Gareth Edwards is no stranger to creating thought-provoking sci-fi, whether he's building his own worlds in Monsters or The Creator or working within established universes like Godzilla and Rogue One . For Edwards, science fiction is never just about spaceships, robots, or dinosaurs. Inst

NEW YORK (AP) — EXT JUNGLE NIGHTAn eyeball, big, yellowish, distinctly inhuman, stares raptly between wooden slats, part of a large crate. The eye darts from side to side quickly, alert as hell.So begins David Koepp’s script to 1993’s “Jurassic Park.” Like much of Koepp’s writing, it’s crisply terse and intensely visual. It doesn’t tell the director (in this case Steven Spielberg ) where to put the camera, but it nearly does.“I asked Steven before we started: What are the limitations about what I can write?” Koepp recalls. “CGI hadn’t really been invented yet. He said: ‘Only your imagination.’”Yet in the 32 years since penning the adaptation of Michael Crichton’s novel, Koepp has established himself as one of Hollywood’s top screenwriters not through the boundlessness of his imagination but by his expertise in limiting it. Koepp is the master of the “bottle” movie — films hemmed in by a single location or condensed timed frame. From David Fincher’s “Panic Room” (2002) to Steven Soderbergh’s “Presence” (2025)…

I wasn’t expecting to walk out of Jurassic World: Rebirth with a huge grin on my face, but here we are. After three uneven Jurassic World entries, director Gareth Edwards has finally given fans the follow-up that actually feels like it belongs in the same universe as Spielberg’s 1993 cla