her best years, but from Chris Pratt a new Alan Grant or at least Indiana Jones did not come out. Of course, I understand that every generation has its own heroes, but this is immensely disappointing. However, Alan Grant is a paleontologist, Ian Malcolm is a mathematician, and Owen is just a Marine. We do not need smart people. Need strong. Here and Pratt on the face — at least a little thought! No charisma, no charm, no intellect, no irony. And, besides, the meaning of any movie hero is to change for the film. But

8 of 10

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