Se­quel hardly World-class

Sunday News - - SOUND AND VISION -

enough of Jeff Gold­blum’s Dr Ian Mal­colm.

Direc­tor J A Bay­ona, best known for a tril­ogy of well-made, evoca­tive and thought-pro­vok­ing hor­rors – The Or­phan­age, The Im­pos­si­ble and A Monster Calls – proves he cer­tainly knows how to ramp up the ten­sion, cre­ate poignancy, and make im­pres­sive use of shadow and light, but he’s sad­dled with a lum­ber­ing monster of a Franken-script by Juras­sic World’s Colin Trevor­row and Derek Con­nolly. For all Bay­ona’s beau­ti­fully shot mo­ments, he can’t cor­rect a story that clearly tele­graphs its twists, grinds through the gears, and boasts some ill-judged phys­i­cal hu­mour, strange con­ti­nu­ity, and a cou­ple of odd leaps in logic.

Ul­ti­mately de­volv­ing into a con­tem­po­rary Gothic hor­ror­cum-1980s-slasher-movie in the fi­nal third (which is as much of a warn­ing as I can give you to not take your lit­tlies to this), it then tries to ‘‘ape’’ a cer­tain other suc­cess­ful an­i­mal fran­chise in the hope of cre­at­ing a path for fu­ture it­er­a­tions.

Not Pter­ri­ble, but hardly di­nomite either. – James Croot

Juras­sic World: Fallen Kingdom ul­ti­mately de­volves into a con­tem­po­rary Gothic hor­ror-cum-1980s-slasher-movie in the fi­nal-third of the film.

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