{"id":1246808,"date":"2026-02-28T13:27:07","date_gmt":"2026-02-28T13:27:07","guid":{"rendered":"https:\/\/www.polygon.com\/?p=611242"},"modified":"2026-02-28T13:27:07","modified_gmt":"2026-02-28T13:27:07","slug":"the-jurassic-park-franchise-could-have-been-a-lot-worse-and-theres-proof","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/the-jurassic-park-franchise-could-have-been-a-lot-worse-and-theres-proof\/","title":{"rendered":"The Jurassic Park franchise could have been a lot worse \u2014 and there\u2019s proof"},"content":{"rendered":"
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By now, it\u2019s a familiar pattern: A new <\/em>Jurassic Park franchise movie<\/a> movie comes out during the summer, garnering middling and sometimes exhausted-sounding reviews<\/a>. Yes, it has some decent special effects and maybe a fun set piece or two, but it\u2019s not a patch on Steven Spielberg\u2019s 1993 original<\/a>. Terms like \u201cout of ideas<\/a>,\u201d \u201cincurious<\/a>,\u201d and \u201cshell of its former self<\/a>\u201d have been thrown around to describe the latest iteration, Jurassic World Rebirth<\/em>. It\u2019s possible, though, that fans who loved Jurassic Park <\/em>and have grumbled through most of the sequels don\u2019t know how good they have it.<\/p>\n

Not everyone is grumbling, of course. The three previous Jurassic World<\/em> movies each made more than a billion dollars worldwide<\/a>, and Rebirth<\/em> is doing just fine in early sales, though it did garner a less-than-glowing \u201cB\u201d CinemaScore<\/a> from opening night audiences. (CinemaScore is even less scientific than Rotten Tomatoes<\/a> in determining a consensus, but a \u201cB,\u201d which would be a solid thumbs-up from a critic, is considered more of a \u201cmeh.\u201d)<\/p>\n

But there is a generational divide that might explain why Jurassic <\/em>sequels engender so much vocal disappointment while also endlessly continuing forward. While this is a broad generalization, people born after 1980 or so tend to revere Jurassic Park<\/em> as one of the defining visual-effects thrillers, creature features, and all-around spectacular-adventure triumphs of their movie-watching lives. Those born earlier \u2014 Boomers and Gen-Xers, in other words, compared to the post-1980 millennials \u2014 often prefer another Spielberg feature, one that just turned 50: Jaws<\/em>, which has its own set of grumble-inducing sequels, some bordering on unwatchable.<\/p>\n

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A whole lot of audience members and critics in 2025 fall on the Jurassic Park<\/em> side of that line, enough that it\u2019s easy to forget how Jurassic Park<\/em>\u2019s original reviews were more good than great. Here\u2019s Jack Mathews<\/a> from Newsday: \u201cA theme park of a movie with a theme park setting, designed for summer tourists who like their thrills visceral. We watch the actors as if we were all on the same Universal Studios tour tram, aware at all times that we’re reacting to engineered illusions.\u201d<\/p>\n

Mike Clark<\/a> of USA Today specifically invoked Jaws<\/em> in considering Jurassic Park<\/em> on first release: \u201cOn a \u2018people\u2019 level, Park<\/em> isn’t Jaws<\/em>, but on a jolt level \u2014 oh, yes, it is.\u201d And none other than Roger Ebert was even less enthusiastic<\/a>, complaining that in Jaws<\/em>, Spielberg had the sense to prioritize anticipation over effects: \u201cThe movie delivers all too well on its promise to show us dinosaurs. We see them early and often, and they are indeed a triumph of special effects artistry, but the movie is lacking other qualities that it needs even more, such as a sense of awe and wonderment, and strong human story values.\u201d (Ebert\u2019s original review of Jaws<\/em><\/a>, meanwhile, called it \u201cone hell of a good story, brilliantly told,\u201d praising characters \u201cthat have been developed into human beings we get to know and care about.\u201d)<\/p>\n

These critics were all born well before 1980 \u2014 there were very few 13-year-olds professionally reviewing movies in 1993. It\u2019s not that an appreciation of Jurassic Park<\/em> requires a blush of barely adolescent excitement and lingering childhood dino-mania; plenty of today\u2019s most prominent adult critics would surely judge the first Jurassic<\/em> Park <\/em>much more favorably than their 1993 equivalents, even without childhood nostalgia for it. These days, Jurassic Park<\/em>\u2019s reputation doesn\u2019t lag so far behind Jaws<\/em>.<\/p>\n

Both movies\u2019 reputations have grown over the years, with multiple re-releases and anniversary appreciations. The sheer level of enduring Spielberg craft makes both movies rewatchable classics. But it\u2019s fair to say that Jurassic Park<\/em> had further to go to catch up with its sibling, likely because it did skew younger from the start. It\u2019s also particularly attuned to both the huckster-y spectacle of the blockbuster era and the real-world scientific breakthroughs that followed. \u201cYour scientists were so preoccupied with whether or not they could, they didn’t stop to think if they should<\/a>\u201d may resonate a bit more with current and future generations than \u201cYou\u2019re gonna need a bigger boat<\/a>.\u201d <\/p>\n

