To date, there have been six Jurassic Park sequels. None have lived up to Steven Spielberg’s colossal ’90s classic, but while two entries have gestured toward novelty — J.A. Bayona’s haunted house romp Jurassic World: Fallen Kingdom and Spielberg’s San Diego-set creature feature The Lost World — Gareth Edwards’ Jurassic World: Rebirth can’t be counted among them. You’ve seen most of it before, and despite the star power involved, it’s too visually flat, too narratively scattered, and far too thematically slight to make an impact.

A reboot of a reboot penned by David Koepp (the original movie’s screenwriter), Jurassic World: Rebirth is practically a post-postmodern reflection on rote sequel-itus whether or not it means to be, since it follows an existing dinosaur formula to a T. Not the formula for a good Jurassic Park movie, mind you, but rather the formula for a factory-produced follow-up that makes lofty promises with its setting — like Colin Trevorrow’s Jurassic World and Jurassic World: Dominion — but delivers a Temu version of Spielberg’s original.

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The Fantastic Four are truly singular in the comic book hall of fame. Sure, they’re often duplicated — and in the case of something like The Incredibles, nearly outpaced — but no one can do what they do. Their status as “Marvel’s First Family” isn’t just a moniker: They were the company’s original superhero team, and they embodied the humanity, dysfunction, and charm of a real family like none of their predecessors could. (Plus, they had one of the greatest villains in comics history with Doctor Doom, pure evil personified.) Unfortunately, their sheer individualism has also given Hollywood a major run for its money. However popular and beloved Marvel’s First Family happens to be, most big-screen adaptations have kind of… well, sucked.

After 30 years, the rights to the Fantastic Four are now safely with their progenitors at Marvel Studios. Another film — the third attempt to bring the super-team to the big screen — is due to hit theaters soon, and though fans are daring to be optimistic, the big screen legacy of this property is hard to let go of. When 20th Century Fox held the rights to the Fantastic Four, the studio produced two different versions of the team, neither of which pleased the masses or fans of the original comics. Fantastic Four, released in 2005, opted for mid-2000s sensibilities over loyalty to the characters. Josh Trank’s 2015 reboot, archly dubbed Fant4stic, ran into much bigger issues by abandoning everything that made the team great — their sincerity and sense of whimsy — in favor of a dark and edgy remix. But whatever behind-the-scenes drama it encountered pales in comparison to the Fantastic Four movie that never even saw the light of day.