Why do we keep showing up for every Jurassic film? When we could have easily skipped every installment after the 1993 original? Because we want to find out not if it can match the original, but how bad it will be.

When news of Jurassic World: Rebirth, the seventh film in the Jurassic Park franchise, came out, I rolled my eyes and felt that familiar wave of irritation. Because, of course. I had to see it. I thought the Chris Pratt era was the last time we were tolerating this.

Let’s say my expectations were lower than low. I was debating whether to see this or the trending K-pop: Demon Hunters, but a last-minute invite from a friend to see Jurassic World: Rebirth, and my inability to sit through the K-pop cartoon, sealed it. It was meant to be.

“How long is this?” I asked my friend.

“Over two hours,” he said.

“OVER TWO HOURS?!?!”

But Rebirth turned out to be watchable. Even tense at times. The screenplay was by David Koepp, who co-wrote the original 1993 film with Michael Crichton.

The excuse for another dinosaur adventure this time is health-related. And when pharma’s in the mix, you get the usual themes of greed and power.

Our heroes are Scarlett Johansson and Mahershala Ali. The rest of the team are cardboard-thin characters. A large group of people, split into two subplots, spend the film chasing or running from semi-CGI dinosaurs.

Koepp, likely under Spielberg’s guidance as executive producer, keeps recreating moments from the 1993 classic. This gives the film an odd mix of nostalgia and disappointment. Remember Joseph Mazzello underneath the upside-down Jeep as the T. rex tried to reach him? Now it’s a kid on an inflatable raft. When Ariana Richards hid in the kitchen cabinet to escape a velociraptor? Jeff Goldblum with the emergency flare? The tearful joy of touching a dinosaur for the first time? Even the other supporting characters, the Delgado family — a father and his kids —recreate some Sam Neill-and-kids moments.

In Rebirth, Sam Neill’s paleontologist is now Jonathan Bailey as Dr. Henry (Harry) Loomis. Scarlett Johansson is the Laura Dern here, but with a twist: not an overacting paleontologist, but a former covert-ops agent leading the expedition. Her tactical skills aren’t exactly impressive, but her PTSD adds some emotional depth.

There are so many moments designed to remind you of the original, as if the film is asking, “Remember this? You loved this.” If Spielberg and the studio really want to keep returning to this franchise, they need to find new ideas. New action scenes. New thrills. Otherwise, the sequels will continue to feel as disposable as this one. The depressing part, not just with Rebirth, but in Hollywood overall, is the extinction of originality.

They also included mutated dinosaurs, which is a little disheartening. If this is the beginning of another trilogy, it looks like we’ll be moving away from our beloved dinosaurs and into the realm of man-made monsters.

Nevertheless, Rebirth is the kind of light popcorn entertainment that essentially works. What makes it watchable is Gareth Edwards’ composed and sincere direction. He brings good pacing and a sense of control, even if the characters are underwritten and the arcs predictable.

Early scenes, like the Mosasaur moment with the boats, are effective. But none of the sequences come close to the emotional weight of John Williams’ score. In fact, the music feels manipulative at times. Even the most mundane scene becomes emotional just because the theme plays.

Rebirth can easily be skipped. But if you end up seeing it because there’s nothing better to do, you’ll be moderately entertained.

3 out of 5 stars

Now showing in cinemas