When adapting the work of John Williams, some composers are equal to the task, namely Alan Parker (Jaws 3-D) and Michael Small (Jaws: The Revenge). The problem with Michael Giacchino's Jurassic World goes deeper than mere hype or expectation. His potential for creativity could include ambient textures as much as thematic grandeur. Sadly, Jurassic World represents a gigantic misfire. Although Giacchino has written music for relevant video games i.e. Warpath: Jurassic Park and The Lost World, making the transition to a big screen endeavour doesn't quite work out.

With “Bury the Hatchling,” anonymous woodwinds, rattling percussion and out of place choral writing results in a dismal start. For comparison purposes, listen to Nerida Tyson-Chew's Anacondas: The Hunt for the Blood Orchid. She’s able to evoke the wild ambience of a jungle environment via strong percussion. Next to this, I feel Giacchino needed to concentrate more on atmosphere. That way the orchestra could relax into the rhythms before accelerating into heavier brush strokes.

Although I wouldn't deem this a score highlight, “The Family That Strays Together” features pleasant harp and violin. Also, there's a welcome nod to Williams' main theme in “Welcome to Jurassic World.” Because Giacchino jumps the gun, it reveals an inherent weakness in his writing. Aside from theme and melody, there's scant direction for the suspense. Like Pedro Bromfman's re-working of Basil Poledouris' Robocop, such self-referencing merely takes away.

“As the Jurassic World Turns” signals the end of Giacchino's tether. Also, dull sounds continue to haunt “Pavane for a Dead Apatosaurus,” “Fits and Jumpstarts” as well as “Chasing the Dragons.”

Some early suspenseful material appears during “Clearly His First Rodeo.” We can hear tip-toeing strings and slightly abstract screeching. Incidentally, a corny orchestral flourish imitates yet doesn't surpass David Arnold's Independence Day.

While some tracks are blessedly short, others lack economy. For instance, “Indominus Wrecks” stews without direction, while “Raptor Your Heart Out” contains shades of “Into the Trees.” The latter was featured in Giacchino's rather accomplished The Lost World.

I had hoped for a turnaround by the time “Costa Rican Standoff” erupted. Unfortunately, this cue lands with a hollow thud. “Growl and Make Up” provides some additional filler prior to the next onslaught of action material. The nearly thirteen-minute “Jurassic World Suite” makes the similarly ponderous “Hotel Escape” from Jay Chattaway's Missing in Action bearable. Clearly an orchestra can be heard. Somehow, they lack conviction.

Going above and beyond, “It's a Small Jurassic World” plucks the short straw for worst cue of 2015. This theme sounds so corny; you could bury the sheet music in your back garden and grow vegetables.

So, who could have done it better? Perhaps director Colin Trevorrow should have called Terry Plumeri, Edward Shearmur or Joel McNeely.

So bad it doesn't receive a star rating, Giacchino's Jurassic World left me cold.

Taking stock of the Jurassic Park legacy, here are some star ratings:

Jurassic Park (John Williams) *****

The Lost World: Jurassic Park (John Williams) *****

Warpath: Jurassic Park – Video Game (Michael Giacchino) **

The Lost World – Video Game (Michael Giacchino) ***

Jurassic Park III (Don Davis) *

Jurassic World (Michael Giacchino) ZERO