Jurassic World: Rebirth

Jurassic World: Rebirth is the series’ best installment in a decade. 

But so what?

Unlike most big-screen sagas, the concept of humans underestimating the capabilities of dinosaurs (typically on unfamiliar terrain) isn't the deep well that Universal Studios assumes it is. Yet here we are for the seventh (?!?!) time with another filmmaking team unwilling to deviate much from the core formula. And though Gareth Edwards’ vision hews closer to the appeal of Steven Spielberg’s first two entries — pulling those films’ writer, David Koepp, out of Jurassic retirement helps — we're still in extremely familiar territory where safe decisions trump risk-taking.

Rebirth presents a world where dinosaurs are back and the public has inevitably lost interest in them — let's maybe read the room here, folks — yet they still may have some use. Big Pharma exec Martin Krebs (Rupert Friend) needs DNA from three of the biggest dinos so his company can cure heart disease, so he recruits a team of people with very specific sets of skills and heads to InGen’s abandoned laboratory island at the equator to complete the mission.

Along with the sufficiently nefarious Friend, the crew includes such appealing talent as Scarlett Johansson and Mahershala Ali as “security” experts, and a nerdy/hunky paleontologist played by Jonathan Bailey (Wicked). The talented cast and a clear objective elevate the film above its recent series peers, and Edwards' gift for visual grandeur generally grants the proceedings an epic feel.

But while the anticipation of seeing new dinos and old favorites — what's that rascal T-Rex going to do THIS time? — has kept even the worst Jurassic films buoyed by creature intrigue, these beasts are no longer scary. Part of the blame stems from the over-reliance on CGI, the shift away from animatronics, and the need to protect top talent for sequels, but more significant is that post-Spielberg directors have forgotten how to stage dino-centric suspense.

That depressing trend continues in Rebirth, whose minimal sense of peril is further diluted by inconsistent animal behavior. After rescuing some transatlantic sailors (whose importance to the plot is debatable), our heroes embark upon a boat ride into the island during which casualties occur but are enacted with the tension of someone tripping over a root in the forest. Inland, more puzzling times await, particularly a would-be tantalizing T-Rex sequence which suggests not only that the species has lost a few steps but that it's no match for an inflatable raft.

So, no, this ain't the Jurassic filmmaking of yore, but the technology involved in the DNA extraction (mini parachutes!) proves consistently entertaining and dovetails with a lovely “they do move in herds!” homage, complete with THE bars you long to hear from John Williams’ all-timer score.

These elements, a few more welcome callbacks, and Edwards' signature pretentious bombast are enough to keep Rebirth entertaining enough. Yet this far into the series, “entertaining enough” simply isn't enough to stoke excitement for future installments unless the reins are handed to some wildcards who are given carte blanche.

Grade: C-plus. Rated PG-13. Now playing at AMC River Hills 10, Asheville Pizza & Brewing Co., Carolina Cinemark, and Regal Biltmore Grande.

(Photo: Universal)