|If Chris Pratt riding a motorcycle with dinosaurs gets you going, I have great news for you|
One phrase I usually roll my eyes at when folks try to use it as a criticism of a fictional film is that it was "manipulative". Fictional stories are made up tales that, by design, manipulate the audience to sympathize with characters, worry for them, etc... While the best directors, writers, actors and Hollywood talent in general have a knack for this and make it happen organically, studios spend a tremendous amount of energy getting good at pushing all the right buttons for audiences despite the raw materials they're working with. A combination of brand identity, pre-awareness, familiar faces and providing absolutely no surprises along the way seems to be the most profitable of movie formulas, if the roaring success of the Transformers franchise is any indication.
Anyone who shrugs off Spielberg as a commercially successful director is missing the point, film snobs. Spielberg has got his technique down, winning both the organic, artistic argument as well as the crowd-pleasing popcorn crowds, balancing one against the other with only the occasional misstep. He's going to have to be long dead before we treat him like a rich, fun guy in a baseball cap, but the man can direct the living hell out of a movie. And part of that has always been that Spielberg's attention to detail is astounding. From his 1970's and 80's scenes of domestic life that ring with the cacophony of exhausted parents raising children (E.T., Close Encounters, Jaws) to the nuance of character he gets out of his actors in everything from Lincoln to Bridge of Spies.
When Jurassic Park arrived in theaters, it was a fun-park ride about a Disneyland with no rides - but, rather, living attractions, a fantastic zoo where science had not stopped to wonder if: just because they could, whether they should. For all the wonder of dinosaurs, there were a million details that were right: vehicles on tracks, contingency plans, a controlled environment overseen by an experienced crew including a big game hunter to make the calls on how to manage the deadly denizens of the park. No thought was spared when it came to how such a park would work.
In fact, the movie takes place prior to the opening of the park as "the blood sucking lawyer" is brought in to review whether or not the park is fit to open, if it's safe, if they know what they're doing. Of course, this came not just from Spielberg, but from the novel by pop-science-fiction author Michael Crichton (no, I never read it), who understood that sometimes if an idea is pretty fantastic, it can work as just a single point of fiction in an otherwise tangible universe. So, of course, lawyers would be pretty interested in figuring out what sort of liability their eccentric founders were asking InGen to take on putting delicious humans anywhere near Tyrannosaurus Rexes. And, of course, a major plot point is that the two paleontologists asked to look it over and give the thumbs up see danger everywhere despite the precautions taken.
Which is weird, because Jurassic World seems intent on lifting scenes and shots from Jurassic Park, but it's steadfastly disinterested in the logic and tone of the world of the first two movies. It's a movie about dinosaurs eating people and that makes families find each other again, and two people with absolutely no chemistry fall in love. Ready to the sacks for money!"