Jurassic World - 3D - Blu-Ray - High Def Digest

'Jurassic World' is the epitome of the summer popcorn blockbuster event. The sort sometimes referred to — and not necessarily in a demeaning or cheapening way — as the "check your brain at the door" entertainment, a conventional mainstream product manufactured for the sole purpose of attracting the widest possible audience wanting thrills and excitement. But not much else. Its massive, record-breaking box-office success clearly attests to that. The plot is straightforward and uncomplicated: Dinosaurs run amok in a theme park! Pointing out these obvious aspects and traits of the movie is not meant to find fault with the production or gearing up to lambast it. There are many great pieces of entertainment that have been produced much in similar fashion, such as the original 'Jurassic Park.' And for the most part, the movie succeeds at delivering easy entertainment. It's a feast for the eyes, ears and all the senses, if we're so inclined to summarize it in a simple quote.

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With several moments early on and throughout the rest of the movie, director Colin Trevorrow, working from a script that took three others to complete, hints at being aware of this very fact — the film is nothing more than trivial consumerism at its finest — in a few of the character exchanges. As the new park's operations manager Claire Dearing, Bryce Dallas "I'm not Jessica Chastian" Howard convinces a small group of possible investors on the latest attraction because it complies with public demands of more thrills: "Consumers want them bigger, louder, more teeth." And that, the movie definitely does, upping the wow factor with a genetically modified hybrid dinosaur called Indominus rex. As if almost aware of its own synthetic and artificial creation, made from the best parts of what is known to work in order to fill theater seats, Trevorrow later has Howard's austere, number-crunching Claire bickering with a control-room operator (Jake Johnson) on corporate involvement while essentially lauding Spielberg's sci-fi fantasy classic. The scenes are peeks into boardroom meetings with studio heads, Howard standing in for the director, all-business and professional, while Johnson exposes his true feelings and grumbles.

In such moments, and several more like them, we're made to wonder if Trevorrow, despite clearly enjoying his involvement in this production, isn't also commenting on the irony of it all. When cleverly sneaking in bits of dialogue that interestingly transcend the actual conversation at hand, there's a sense of snide cynicism that apparently went undetected. Like tiny breadcrumbs strewn about, the seemingly wily comments — they could just as likely be pure coincidence, of course —sometime reach the level of self-awareness, little postmodern observations for the more astute moviegoers but not so esoteric as to scare away the general public. It hints at a possible deliberateness and intelligence beneath the façade of the thunderous bombast, the dazzling spectacle and the heart-pounding enormity of dino action, promising a deeper, stimulating layer. But for every time we imagine such a prospect, folly intervenes to remind us we forgot our brains at the door. When determined to search for her two lost nephews (Ty Simpkins and Nick Robinson), a suddenly spunky Claire unbuttons her blouse, implying her toughness, yet she's seen running through a jungle in high heels. One can imagine Trevorrow waving his index finger disapprovingly and saying, "Don't overthink it."

And still, he injects other ideas of smart forethought. Knowingly capitalizing on an established and very popular franchise, the plot picks up twenty years after the events of Michael Crichton's first story, in effect erasing the previous two sequels from memory, when John Hammond's dream of a theme park with living dinosaurs has become a lucrative reality. The movie is about a business practice that rehashes products of the past for a new generation while itself being the product of such practices. Throughout, the original film is either directly referenced or talked about, some of which comes from new owner Simon Masrani (Irrfan Khan) or simply every time B. D. Wong, reprising his role as Dr. Henry Wu, appears on screen. At one point, Claire's nephews even stumble upon the visitor center of Hammond's park while trying to make their way back to the new facility, finding a pair of night-vision goggles and the original jeeps, like the one where an injured Jeff Goldblum nervously yelled, "Must go faster." Speaking of the two boys, their backstory of being sent away to Aunt Claire's theme park while mom and dad finalize their divorce is perfectly in tune to Spielberg themes of fractured families.

This aspect itself falls in line with the rest of 'Jurassic World,' as a product of easy consumerism. However, Trevorrow lacks the craftsmanship and simplistic elegance of Spielberg in order to surpass it, to be more than a fancy-looking package. There isn't that sense of childlike wonder when coming face to face with Earth's prehistoric monsters. Much of his camerawork is pushed in so close that it cuts the top off the heads of many dinos bigger than velociraptors or so far away in high-angle to confuse one of the proper emotional reaction, effectively ruining some of the suspense because we can't properly scale the size of the supposedly terrifying Indominus Rex. Also, Chris Pratt has basically been neutered of his natural comedic charisma, the smart-alecky, wittily sarcastic persona that makes him a hilarious joy to watch. As the Navy veteran turned raptor trainer Owen Grady, he appears so intent and focused on seeming the sternly serious hero that he's never more than the conventional, one-dimensional archetype. Admittedly, the sci-fi fantasy adventure still manages a few good chuckles — the funniest moment surprisingly comes from Johnson's final goodbye to Lauren Lapkus — and delivers on its promise.

