SHORT TAKE:
Repeat of all the tropes from previous movies to create what is now a formulaic Jurassic Park movie – BUT I still loved it.
WHO SHOULD GO:
Anyone old enough to see the original Jurassic Park movie. Same scare level, no sex or nudity and very little profanity. These movies are a hoot and this one is just as much fun as the others, though nothing really very new under the sun. Just a variation on the same theme.
LONG TAKE:
I love the Jurassic Park franchise. Even the ugly stepchildren 
JP Lost World and 
JP III. I know they are derivative. I agree the first was the best – character driven as opposed to the far more special effects driven sequels. I understand they have become formulaic to the point where you can accurately and safely predict the characters who will and will not survive, and the general outline of the story. But I don’t really care. People who ride roller coasters are pretty familiar with how they work, know what to expect and are not especially surprised by the effects of free falls but they still ride them.
These movies are not Shakespeare, or Chekov, or even Woody Allen. They are "what if" stories about what would happen if you threw people and dinosaurs together. And they are a lot of fun.
Two of my favorite all time cinematic scenes are from the franchise. 
(click pic) One is the scene where Alan Grant, renowned paleontologist, reacts to his first encounter with a live dinosaur – a brachiosaurus. 
He is so overwhelmed he turns to Ellie, points and can barely get out the words – "It’s…. it’s a dinosaur," and then has to sit down on the ground. Makes me smile every time.
(click pic) Another of my favorite scenes is seeing Owen racing through the jungle on his motorcycle, hunting alongside raptors. After being oriented to how terrifying these critters are, through all the previous movies, all the way back to the first movie, to see a human as part of their pack gives me goose pimples.
The premise of JP Numero V is that the dinosaurs on Isla Nublar are facing extinction – again – because their island is about to be destroyed by an active volcano. Some think nature should reclaim these anachronistic Frankenstein monsters. Others believe we have a stewardship duty to save them despite the inherent extreme danger of the attempt. 
Another faction is in play with more mercenary motivations.
The actors re-create the characters we have enjoyed in previous movies.
Jeff Goldblum reprises his wisecracking, snarky and insightful Ian Malcolm, in a small cameo, offering his opinions to a Congressional committee on what should be done now that these creatures are facing an(other) extinction level event on their island. The movie cuts back and forth between his testimony and the adventures with Claire and Owen on Isla Nublar.
Chris Pratt returns as Owen, the dinosaur whisperer who is reluctantly pulled in to the rescue mission in order to help Blue, the raptor he raised.
Bryce Dallas Howard appears again as Claire, former executive assistant to the CEO who owned the destroyed park. She now runs an organization attempting to save the dinosaurs and whose primary job in this movie is to scream, escape from dinosaurs and be rescued by Owen.
The ubiquitous James Cromwell creates the character of Benjamin Lockwood, a heretofore unknown partner of the Jurassic concept’s inventor John Hammond (formerly played by the late Sir Richard Attenborough and appears only as a painting). The backstory is that for a previously undisclosed reason, which will become important to a subplot, they had a falling out.
Geraldine Chaplin – the oldest of eight children who Charlie Chaplin had with his wife Oona – appears in a small part as Lockwood’s trusted housekeeper.
Others fill out smaller bits seemingly just to fluff up the roster: 
Justice Smith as Franklin, the geeky tech guy who seems to have been hired for having a girlier scream than Howard and vaguely imitates Jake Johnson’s character Lowery from Jurassic World I. 
Daniella Pineda plays Zia, a tough talking self styled paleo-veterinarian (though she has never actually met a dinosaur up close). 
Ted Levine is the obligate bad guy, unnecessarily cruel to the dinos and callously dismissive of human life, much like Vincent D’Onfrio’s Hoskins from JW. 
Rafe Spall plays Eli, Cromwell’s assistant who is reminiscent of the lawyer Gennero (Martin Ferrero) from JP I. 
There’s the absolutely required kid (Isabella Sermon), 
of course who is cute then in danger. And so on.
Special mention must be made of BD Wong. He pops up once again as the "evil" scientist Wu, who is the embodiment of everything that alarmed Ian Malcolm when he admonished Hammond in the first JP movie that: 
(click pic) "Your scientists were so preoccupied with whether or not they could, they didn’t stop to think if they should." It is interesting to note that Wong and Goldblum were the representatives of the dipolar opposite views in the original JP and are the only major recurring members from the original cast. And I give the filmmakers kudos for going out of their way to make this conceptual point obvious by the small but significant presence of these two characters.
The special effects are remarkable, recreating not only multiple dinosaurs but a volcanic eruption, and chases across a variety of terrain from forest to rooftops.
It is a satisfying thrill ride of a movie, make no mistake.
BUT….
SPOILERS FOR JURASSIC FRANCHISE MOVIES, GENERATIONS, SERENITY AND LAST JEDI
All this being said I still have some issues with the movie.
The de rigeur between-movies "break" in the romantic relationship of the leads is particularly silly. 
