The Jungle Book: Mini-review


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Bill Murray

Bill Murray isn’t bearish about The Jungle Book

BDirector Jon Favreau‘s The Jungle Book has two creative fathers: Rudyard Kipling, who wrote the stories on which the movie is based, and Walt Disney, who oversaw production of the 1967 animated version of the children’s classic. In blending these two disparate sources, Favreau and screenwriter Justin Marks opt for thrillingly realistic CGI animals with a touch of Disney’s gentle wit, a mix that’s generally, but not always effective.

The screenplay of the current Jungle Book is closer to the earlier Disney version (this movie was also produced by Disney) than to Kipling’s stories. A young boy, Mowgli (Neel Sethi), has been raised since infancy by wolves, with considerable guidance from the panther Bagheera (voiced by Ben Kingsley). But when Shere Khan (Idris Elba), a vengeful tiger, threatens to kill Mowgli, the boy goes off into the jungle by himself rather than risk the lives of his friends. Eventually, Mowgli returns to confront Shere Khan, hoping to use his human ingenuity and the one thing the tiger fears—fire—to defeat it. 

Disney’s earlier Jungle Book was the last of the studio’s classic hand drawn, brightly illustrated films, and the characters, even the villains, were mostly playful and cartoonish rather than dignified or threatening. Favreau’s film, on the other hand, looks startlingly real, as if it were filmed on location in the depths of the rain forest. In actuality, only Sethi and a couple of other bit actors are real, and everything was “filmed” in a Disney animation studio in Los Angeles. The animals are stunningly rendered and usually look, act, and move naturally. When they do act more like the old Disney characters, The Jungle Book suffers. The worst culprit is King Louie the orangutan (Christopher Walken), who, in this version, is a monstrous creature that towers above Mowgli.  Shere Khan is the best realized character, a surprisingly sympathetic and credible villain, eloquently voiced by Elba. While The Jungle Book‘s efforts at physical comedy are weak, the script gives Bill Murray, as the voice of Baloo the bear, some good one liners, and the film retains the two classic tunes from the earlier version, “The Bare Necessities” and “I Wanna Be Like You.” Jon Favreau doesn’t quite find the right mix of new technology and old Disney, but he has brought Rudyard Kipling’s stories to exciting, realistic, and at times dangerous life.
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Aloha: Mini-Review


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Bradley Cooper

Bradley Cooper won’t be headed back to the Oscars for his role in Aloha

C+Watch some parts of Aloha and it’s easy to see how writer/director Cameron Crowe could create movies like Jerry Maguire and Almost Famous. Watch the entire movie, however, and it’s easy to see how he’s become largely irrelevant in Hollywood in the last decade.

Actually, Crowe has been working on Aloha for nearly a decade through numerous cast and script changes. The finished product bears the mark of a project that’s been circulating since the Bush presidency. Brian Gilcrist (Bradley Cooper), a former Air Force whiz turned civilian contractor, is in Hawaii for a PR job that consists primarily of schmoozing some native Hawaiians into going along with a project that will allow billionaire Carson Welch (Bill Murray) to launch satellites into space from the island. The job also allows Brian to reconnect with former girlfriend Tracy Woodside (Rachel McAdams), now married to an Air Force officer (John Krasinski). Brian also makes some new connections with his Air Force liaison, Allison Ng (Emma Stone). 

Aloha bears the mark of a much longer film that was hastily edited down to a 105-minute running time. Key plot elements are unexplained or poorly explained, and characters’ personalities seem to change drastically from scene to scene. Alec Baldwin has three scenes in the movie as the commanding Air Force general, and he seems like three different people. The result is an at-times incomprehensible mess. To make matters worse, Stone (who’s supposed to be one-quarter Hawaiian) and Murray are badly miscast. However, Aloha is a mess with a lot of wonderful individual scenes such as Stone dancing with Murray or making music with some of the native Hawaiians. Cooper exudes his patented charm in several scenes with both Stone and McAdams, although he admittedly appears lost and befuddled in others. And even a miscast Bill Murray is fun to watch. All in all, about half of the movie consists of anywhere from good to almost magical scenes, including a great closing moment. Aloha is a movie that will be best enjoyed on video with the fast forward button handy to speed viewers through the messy scenes and linger on the good ones.
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