In addition to the challenge of debuting in Hollywood with a blockbuster, J.A. Bayona had two other challenges ahead. The most obvious: giving an entity and a certain personality to a film that was the sequel to a recent one and the fifth installment of a veteran franchise. The other: knowing how to manage his admiration for Steven Spielberg, a filmmaker whose imprint is evident in his previous work. Perhaps because an important part of the work, that of knowing how to handle very complex production films, was controlled by having linked ‘The Impossible’ (2012) and ‘A monster comes to see me’ (2016), the filmmaker has not only surpassed the triple challenge. He has had plenty of time to propose one of the best installments of the saga and sign a film 100 percent Bayonne, where his interests and his sensibilities are revealed.
The most valuable thing is the dialogue that Bayona establishes with the saga, Spielberg’s films and a film-show from another time, without fear of showing itself with clarity and innocence, wonderful and amazed. The director controls admiration and nostalgia, pays homage to the franchise and the master’s cinema without falling into the obvious or getting nerdy. It is undeniable that there is something very eighties in his way of conceiving the sequences and the conflicts, even approaching the characters. And his commitment to contemporary entertainment cinema is clear … stripping it, yes, of the dose of noise and chaos from him. Fast-paced, with several iconic sequences and packed with evocative and beautiful imagery, the film is especially personal in its second installment, when picked up, darkened, and flirted with the ghostly: dinosaurs sneak into a beautiful and strangely delicate gothic horror tale .
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