\"Roy<\/p>\n

That Jurassic<\/em> line about scientists has also been repeatedly invoked as a pithy dismissal of the movie\u2019s sequels. It\u2019s a reductive use of a great line, but it does help sum up the feeling that the six subsequent Jurassic movies are more obligatory than inspired. As someone born right on that Xennial line of 1980, though, I\u2019ve never felt especially betrayed by the idea of a Jurassic movie that\u2019s just OK. Jaws<\/em> strikes me as substantially better than Jurassic Park<\/em>: smarter and richer in characterization, a pure-cinema exercise less reliant on visual effects than some of Spielberg\u2019s movies, and with a depiction of America that makes it feel like the definitive Fourth of July holiday movie. Those qualities make its sequels feel like a massive comedown, barely worth mentioning. Every one of them is vastly worse  than anything the Jurassic franchise has to offer. <\/p>\n

That\u2019s faint praise, so let me more actively defend the latter. The Jurassic movies aren\u2019t all created equal, to be sure; Colin Trevorrow\u2019s franchise-reviving 2015 smash Jurassic World<\/em> feels particularly dyspeptic in retrospect, full of sour gender politics and standoffish characters who never really warm up. But for fans of monster movies, the sequels have plenty to offer, provided you can accept that they play a bit like big-budget versions of the later-period Universal Monster movies from the 1940s.<\/p>\n

No one would argue that The Invisible Man\u2019s Revenge<\/em> or House of Dracula<\/em> are as good as the original films that spawned them, but if you like movies about werewolves, vampires, and madmen who can turn invisible, those sequels are fun indulgences \u2014\u00a0just like watching different groups of dinos attack people in different places. Jurassic World: Fallen Kingdom<\/em><\/a>, the best of the recent Jurassic World<\/em> trilogy, makes that connection more explicit by staging its final stretch in a large but creaky mansion, with dinosaurs set loose on a dark and stormy night.<\/p>\n

The new Jurassic World Rebirth<\/em> is more traditionalist, but it\u2019s not just a Jurassic Park<\/em> remake. It shares adventure-movie elements with the 1933 King Kong<\/em>, and while it struggles to find anything to say that\u2019s as resonant as that movie (or the original Jurassic Park<\/em>), it\u2019s still a good-looking creature feature that should appeal to monster-loving kids and adults. Having Gareth Edwards behind the camera helps, just as it helped to have Spielberg himself working on the first Jurassic Park <\/em>sequel back in 1997. Spielberg is such a master of camera movement, blocking, and image-making that simply having him work through a few big set pieces \u2014\u00a0most notably, an extended sequence featuring two T. rexes, a trailer, and a cliff\u00a0\u2014\u00a0places 1997\u2019s The Lost World: Jurassic Park<\/em> well above most summer blockbusters in terms of pure craft. Its San Diego-set finale (much like the Malta sequence from Jurassic World Dominion<\/em><\/a>) adds some welcome Godzilla notes to the series\u2019 repertoire.<\/p>\n

\"In<\/p>\n

Spielberg stayed on as a Jurassic<\/em> producer after Lost World<\/em>, but the Jaws<\/em> sequels<\/a> had no such consistent guiding hand: Spielberg ultimately kept his name away from them. (In a 2011 interview<\/a>, he admitted to not being happy with how Jaws 2<\/em> turned out, and said he thinks about making a Jaws<\/em> sequel from time to time, before dissuading himself.) The three Jaws <\/em>follow-ups to have some of that aforementioned Universal-monster DNA, but while we\u2019ve seen Jurassic movies explore theme parks gone haywire, old-fashioned jungle adventures, and Godzilla-style city destruction, with rotating line-ups of creatures, the shark\u2019s variations are mainly limited to \u201cbigger\u201d and \u201cinexplicably able to very quickly swim thousands of miles for purposes of revenge.\u201d<\/p>\n

Those sequels also bear unflattering resemblances to the low-rent slasher movies of their era, only without nearly as many cool kills<\/a>. The second movie, for example, has Chief Brody (Roy Scheider) from the original film saving a bunch of stranded teens, while the second follows Brody\u2019s son. These movies drifting toward sort of beach-party\/slasher hybrids made it increasingly easy for adult audiences to shrug them off entirely.<\/p>\n

