
Jurassic World Rebirth is out to Rex the gaff
Thirty-two years and seven films in, this particular Franchise That Time Didn't Forget is still in good nick and now sees Johansson fulfil her childhood dream of joining the Jurassic jamboree.
As the title suggests, Rebirth is a standalone adventure and doesn't require you to have seen the recent trilogy - Jurassic World (2015), Jurassic World: Fallen Kingdom (2018), and Jurassic World Dominion (2022). It's a mission movie that picks director Gareth Edwards (Monsters, Godzilla, Rogue One: A Star Wars Story, The Creator) as the right man for the job behind the lens. And Johansson is the right star to have in front of it.
She plays Zora Bennett, a covert ops specialist who is hired by a pharmaceutical company to bring a team to a no-go island where dinosaurs still roam. The goal? To get blood and tissue for planned heart drugs that could save millions. Bailey is the conscience of the group as paleontologist Dr Henry Loomis; Rupert Friend plays smarmy suit Martin Krebs, and Mahershala Ali is Bennett's old comrade Duncan Kincaid. Sure enough, they should have gone in a bigger boat...
Aiming to recapture the spirit of Steven Spielberg's 1993 original, Rebirth also seeks to channel a rager from the previous decade, James Cameron's Aliens, as Johansson finds her inner Ripley (sleeveless vest and all) and Edwards goes all out to give the audience something they haven't seen before. Although he doesn't hit the heights of the aforementioned classics, this is still strong summer fare with loads for creature feature lovers - including a 'Baby Yoda dinosaur'. Remarkably, Edwards only began filming in June 2024.
Some bits of the CGI feel a little desktop at times and double Oscar winner Mahershala Ali is underused, but Edwards does deliver tension amidst the giant footprints. The last third, another nod to Aliens, is a race-against-time treat.
All in all, two hours to make you feel young again.
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Irish Examiner
17 hours ago
- Irish Examiner
Film review: Jurassic Park: Rebirth places the focus on the real stars — the dinosaurs
It is hard to believe the world might grow weary of living dinosaurs, but such is the world of Jurassic Park: Rebirth (12A), which begins 32 years on from the opening of the theme park that offered the miracle of resurrected Triceratops, Tyrannosaurus rex, et al. These days, alas, the kids are inured to the wonder of the dinosaurs, who, dying off due to climate change and disease, can only be found in the wild in a no-go zone around the equator. Enter Martin Krebs (Rupert Friend), a pharmaceutical company fixer who requires dino DNA for a revolutionary new heart medicine, and who commissions the mercenary Zora Bennett (Scarlett Johansson) to assemble a team to source the DNA of three of the biggest dinosaurs that ever lived. Complicating matters is the fact that the three behemoths are seagoing, airborne, and land-dwelling; also, the samples need to be taken from living creatures. Having thus raised the stakes a little higher than previous Jurassic Park movies, director Gareth Edwards unleashes his crack team on a remote island — Zora pulls in her old sea-captain pal Duncan (Mahershala Ali), and dino expert Dr Loomis (Jonathan Bailey) — and tosses them into scenarios that fans of the franchise will recognise as a kind of Jurassic Park greatest hits, albeit one that includes dinosaurs that have evolved/mutated into beasts that are strongly reminiscent of the nightmarish creatures from the Alien franchise. An early nod to the work of animation genius Ray Harryhausen tells us that Edwards is deliberately harking back to past glories, and for the most part it works. Scarlett Johansson is enjoyably self-deprecating and hard-nosed as the mercenary-in-chief, and there's strong support from a charismatic Mahershala Ali and a quietly diffident Jonathan Bailey, who deftly juggles the twin roles of hapless boffin and Johansson's love interest — although, as always, it's the terrifying dinosaurs who are the real stars. Vincent Cassel and Diane Kruger in 'The Shrouds.' The Shrouds ★★★☆☆ Cinema release The Shrouds (16s) stars Vincent Cassel as Karsh Relik, a man who has pioneered 'Gravetech', a coffin-cam technology and the ultimate memento mori that allows mourners to observe their loved ones decomposing in their graves. Obsessed with his dead wife Becca (Diane Kruger), Karsh is horrified when his cemetery is vandalised, and suspects corporate sabotage —a view shared by Terry (also played by Kruger), Becca's sister and Karsh's confidante. All of which sounds morbid, to say the least, but is par for the course for writer-director David Cronenberg, who once again explores many of the motifs that have characterised his work: body horror, doppelgängers, the unholy blend of human and machine. It all feels rather stilted, however, and particularly Cassel's performance and dialogue delivery, and the story itself has the clumsy, fumbling feel of a man trying to remember how this thing used to work. Beat the Lotto Beat the Lotto ★★★☆☆ Cinema release Beat the Lotto (G) is a documentary by Ross Whitaker detailing how a syndicate of gamblers, assembled in 1992 by Cork man Stefan Klincewicz, attempted to scoop the Lotto by buying up every single possible combination of six numbers. Featuring contemporary TV footage and talking heads interviews with the syndicate members, the film does a surprisingly good job of ramping up the tension in a story we already know the outcome of, as the Lotto, alerted to the unusual patterns of play, goes on the offensive. That said, Whitaker is less successful at framing the syndicate as plucky outsiders who took on the system and won; despite their almost child-like excitement at being on the inside track, these are men who seek to strip away the fantasy of winning the Lotto in their pursuit of a cast-iron plunger. As journalist Mark Little points out, the perfectly legal heist marked the death of a certain kind of economic innocence as we belatedly learned that the luck of the Irish was no substitute for a clear-eyed appraisal of the odds.


