Jurassic World / *** (PG-13)

Owen: Chris Pratt

Claire: Bryce Dallas Howard

Gray: Ty Simpkins

Zach: Nick Robinson

Hoskins: Vincent D’Onofrio

Simon Masrani: Irrfan Khan

Lowery: Jake Johnson

Vivian: Lauren Lapkus

Barry: Omar Sy

Dr. Henry Wu: B.D. Wong

Universal Pictures presents a film directed by Colin Trevorrow. Written by Rick Jaffa & Amanda Silver and Colin Trevorrow & Derek Connelly, Based on concepts created by Michael Crichton. Running time: 124 min. Rated PG-13 (for intense sequences of science fiction violence and peril).

The whole concept behind Hollywood sequel making is counter to the notion of criticism. While a critic tries to guide and educate an audience on what will entertain and enlighten them, the purpose of a sequel is generally to make money off of fulfilling an expectation of the exact same approach to the exact same effect as the previous—or best—film in a franchise. So it is left to the critic to merely report whether the filmmakers have achieved a repeated effect or have failed. When you get a tent pole film like “Jurassic Park” that is filled with spectacle and thoughts, it becomes problematic for the studios, which inexplicably feel the need to reproduce the spectacle but rarely the insight.

Spectacle minus the insight was certainly the problem with the previous two movies in the “Jurassic” franchise. In fact, “The Lost World: Jurassic Park” and “Jurassic Park III” were so lacking in any sort of science fiction themes and insight that the latest in the series—the long-awaited reboot “Jurassic World”—totally ignores the existence of the second and third films. In doing so it returns the story to the roots of its science fiction foundation. Once again the characters are dealing with the themes of the original film about the dangers of playing God with science, the impossibility of containing nature and even some new ideas about the need of some humans to push every scientific development toward weaponization.

San Andreas / *** (PG-13)

Ray: Dwayne Johnson

Emma: Carla Gugino

Blake: Alexandra Daddario

Lawrence: Paul Giamatti

Ben: Hugo Johnstone-Burt

Serena: Archie Panjabi

Ollie: Art Parkinson

Daniel: Ioan Gruffud

Warner Bros. Pictures presents a film directed by Brad Peyton. Written by Carlton Cuse and Andre Fabrizio & Jeremy Passmore. Running time: 114 min. Rated PG-13 (for intense disaster action and mayhem throughout, and brief strong language).

The disaster flick is a cinematic summer pastime that goes back even further than Spielberg’s supposed creation of the summer blockbuster with his movie “Jaws”. In fact, the 70s were known for a large number of Hollywood disaster pictures. We love disaster flicks. They’re usually bloated, overblown excuses for ridiculous action sequences populated by too many stars—including the ones that have been nominated for Best Picture Oscars—but we can’t stay away from them.

It’s been a few years since the last big budget disaster flick. No, “Sharknado” doesn’t count. I’m talking about theatrical releases and big budgets here. Roland Emmerich ruled the modern disaster flick with movies like “Independence Day” and “The Day After Tomorrow”, but he left a hole when he submitted his sworn last disaster flick “2012”, depicting the supposed end of the world predicted by the end of the Mayan calendar.  Director Brad Peyton (“Journey 2: Mysterious Island”) has filled that hole by placing a big giant hole in the middle of California in the new film “San Andreas”.

Ebert Thoughts ‘15—Goodbye To Language (2014) **

UR, 70 min.

Director/Writer: Jean-Luc Godard

Starring: Héloïse Godet, Kamel Abdeli, Richard Chevallier, Zoé Bruneau, Christian Gregori

I recently reviewed Jean-Luc Godard’s 1967 film “2 or 3 Things I Know About Her”. It’s easy to see with that film the track that had started in Godard’s career and would eventually lead him to a film like “Goodbye To Language”. While his less narrative, more documentary style worked well with the freer thinking of the late 60s, his cinematic philosophizing has become as confused as the world itself today. While there might be some value to be weighed into that notion, the consumption of it leaves something to be desired.