When I saw Jurassic World back in 2015, I thought the franchise should die out. A massive box office return meant that it would not, and the announcement of Jurassic World: Fallen Kingdom raised the question of how would Universal reinvigorate a franchise that seemed exhausted of ideas? Enter director J. A. Bayona, whose career has risen steadily since his feature debut The Orphanage in 2007. Under Bayona’s steady yet unsettling hand, Jurassic World: Fallen Kingdom emerges like a T-Rex from foliage as a film of two halves. The first half is one we have seen before, with standard Jurassic tropes of island, jungle, rain and the occasional dinosaur. The addition of a volcanic eruption adds surprisingly little additional drama, although Bayona excels with some great set pieces. One features riding a humorous riff on the bucking bronco motif, and the other involves a submerged vehicle that is conducted largely in a single take. This sequence is menacingly immersive in all the right ways, and the menacing environment continues in the second half when the film moves into new territory for the franchise. A grand mansion and long subterranean tunnels, as well as judicious use of shadows and Nosferatu-like limbs, imbue the second half of the film with a Gothic milieu. The second half of the film also features effective villains of both the human and saurian variety, as well as some interesting if brief explorations of cloning, the right to live and that trusty stalwart of science fiction, hubris. There are some points where the preposterousness of the story is a little grating – why attempt to retrieve a valuable asset in a tropical storm? Is the nefarious scheme really likely to be profitable? With that much lava, surely the characters would be overcome by poisonous gas? Happily, Bayona’s effective style and the game cast – including the winning chemistry between Chris Pratt and Bryce Dallas Howard – ensure that the viewer spends little time worrying over such details. Meanwhile, there are references to earlier instalments that carry just the right level of knowingness to avoid slipping into parody. Overall, JW: FK takes the franchise in an interesting new direction, and ends with the promise of more, that will hopefully be different as well.