“Jurassic World: A New Age” is the sixth film in the Dino series. In just the first few minutes, you feel like you’re seeing more dinosaurs than the full original 1993 Jurassic Park.
In the new film, the young generation of heroes from the last episodes meets the protagonists from the first parts. Dinosaurs have now spread across the globe. A sinister biotech company wants to use the new age with dinosaur gene manipulations for world domination plans. Anyone who, in the face of this synopsis, wonders whether Hollywood should introduce a caning for lazy screenwriters is right. If you are completely satisfied if you get your head blown through with thundering dinosaur action for two and a half hours without having to worry about holes in the dramaturgy, you may also be right.
The magic of the first “Jurassic Park” will never be repeated anyway. Because the amazement at the magic arts of the visual effects magicians has long since given way to a weary yawn.
More locations, more characters and more show effects didn’t help in “Faust II”.
When Steven Spielberg and his team prepared the film adaptation of Michael Crichton’s novel “Dino Park” in 1991, the puppet makers still had the say in Hollywood. Small and large models were the be-all and end-all of trick technology. The problem: They never looked quite real. The doll character could not be hidden.
In technical jargon, the phenomenon was called “motion blur”. If a person moves quickly in front of the camera, for example raises their arms, this movement is briefly blurred in the recording, blurred and therefore looks natural. However, the movements of the puppet monsters, some of which weigh a ton, which are heaved through the picture using stop-motion technology, are always sharp in front of the camera and therefore appear unnatural and jerky.
Which is why Spielberg’s employees at Industrial Light & Magic first wanted to try to create the models’ lack of motion blur digitally on the computer. Until the ILM inventor Steve “Spaz” Williams simply designed a whole T-Rex skeleton on the PC without the permission of his bosses and showed it to Spielberg and his people. Legend has it that people cried with happiness during the short performance. And Spielberg says to this day that he knew at that moment: This is the future.
Models could still be seen in the close-ups, but computer animations were mainly used in the long shots. Which is why, to the amazement of viewers around the world, the dinosaurs actually came to life in ways never before dared to dream. “Jurassic Park” is one of the most magnificent Hollywood films in history, because you can see the amazement and childlike joy of this miracle in the creators behind and the actors in front of the camera. Steven Spielberg has thus pushed the boundaries of cinema like almost no director before or after him – but at the same time sealed the victory of pixel tinkerers over film artists. The consequences bathe the viewers in almost all Hollywood films of the present.
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The screenwriters sloppy with their stories, the directors are less likely to come up with visual surprises because, if necessary, a lot of show values can be inserted in post-production. This way of working can also be seen in “Jurassic World: A New Age” by director Colin Trevorrow. The film is flawless in terms of craftsmanship, the sound effects, the visual effects are all there state of the art.
In a cinema with good technical equipment, one is shaken so hard in one’s armchair, as befits a decent popcorn film. But a week or even a day later, do you still remember any detail that eats into your memory like great cinema moments irrevocably do? no
More locations, more characters, more show effects, these typical sequel elements didn’t help in “Faust II”. And because the whole earth as a battlefield is now also ticked off with this film, next time there will probably be “Jurassic Wars” in space. Maybe the alien will stop by.
Jurassic World: Dominion, USA 2022 – Director: Colin Trevorrow. Book: Emily Carmichael, Colin Trevorrow. Camera: John Schwartzman. Starring: Bryce Dallas Howard, Laura Dern, Sam Neill, Jeff Goldblum. Universal, 146 minutes. Theatrical release: June 9, 2022.
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