In Steven Spielberg's blockbuster in 1993 Jurassic Park, the billionaire behind the title of attraction, Johnon Hammond (Richard Assenboro), practically a lavish expectation of how successful his venture will become. He returned that his team that helped back dozens of extinct species of dinosaurs to life "spare no expense" and that everything in the park boasts "absolutely spectacular designs". Although the small group of experts Hammond invited to circle the park, they are really impressed by what he did, having strong emotional responses to the landmarks of the real living dinosaurs that walk the earth, they begin to have serious doubts, as reality begins to be inserted. should. "

"Jura Park", both the first film and the original novel by Michael Creekton, use the idea of ​​a potential dinosaur theme park as a metaphor for all types of foibles surrounding the progress of science and technology, especially humanity of humanity for jumping before it seems. It's part of Mary Shelley, part of "West World", "Del" King Kong, and the film not only became a hit of the intersection, but also helped to strengthen the use of computer -generated images in the cinema. Just a few years later, CGI became a major in almost every film of genres, with huge achievements and technology refinements that occur with each passing year.

However, as Claire Derring (Brice Dallas Howard) explains in Jurassic World, the public appetite for more and better things is unsaturated once. While the Jurassic franchise took a number of conceptual turns and added a few new characters to the mix (not to mention that there is a new Dino or two with each sequel), there is no doubt that the huge interest and the Loveum collected from the first film has declined. The latest entry, "Jurassic World Revival", seems to recognize thisMetaphorically comparing the slow extinction of reborn dinosaurs with creeping death of the film industry. Ironically, in both cases, we have a "Jurassic Park" to partially blame.

World building in "Renaissance" follows the previous Jurassic World trilogy made by writer/director Colin Trevor and his associates. In those films, genetic engineering dinosaurs initially developed for the abandoned Hammond park on Isla Serna and the subsequent World resort of Jura were eventually released on the entire planet. For some time, these creatures seemed to coherate with humans and other animals. The trilogy seemed to be wearing a central metaphor for Spielberg's dinos began with the "lost world: Jurassic Park", which is that they are a standstill for animals and the natural world in general. The films advocated for general preservation and preservation of dinosaurs, with the theory of Malcolm's chaos, manifested itself in the way the whole world was now forced to consider these new species.

"Renaissance" adds new wrinkles to all thisAs writer David Kop begins the film with creeps on the headlines that explains that most of the dinosaurs have begun to die out since the events of "Dominion". The creatures are now succumbing to too many differences in the modern climate of the country than from the prehistoric climate that was originally used (conspiracy point that echoes on HG wells The "War of the Worlds", whose adaptation made Coep and Spielberg in 2005). Although dinosaurs are still able to live in areas close to the Earth's equator (which mimics their traditional climate close enough to allow them to advance), the fall of the dinos is still tragic and acute with the fact that the public interest in them is now diminishing when the whole world has become accustomed to their presence. The open sequence of the film shows as a brachiosaur, once the source of awe of Alan Grant (Sam Neil) and Eli Satler (Laura Dern), has become an ordinary danger from the road causing traffic jams.

It is a skillful visual metaphor on behalf of Koepp and director Gareth Edwards, a picture as good as everyone to point out as what was once exciting and the novel became common to the stuck audience. Combined with the regrets of Dr. Henry Lomis (Athonatan Bailey), who attends his presence in his History Museum seriously, Coep and Edwards are not subtle on how these dinosaurs are a stand for visual effects in genres, if not for cinema. Recently, there have been a lot of discussions on how films have become less drawing for the general audience, and while there are numerous social and economic reasons, Edwards and Copey correctly point out the saturation and omnipresence of visual effects as a key factor. How can any audience be filled with awe and wonders again when they are trained in decades where the effects are, potentially in the heads of an average viewer, made with obvious pressure on several buttons?

Of course, no visual effects are made as simple as that conventional wisdom would have. Part of the problem is our lack of common language When talking about visual effectsBy resulting in uncriticals such as "CGI looks good/bad", they become a height of discussion for them. Another problem facing the visual effects is that, despite the great effort and creativity that goes into their creation, too many executives and manufacturers lack the mentality "Let's do it in the post". It is a crutch that resulted in some classic trick techniques and other minor illusions of the hands that are neglected or forgotten, as like My discussion with David F. Sandberg to use such devices on "Dawn" shows. All this has contributed to the increased apathy to the cinema visions that can provide, the one that the history of the film can worsen only. As Edwards himself said to break the red carpet of "Renaissance", Most films he thinks have been made before the original Jurassic Park, indicating that technological progress is not always an improvement.

As such, Edwards and Kop use "Rebirth Jurassic World Rebirth" to try and make a case of how visual effects can still keep the power to delight, entertain and excite the only way they know how: using pure cinema. "Renaissance" is not a trick movie; There is no new process or technology that shows, nor does it try to trade with a nostalgia factor using anitronic or practical effects. (Actually, it seems that "Revival" has no practical dinosaurs, noticeable difference from almost every previous Jurassic film.) Instead, the film relies on providing an original sense of scale, deposits and uncertainty, where not only the visual effects that are astonished, but on the circumstances around them and their presentation. During the almost prerequisite of the film, "Someone watches a benign dinosaur and is a surprised" scene "," Retrospora "did something I thought impossible: it made me emotionally, implanting that feeling of miracle that I thought it wasn't from these films. All this is due to the way Edwards shoots the scene, the way VFX artists deliver dinosaurs animation and the way Bailey plays the moment. In short, that's the magic of making movies in action.

It is clear that it is not enough for everyone, as more hostile reactions to "rebirth" indicate. For these people, it seems that closeness has really raised contempt, as they reject another sequel to "Jurassic". While purely good filming is enough for me and it seems the only way forward for the Jurassic films If they continue, there is no doubt that future directors should listen to "Re -birth" warnings when it comes to visual effects. If we are not careful, the thrill of movies can really die, and this is a medium that no one should hope to disappear.