Jurassic World Rebirth

REVIEW:

Full disclosure, I will always be biased and defensive towards this franchise because the original is my all-time favourite movie, and that feeling of awe, wonder, and joy will always be there every time I see a dinosaur on screen — and Rebirth is no exception. From the opening scenes, I was reminded why this universe holds such a special place in my heart. Even decades later, nothing quite compares to that sense of grandeur when a herd of dinosaurs crests a hill or a T-rex emerging from the bushes. This film doesn’t just rehash that magic — it builds upon it.

I was genuinely thrilled when Gareth Edwards was announced as the director. If there’s one filmmaker who understands scale and spectacle without sacrificing intimacy, it’s him. He already proved that with Godzilla (which only needed a little more brightness) and solidified it with Rogue One, arguably one of the best modern Star Wars entries. I was eager to see what he would bring to Jurassic, and thankfully, he did not disappoint. His eye for atmosphere, careful attention to framing, and now his more vibrant and cinematic colour palette are present throughout Rebirth — a visual reminder that these creatures aren’t just blockbuster material, they’re ancient, living titans.

What Edwards truly nails is the sense of scale. The dinosaurs in this movie feel massive — even in scenes without action, there’s a real physicality to them. You feel their weight in the world. The Spinosaurus stalking prey in the water, the Mosasaurus breaching the waves like the massive prehistoric sea creature it once was, the lumbering Titanosaurus grazing peacefully at dawn — these moments are breathtaking. That reverence for the animals was something the previous Jurassic World films often missed. I liked the Chris Pratt-led trilogy, don’t get me wrong, but between the weaponised raptors and the giant locusts, they forgot the simple joy of dinosaurs behaving like dinosaurs.

Rebirth is not perfect, and it doesn’t need to be. The storyline detours briefly to focus on a family whose yacht capsizes off the coast of Ile Saint-Hubert — a newly introduced island previously used by InGen — and the pacing takes a hit. Some of the humour, mostly coming from David Iacono’s character falls flat. And while the D-Rex — a six-limbed mutant T-Rex hybrid — had potential as the film’s big bad, it’s surprisingly underused. It’s teased in the opening scenes and then barely appears, relegated to a subplot about failed genetic experiments. I’m happy that Edwards didn’t lean too hard into the “monster movie” direction, but a bit more menace from this creature would’ve helped heighten the stakes.

But then, Rebirth hits you with scenes like the T-Rex raft chase, and all is forgiven. This was vintage Jurassic Park, adrenaline-fueled and beautifully executed. One particular moment — the T-Rex biting into the overturned raft while Isabella (Audrina Miranda) is stuck underneath — is such a loving nod to the original film’s iconic sunroof scene with Tim and Lex, it gave me chills. It’s in these tributes and cinematic callbacks where the film really shines. Edwards knows this franchise’s DNA (pun intended), and he uses it with care.

The CGI is mostly top-tier. The Mosasaurus, in particular, is an achievement — its water interaction, its texture, the way its eyes track prey — it all looks astoundingly real. And the cast? Fantastic. Scarlett Johansson and Mahershala Ali are as dependable as ever, Rupert Friend brings dry charm, but it’s Jonathan Bailey who unexpectedly steals the show. His character, a paleobiologist who’s as emotionally affected by the presence of dinosaurs as we are, becomes a kind of audience surrogate. There’s a moment where he witnesses a herd of Titanosaurs under the rising sun as John Williams’ score swells, and I genuinely got misty-eyed.

Plot-wise, we’re not breaking new ground. The mission is a familiar one: recover DNA from a select few dinosaurs that may help cure or treat human disease. But again, this isn’t about the MacGuffin. It’s about the journey, the thrill of seeing ancient beasts walking among us again. There’s a wonderful early scene set in Manhattan where Rupert Friend’s character is caught in traffic due to a Sauropod blocking the road. It’s the kind of grounded, real-world interaction with dinosaurs that Dominion completely missed out on. More of that, please.

Aquilops fans, rejoice! There’s a charming new addition to the franchise in the form of Dolores — a skittish little horned dino who bonds with Isabella. It’s very E.T. by way of Cretaceous period and surprisingly emotional. Rebirth tells a contained story, no cliffhangers or unnecessary sequel bait, and I honestly respect that. Still, there’s plenty of room to continue. Universal would be foolish not to keep this cast and director onboard. I’ve already pre-ordered the steelbook — that should tell you all you need to know about how much I enjoyed this one.

And as a bonus surprise, Universal is attaching the teaser for Christopher Nolan’s next film, The Odyssey exclusively to screenings of Jurassic World Rebirth. A bold move — and a clever one. It’s the kind of old-school cinema-first marketing I wish we saw more often. In the end, Rebirth is everything I wanted: a spectacular, heartfelt return to form that proves there’s still life in this franchise — as long as the right people are holding the map.