In the 1980s, though, abandoning a hit movie\u2019s sequels to become youth-audience cash-ins wasn\u2019t so unusual. Though Jaws <\/em>jumpstarted the summer movie season as we know it, the idea of sequels as major events continued to lag behind. It was a different era of sequels; follow-ups were expected to make about two-thirds as much money as a series-launcher, if that. Movies as lofty as the Best Picture winners The Sting<\/em> and The French Connection<\/em> spawned cheaper or just plain forgotten sequels in the \u201970s, while in the \u201980s, studios churned out new installments in successful slasher series (and new Police Academy<\/em> movies) as quickly as possible. Jaws 2<\/em> did set an opening weekend record<\/a> back in 1978, but the competition it narrowly beat, Grease<\/em>, wound up making way more in the long run. Jaws 3D <\/em>notched the second-biggest opening weekend of 1983, behind only Return of the Jedi<\/em> \u2014 but its final numbers were only good for 15th place at the end of the year. <\/p>\n

Jaws<\/em> is also one of the few blockbusters that has never been subjected to some form of legacy sequel, reboot, or remake, consigning the sequels to the realm of trivia. They\u2019re now arguably better known for their taglines (including \u201cJust when you thought it was safe to go back in the water\u201d and \u201cThis time, it\u2019s personal\u201d) than for their actual stories or stars. Viewers growing into a love of movies during the 1990s would not have caught them on TV as often as kids growing up a decade earlier.<\/p>\n

The Jurassic <\/em>series, on the other hand, has been opening new sequels on thousands of screens at a regular cadence for the past decade, presumably keeping kids interested and millennials vaguely annoyed. This doesn\u2019t strike me as a betrayal of the original movie\u2019s values. While none of the followers are as expertly engineered as the first film, the original Jurassic Park<\/em> winks at its own theme-park aesthetics as much as it delivers a trenchant commentary on commercialization<\/a>. The film\u2019s famous pan across the park\u2019s merchandise shelves is equally affectionate and sardonic; Spielberg isn\u2019t exactly biting the hand that feeds.<\/p>\n

\"\"<\/p>\n

The Jurassic Park sequels have also managed to chart American society\u2019s shifting relationship with sensational levels of movie spectacle, which increasingly occupies the center of many moviegoers\u2019 attention. Though some have described<\/a> Jurassic World Rebirth<\/em>\u2019s new status quo, where the viewing public isn\u2019t all that impressed by dinosaurs anymore, as a depressing fulfillment of prophecy (and maybe an admission of defeat), that plot beat reads more like a sly depiction of blockbuster-era ennui, where audiences often seem \u201cover\u201d this or that style of movie or franchise, without feeling sure about what might satisfy them instead.\u00a0<\/p>\n

The generation that grew up favoring Jurassic Park <\/em>over Jaws<\/em> and considering it a top-three Spielberg movie has been repeatedly enticed by new sequels: Viewers keep heading to theaters, hoping to recreate that initial rush of excitement. Jurassic Park <\/em>arrived at a revolutionary time for visual effects, and even more so than Jaws<\/em>, it fed into the idea that a big-budget summer thrill machine beloved by third graders can also be a great movie. It seems unlikely that many viewers had similarly high expectations for Jaws 3D<\/em>.<\/p>\n

Jurassic Park<\/em> wasn\u2019t the only movie to boost expectations for visual-effects blockbusters in general, as well as for its own potential follow-ups. But true to Spielberg\u2019s skill set, it may have done so more efficiently than any other film since Star Wars<\/em>. By elevating the excellent original Jurassic Park<\/em> to Jaws <\/em>levels of admiration, the movie\u2019s most ardent devotees may have convinced themselves to keep looking for similarly high quality in what is ultimately a series of diverting monster movies.<\/p>\n

I\u2019m not arguing for excusing franchise slop by keeping expectations basement-level; just for seeing Jurassic Park movies in the proper context of shlocky, if sometimes fun, sequels. (And if that\u2019s shudder-inducing, for skipping them accordingly.) The Jaws<\/em> sequels are lousy, but they left the pre-Jurassic Park<\/em> generation with a better understanding of what dangers to expect when you keep going back into the water.<\/p>\n

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Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

By now, it\u2019s a familiar pattern: A new Jurassic Park franchise movie movie comes out during the summer, garnering middling and sometimes exhausted-sounding reviews. Yes, it has some decent special effects and maybe a fun set piece or two, but it\u2019s not a patch on Steven Spielberg\u2019s 1993 original. Terms like \u201cout of ideas,\u201d \u201cincurious,\u201d and \u201cshell of its former self\u201d have been thrown around to describe the latest iteration, Jurassic World Rebirth. It\u2019s possible, though, that fans who loved Jurassic Park and have grumbled through most of the sequels don\u2019t know how good they have it. Not everyone is grumbling, of course. The three previous Jurassic World movies each made more than a billion dollars worldwide, and Rebirth is doing just fine in early…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":1246809,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1246808","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nThe Jurassic Park franchise could have been a lot worse \u2014 and there\u2019s proof | Arcader News<\/title>\n<meta name=\"description\" content=\"By now, it\u2019s a familiar pattern: A new Jurassic Park franchise movie movie comes out during the summer, garnering middling and sometimes\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arcader.org\/news\/the-jurassic-park-franchise-could-have-been-a-lot-worse-and-theres-proof\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta 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