Irish Times
a day ago
- Irish Times
The Movie Quiz: What was the last film made in the truncated Chronicles of Narnia series?
Who is set to continue what Terence Young began? Denis Villeneuve Christopher Nolan Edgar Wright Matthew Vaughn Jurassic World Rebirth is out this week. How many films in the Jurassic Park/World sequence does that make? 5 6 7 8 The director of which film is currently favourite to become mum to the next mayor of New York? Which doesn't feature a Gleeson? Phantom Thread Peter Rabbit The Smurfs Assassin's Creed What was the last film made in the truncated Chronicles of Narnia series? The Voyage of the Dawn Treader Prince Caspian The Silver Chair The Magician's Nephew Who is the odd character out? Sherlock Jr Batman Annie Hall Liberace A song by which post-punk band shares a title with the name of a Werner Herzog feature? Blondie The Dead Kennedys Magazine The Raincoats Which is not a character in the Austin Powers series? Ivana Humpalot Dixie Normous Gloria Passworthy Fook Mi Who did not win an Oscar when Saoirse Ronan was nominated in the same category? Brie Larson Frances McDormand Renée Zellweger Ariana DeBose Which of these Tilda Swinton films does not take its title directly from a famous painting?


Irish Independent
3 days ago
- Irish Independent
Jurassic World Rebirth review: All-sprinting, all-leaping Scarlettsaurus bites back in winning revival
'Six zeroes' is what she's promised by way of pay packet, seven if you count the '10' at the front of the number on the cheque. Watching one of the most celebrated actors of her generation booting a Quetzalcoatlus in the face is quite a sight, and that's taking into account a cinema universe where spectacle is the foundation for everything that matters. Besides claiming to be a lifelong fan of the franchise, Johansson of course has form in the action-adventure arena and was never going to look especially out of place here. But who knows, maybe art does imitate life somewhat in that opening scene, as one of the world's highest paid actors is enticed into uncharted professional waters by way of a chunky dangled carrot. Cynicism aside, maybe this is all perfectly logical. In another blurring of boundaries in Gareth Edwards' film, society has become so dinoed-out that shady boffins in a secret research unit have turned to hybridisation to dream up gnarly new species so that the masses might be kept interested. No prizes for spotting a slight mirroring with Brand Jurassic. They might make zillions in box office receipts and merchandising, but the films themselves have seemed like an ever-tiring exercise in scouring for ways to keep its revived reptiles alive. One solution has been to simply unleash a bigger, meaner monster on ticket holders, an Indominus rex or Giganotosaurus. Another way to refresh things, however, might be a major star of Johansson's wattage to anchor everything. Jurassic World: Rebirth reaches for both implements in the toolkit and, by and large, it's worked. Firmly in the 'one last job' boat, Zora could do with a few mill to retire early on and help her get over some previous unpleasantness in the field. Martin Krebs (Friend) wants her to lead a crack team to a remote island, the last place where dinosaurs from the Jurassic World experiment have not yet succumbed to the ravages of climate and starvation our own species has caused. If she can help nerdy palaeontologist Henry Loomis (Bridgerton's Jonathan Bailey) collect blood samples from three of the biggest behemoths, Krebs tells her, Big Pharma will develop a cure for heart disease. The island region is now an international no-go zone, however, so Zora brings in Mahershala Ali's tropical smuggler to help get the team in and out in a jiffy. Meanwhile, in nearby seas, a father (Manuel Garcia-Rulfo) is bringing his two daughters (and the most useless boyfriend in cinema history) for a trans-Atlantic voyage in the family yacht when they are capsized by a peckish Mosasaurus. The merciful mercenaries respond to the distress signal and suddenly the adventure has some Spielbergian civilians to humanise the unfolding adventure. In one of many subtle nods to the Alien films, the rescue mission also serves to bring out the amoral corporate weasel in Krebs. When the two parties get separated during a lively landing, we are gifted an extra strand of dino-jeopardy to thrill at. ADVERTISEMENT Learn more Will good old reliable T-rex or some new-fangled Uber-rex be any match for Johansson's sassy smirk? Not a chance. The all-sprinting, all-leaping Scarlettsaurus turns out to be the most formidable of them all, and money well spent for a franchise that we can all agree was in dire need of a breath mint. It's not perfect by any means. There are moments where character backstory and stakes are hurriedly shoehorned in, and the plot makes no attempts to innovate three decades on from the seismic first instalment. More pleasingly, this is a straight-up 'best of Jurassic' that leans into the textures, sounds, and sheer floor-to-ceiling spectacle of that unstoppable mid-'90s heyday Spielberg executive produces and co-devises along with original screenwriter David Koepp. Above all, the fantastic beasts and the island where we find them look incredible, with Edwards (Rogue One, Godzilla) pulling off precisely what he was hired to do – sci-fi sweep and grandiosity with canny human foregrounding. Get those things right, you're reminded, and the extinct will live long. Three and a half stars