The Blu-ray: Vital Disc Stats

Universal Studios Home Entertainment opens the doors of 'Jurassic World' with a three-disc 3D Blu-ray combo package that includes a code for an UltraViolet Digital Copy. The DVD-9 and a BD-50 discs sit comfortably on either side of a center panel while a separate BD-50 disc containing the 3D version of the movie waits on the final panel. The two Blu-rays are also Region Free, and all three discs are housed inside a blue eco-elite keepcase with a glossy, lenticular slipcover. The package also includes promotional material for collectible merchandise, videogames and the theme park ride. After several skippable 2D trailers and promo videos, the 3D disc takes viewers to a 3D menu screen with the usual options along the left side, full-motion clips highlighting the action and music playing in the background.

Based on Michael Crichton's most popular novel, Jurassic Park seemed destined for movie greatness with its imaginative premise of long-extinct dinosaurs being bred in the present for a theme park. In 1993, Steven Spielberg pushed special and visual effects to new heights, and awed audiences with sequences where mankind and dinosaur interacted with dynamic results. The film went on to win Academy Awards in both Visual Effects and Sound Effects for its remarkable full-bodied recreations of prehistoric beasts, and earned more than $900 million worldwide. So, when the trend of re-releasing old blockbusters with post-converted 3D emerged, it was only a matter of time before Universal revisited Jurassic Park.

I still have vivid memories of seeing this movie in theaters when I was a kid. That's why I went to see Jurassic Park at a revival screening last fall. 20 years later and I found this thriller as frightening, fun and deeply satisfying as ever. Having watched the T-rex scenes and horrifying raptor sequences in its original 2D, made me freshly intrigued for what 3D could add to this stupendous viewing experience. So, when I went to see Jurassic Park 3D for this column, I paid attention solely to how 3D was employed.

Does It Fit?

You'd think so. Big action spectacle and the T-Rex chase scene where the bellowing dino nips at the heels of Malcolm (Jeff Goldblum) and company seems perfect for 3D. The trouble is that the cinematography of the original film fights the 3D. The angles that would make the best use of this device weren't used, because it wasn't a consideration in 1993. And while the cinematography of Dean Cundey is absolutely extraordinary, it is full of rack focus moves that are jarring in 3D. Basically, the camera focuses on a foreground element, say Ellie (Laura Dern) as she says some crucial line, then the focus shifts from her (putting her out of focus) to someone behind her, pulling focus to their reaction. This kind of camerawork is a great storytelling tool in 2D, but looks odd in 3D where having everything in focus offers a better sense of dimension. Similarly, when foreground elements or background elements are out of focus, it’s a waste of 3D. And in the case of the occasional lens flare, the 3D is actually irksome and distracting.

Fit Score: 3/5

Planning & Effort

I'm confident this was not an endeavor taken on lightly. I'm sure they "spared no expense" in making this conversion. But when a movie was shot on film in two dimensions, it is very difficult to retro-fit it to 3D in an exemplary way. Here, the planning in advance was nonexistent, but the later effort to inject the 3D device into every scene was clearly earnest. Even closeups offer a little more dimension with post-converted multiple planes. But the original lays down a lot of obstacles to making this major revision stand up to movies conceived for 3D from the start .

Planning & Effort Score: 3/5

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Before the Window

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This is the category that gets many moviegoers the most excited about 3D. Before the Window applies to those elements of the movie that seem to protrude into the theater, urging kids to reach out and try to touch the object that seems to be just inches from their reach! One thing I desperately wanted to "see" was the sharp-teethed maws of these gigantic beasts poke out of the screen. There are a few of these moments (for instance when a raptor lunges at Ellie), but they are few and far between, and brief as they are the 3D is nowhere near as impactful as I'd hoped.

Before the Window Score: 2/5

Beyond the Window

Here again is where the cinematography fights the 3D. Jurassic Park is full of luscious, rolling landscapes, but as much of the time they are out of focus—to draw attention to the film's heroes in the fore—a sense of dimension is sacrificed. Still, the kitchen scene gets an added layer of drama with the boost of 3D adding depth to the alleys of metal and tile that the raptors sharp talons click along on. The helicopter sequences also show a notably deep depth of field.

Beyond the Window Score: 3/5

Brightness

This was one I worried about in advance since many of the Jurassic Park's most exciting action sequences take place in dark environments. But Universal refuses to get tripped up here, and properly adjusts so you can see everything in the T-Rex attack sequence, the dilophosaurus stalking of Wayne Knight's Dennis, and within the unlit halls of the cavernous shed where Ellie must reactivate the power and face off against the tricky trio of raptors for the first time.

Brightness Score: 5/5

The Glasses Off Test

How much 3D are you getting? The easiest way to gauge this is take off your glasses and see how blurry the picture is without them. Every frame of Jurassic Park appears to be employing 3D, even places where its totally unneeded, like the end credits set against black.

Glasses Off Score: 5/5

Audience Health

The frequent rack focus moves with the added 3D did give me a slight headache by movie's end, but an informal poll of other moviegoers suggests that was not a common problem.

Audience Health Score: 4/5

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Final Verdict: In the end, my thoughts on the 3D are best reflected by Dr. Malcolm: "[They] were so preoccupied with whether or not they could that they didn't stop to think if they should!"

Let me be clear. As a movie, Jurassic Park is still a breathtaking and exhilarating viewing experience. Many of the special effects and vfx still look real and awe-inspiring. The story is as epic as ever and the performances are still vibrant and entertaining. This movie in no way needs 3D to make it worth the ticket price. And even with the higher rate of 3D tickets, I'd urge you to see Jurassic Park again. The movie is that good, but the 3D itself is not.

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