It is literally explained as having occurred because Owen wouldn’t let Ellie drive his van. Huh? 
In JP III the break up of Alan and Ellie is heartbreaking and gracefully presented. Alan is shown playing with Ellie’s child. You assume it is his until Ellie’s husband shows up. Then you realize not only that they are not a couple any more, but guess at why – that Alan never wanted to settle down and start a family.
Lava is, at one point, everywhere. Claire and Franklin (Justice Smith) would probably have cooked just being that close to it in an enclosed space as they were. Minutes later they are fleeing from a pyroclastic flow which moves at 50 mph and is full of toxic deadly fumes. An old dilapidated gyrosphere wouldn’t have gone that fast and Owen, even running downhill, couldn’t have come close.
In another scene, an experienced hunter, Ken, (Ted Levine) goes into the cage of THE most dangerous dinosaur ever created for a souvenir tooth. 
It's an insult to JP I's Muldoon 
who was taken by a pack of raptors while trying to save other people's lives. It was pretty transparent Ken's death in JW: FK was only to set up the escape of the Indoraptor.
There was really no reason to try to murder Owen or Claire. 
They were brought along because of their unique insight into the creatures then discarded as soon as one was found. This didn’t make a lot of sense. They try to commit murder of experts who can help them in order to cover up the theft of animals who have been left to die anyway. Huh?
The most galling problem I have is with the demise of one of the creatures. The very first live dinosaur we see EVER in the franchise is an brachiosaurus. 
Yes, it is pretend and CGI and no dinosaurs were harmed in the making of the movie because all the dinosaurs are actually….extinct! But because of its emotional impact of awed amazement in the iconic moment of the first JP movie when we first saw what a living breathing dinosaur might look like today, 
there is a vested connection which audiences over 25 years and five movie have earned. But when Owen and Claire are fleeing the erupting island we watch a brachiosaurus – maybe supposed to be the very one we saw in the first movie – die a prolonged agonizing death. There is a drawn out, extremely painful scene where Owen and Claire watch the creature as it moans at the end of the dock, abandoned, without help, is enveloped by the toxic smoke, becomes a silhouette in the light from the lava and is destroyed. Like the death of 
Captain Kirk in Generations, 
the disappearance of Luke at the end of The Last Jedi, or 
Wash’s demise in the movie Serenity, it felt like a deliberate sign off from the parent franchise. Whether it will signal a new successful batch of movies is another question.
As I pointed out, it is really just an audio-visual emotional roller coaster ride so I shouldn’t expect subtlety.
Overall I enjoyed JW: FK and do hope this is not the last of their progeny. But I also hope care is take in the future with those characters – human and otherwise – of which we have become so fond.
Not to mention the fact it is just plain old fun to watch.
Sophie’s Choice, 
The Deer Hunter and 
Mama Mia.
Laugh-In in her youth, is better known for breathy brainless characters in light frothy comedies like 
Overboard, 
Cactus Flower and 
The Out of Towners.
Willis is usually synonymous with John McClaine’s Yippie-ky-yo-kay-yay smart aleck action heroes in heart pounders like 
Die Hard or 
Red or 
The Expendables or 
The Whole Nine Yards.
Ernest Menville. Meryl Streep is 
Madeleine Ashton, a character which would have appalled even her steely Miranda Priestly from 
The Devil Wore Prada. Goldie Hawn is Madeleine’s opponent, Helen Sharp, 
who goes through 
two major transformations to appease her vengeful bitter personality.
Isabella Rossellini, who looks more like her mother, 
the cinema icon Ingrid Bergman, with each passing year.
The story revolves around the aptly nicknamed “Mad” and “Hel” as they spend 20 odd years tussling over Willis’ character the way two dogs might play tug-o-war with a toy. Not because either really wants it but because they don’t want the other dog to have it. And the result is not all that good for the tug-o-war toy. 
A sorceress’ magic potion, a castle full of dead celebrities (watch for cameos), and a few scenes of comically gory violence all make this appropriate for the Halloween season.
The very dark humor which chides the shallow pursuit of youth at any cost, the excellent straight faced performances despite the bizarre goings on, and the surprisingly philosophical and moral message structuring the backbone of Willis’ character arc makes this a movie well worth your time.
The clever script was written by Martin Donovan, whose resume is cluttered with 1970’s TV shows, and David Koepp, whose pedigree includes both Jurassic Park and the movie version of Mission: Impossible. Directed by Robert Zemekis whose genius guided Who Framed Roger Rabbit, Back to the Future and Forrest Gump, this is one of those rare movies which will make you laugh and think at the same time, pondering the nature of what makes life worth living.
So for this year’s All Hallows’ Eve film, instead of the mindless cotton candy of a slasher movie, I recommend Death Becomes Her for a multi-course cinematic meal, which will supply the table with: a healthy portion of thrills, a fairly large helping of gore, a generous splash of magic, some well tossed laughs, and finally a satisfying aperitif of well served justice.
