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On the other side of the electrified fence, Phil Boatwright reacted to the implausibility claim: "If you are searching for any kind of in-depth storyline, what are you doing in a second sequel to a movie about dinosaurs?" He's pleased with the portrayal of "a separated couple rediscovering their love, and the more noble characters being willing to lay down their lives for others. It also has very impressive special effects, with the huge dinos looking very real, and very menacing. This film is all about action." "[It's] the first completely thrilling action flick of the summer," agrees Movieguide's critic. "JPIII seems more redemptive and morally compelling than the other two movies." But there's a caution for parents and dinophobes: "Naturally, the movie includes plenty of intense, scary action violence." Peter T. Chattaway of The Vancouver Courier writes, "Surprise, surprise … [JPIII] just may be the purest thrill ride of the summer. [Director Joe] Johnston … doesn't waste time on preachy lessons about the evils of capitalism, the lessons of chaos theory, and the virtues of trusting in nature. Instead, he takes us, as briskly as possible, from one narrow escape to the next, and along the way, he throws in just enough new creatures to make the whole experience seem fresh again. Jurassic Park III is cynically amusing, not least when it takes digs at the previous films, and, most surprising of all, it actually may leave you wanting more."

Other critics were on the fence. John Barber at Preview reports that "Moviegoers expecting the twists and turns of the original Crichton novel or the movie magic of Spielberg's direction may be disappointed … but those who want action-packed fun with plenty of special effects wizardry and panoramic cinematography will find it." Focus on the Family's Bob Smithouser notes that the hero, Alan Grant (Sam Neill), "reverently alludes to Darwin and evolutionary theory, yet later comments that the dinos were created by scientists who were 'playing God.' So, Dr. Grant, which is it, an impersonal emergence from the primordial ooze or a benevolent Creator who can bless people?" He adds, "The writing here is actually pretty good. I liked the way a fractured family is drawn together as they try to keep from being—quite literally—torn apart." Still, he's not completely swept off his feet by the flying and fierce pteranodons: "Sure, audiences get plenty of dino-bang for their buck this time around, but the franchise hasn't evolved much in eight years." The U.S. Catholic Conference shrugs, "Johnston reduces dialogue and characterization to throwaway status but turns in an energetic sequel whose action sequences deliver the accustomed thrills and spills."

Taking an altogether different approach, David Bruce of Hollywood Jesus digs up traces of truthfulness in the mythic backbone of this practically prehistoric genre. "This film is loaded with metaphors," he argues. "The film is basically about the horrors of family breakup. The dinosaurs represent the psychological traumas that the children of feuding parents must unfortunately face. Eric, with childhood resilience … goes into total isolation from everyone, and has to learn how to survive on his own … the plight of the children of divorce. Our forbidden island choices (deception, divorce, money, seduction) can adversely affect the lives of other people. There are consequences to our actions—we truly reap what we sow."

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July (Web-only) 2001, Vol. 45