A particularly generous reading might claim that Fallen Kingdom’s weaknesses are their own clever subversion of the franchise, that they strip away the distracting, pandering spectacle that made this series work in order to reveal how cruel and corrupt the entire conceit has always been. If you squint, you can see brief glimpses of a thoughtful, interesting Jurassic World sequel somewhere in Fallen Kingdom’s scattered bones. They may have wanted Fallen Kingdom to be a self-aware blockbuster asking interesting questions, but they ended up with the kind of dumb, cynical blockbuster that the first Jurassic World was warning audiences against. And the script, by Trevorrow and longtime co-writer Derek Connolly, repeats all the mistakes of the first Jurassic World, while taking so many new bizarre leaps of logic that it becomes difficult to suspend disbelief. Rather than amping up the scale and spectacle, the latest franchise installment trades the vast landscapes of Isla Nublar for a claustrophobic setting that ultimately makes the whole thing feel like little more than an average haunted house flick. Bayona ( A Monster Calls, The Orphanage) brings a darker, horror-minded sensibility to the material, but it’s an uneasy match with the franchise’s Spielbergian moments of whimsy and wonder. It’s hard to know where its sequel, Jurassic World: Fallen Kingdom, would fit within that thinly veiled metaphor.
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