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"      The 20th anniversary re-release of Jurassic Park in eye-popping, migraine-inducing 3D was inevitable - and if James Cameron is to be believed, all our entertainment ultimately heading the same way is equally so. But far from bolstering Cameron&amp;#039;s statements, all the newly rendered take on Steven Spielberg&amp;#039;s near-perfect dino blockbuster does is reinforce just how irrelevant 3D becomes when you&amp;#039;re dealing with a piece of entertainment this airtight.  The world of Jurassic Park is already immersive. From the first moment Sam Neill and Laura Dern&amp;#039;s awe-struck scientists clap eyes on the park&amp;#039;s prehistoric menagerie and lush, otherworldly greenery, you&amp;#039;re along for the ride and gazing in wide-eyed wonder right alongside them.  The effect of a T-Rex lurching out of rain-slatted darkness towards a car holding two defenceless children is as terrifying now as it was 20 years ago, and doesn&amp;#039;t become any more so in three dimensions. So if you&amp;#039;re going for an anniversary re-watch, don&amp;#039;t feel the need to fork out for the sloppily retro-fitted update: the original formula&amp;#039;s all you need.  Detractors in 1993 critiqued Michael Crichton and David Koepp&amp;#039;s script for flattening down the characters from Crichton&amp;#039;s original novel into archetypes, but everyone \u00E2\u20AC\u201C from Neill and Dern&amp;#039;s eager-beaver couple to Jeff Goldblum&amp;#039;s &amp;quot;rock star&amp;quot; mathematician to Richard Attenborough&amp;#039;s gently eccentric park owner - feels real and utterly loveable. Crichton and Koepp allow a long build-up before the first dino attack, and with good reason: by the time the electrical fences fall and our heroes are trapped, we really care what happens to them. It&amp;#039;s an immensely efficient script, sketching in punchy character dynamics that are surface-deep by design: nobody watching actually wants to see a love triangle play out between Grant, Settler and Malcolm, but it&amp;#039;s fun to watch it snarkliy teased in the early going, while Grant&amp;#039;s dislike of children sets up a simple but satisfying payoff down the line as he steps up to protect the young&amp;#039;uns.  Attenborough&amp;#039;s John Hammond does present an issue, because his page-to-screen transformation from greedy megalomaniac to twinkly idealist leaves an imbalance in the film. With no human antagonist to root against - Nedry and the lawyer are both too thinly drawn to count - the story becomes much more morally straightforward, paying lip service to the idea of man&amp;#039;s doomed attempt to harness nature without demonstrating much real human consequence.  But you&amp;#039;d have to be in a very, very pedantic mood indeed for any of this to diminish your enjoyment. Spielberg&amp;#039;s absolute mastery of both wonder and terror has seldom been showcased better, and it&amp;#039;s genuinely striking how little the effects have dated. It&amp;#039;s easy to forget how expressive the dinosaurs are, beyond those that are simply out for blood - the ill Triceratops the team comes across looks affectingly wounded and gentle, emphasising the blithe cruelty of Hammond&amp;#039;s endeavour.  Jurassic Park just works. For all the grand scale action and jaw-dropping effects, it is never for a single moment cheesy, or silly, or lazy. It&amp;#039;s pure, efficient, big-hearted entertainment from beginning to end, devoid of sentiment, wittily written and as terrifying now as it ever was. "^^<http://www.w3.org/2001/XMLSchema#string>
<http://www.digitalspy.com/movies/re-viewed/feature/a509402/re-viewed-steven-spielbergs-dinosaur-classic-jurassic-park/>