[Watch the review above and/or read it below!]

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Jurassic World: Rebirth isn’t the shot in the arm the franchise needs, but it’s not a complete misfire either. After two wildly miscalculated entries that seemed more awkward and chaotic than exciting or suspenseful, this seventh film at least remembers why these movies worked in the first place: dinosaurs, islands, and people trying very hard not to be eaten.

There’s an effort here to reset. Director Gareth Edwards (Godzilla, Rogue One) and returning screenwriter David Koepp opt for a more contained, back-to-basics structure. The setup: a team heads to a restricted island to collect DNA samples from three species, with a marooned family getting caught up in the chaos. It’s refreshingly smaller in scale but also undeniably flimsy, a premise so thin it’s hard not to roll your eyes as it’s trotted out. Still, the plot’s simplicity makes room for what really matters: suspenseful set pieces, tight pacing, and plenty of dino danger.

To its credit, Rebirth gets a lot of mileage out of its action beats. A tense early sequence at sea sets the tone, and Edwards proves once again that he knows how to build threat through space, scale, and silence. The best moments lean toward horror, with jungle-set tension and lurking danger handled more confidently than anything this franchise has delivered in a while. Unfortunately, these stronger moments are diluted by the now-familiar visual effects inconsistencies – a mix of impressive dino visuals and distractingly artificial CG environments.

The cast does what’s required. Scarlett Johansson is perfectly capable in the lead, but her character – a haunted, hardened operative – is a template rather than a person. Mahershala Ali and Jonathan Bailey bring some charm and weight, but they’re ultimately swept along by the plot like everyone else. What little character work there is is buried beneath a steady stream of questionable decisions – the kind that only happen because the plot needs them to.

And yes, there’s a new hybrid dinosaur. Of course there is. Despite nods to restraint, the D-rex arrives with extra limbs and a goofy design that feels more “Saturday morning cartoon” than apex predator. It’s another strange step toward sci-fi silliness that undercuts the film’s stronger “return to roots” instinct.

Still, there’s something mildly comforting about how straightforward Rebirth is. It’s a cleaner, tighter entry that trades excess for atmosphere – even if the end result still feels somewhat forgettable. Like a theme park rollercoaster, it gives you a few thrills and spills, then spits you out none the wiser. But hey, it doesn’t go off the rails.