“Jurassic World,” the latest incarnation of the franchise, is lacking the deft sense of wonderment, wit and suspense that guided the original. Director Colin Trevorrow, who ended his first and only other feature, “Safety Not Guaranteed,” with a Spielbergian magical twist, has instead made a more biting thriller hung up on the corporate mandates of post-“JurassicPark” Hollywood.

The big take away, apart from the large prehistoric action portions, from Jurassic World is that Chris Pratt is the new Harrison Ford. Heck he’s even dressed like a cross between Han Solo and Indiana Jones. And he’s motorcycling around the jungles of Jurassic World playing hero as if he were in a Jurassic edition of temple run.

Trevorrow’s hold on the proceedings is firm and it helps that the visual effects are absolutely first-rate. As the movie hurtles towards a massive climax that becomes a chance for at least one raptor to display admirable acting chops, it redeems itself and ends up becoming the best among the sequels in this franchise. However, in its effort to pay tribute, it misses out on the vital human touch that made ‘Jurassic Park’ one of the most enduring blockbusters in Hollywood history.

There’s a lot to marvel at in Colin Trevorrow’s Jurassic World — like Irrfan Khan’s strangely-accented English, the way Bryce Dallas Howard sprints through jungles in high heels without ever stumbling, and the countless cliches that litter the path to the film’s ginormous climax.
Trevorrow’s film brings back the dinosaurs and they are better than ever…

…will definitely entertain you after the last two extra, extra large and mildly disappointing sequels. This film definitely captures the Spielbergian factor of horror and wonderment, added with Trevorrow’s sense of self-reflecting humour and chaos. And in world of panic and joy, Trevorrow, Pratt and the monstrous Indominus Rex make quite a team.

Spielberg is only the executive producer on Jurassic World, but the film, directed by Colin Trevorrow, is the logical extension of the position he’d taken all those years ago. If his Jurassic Park represented an exciting new world, this film shows how that world has been commoditized, packaged and served up as a McDino.

It has enough for the 13 year-olds in all age groups to embrace the dinos but it suffers from the similar corporate excess that it suggests to guard against.

Jurassic Park, if you can overlook the simplistic philosophical blather, was at the least an effective cautionary tale against messing with nature for profit. Its sequel, The Lost World, could also be seen in that light. In this film, the basic idea of producing dinosaurs in the lab to create a theme park gets an approval. The problem, the narrative seems to suggest, lies in billionaires wanting to milk the nature ‘too much’. It is about creating a Jurassic Park with a human face. This is definitely a change of philosophy.

Events move at a fast clip, the paleontology talk is kept to a minimum, the computer-generated effects are beautifully realised, and the characters perform their parts with the required efficiency. The raptors easily steal the show, especially in the sequence where they hurtle through the woods in pursuit of the Indominus rex, as ugly-cute as pit bulls.