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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Eddie the Eagle: Mini-review


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Hugh Jackman

Hugh Jackman is a much better actor than a ski jumping coach

CIn an odd bit of cinematic yin and yang, one week after Race, a movie about perhaps the best Olympic athlete of all time, arrives in the theaters, another movie about perhaps the worst ever Olympian makes its début. But while Race at least attempts to accurately portray Jesse Owens’ Olympic quest, Eddie the Eagle flies far away from the actual life story of British ski jumper “Eddie the Eagle” Edwards and makes a critical crash landing as a result. 

Taron Egerton plays Edwards, who became a celebrity for finishing dead last in ski jumping for Great Britain in the 1988 Winter Olympics. In Eddie the Eagle, Edwards is depicted as an almost completely untalented klutz with an enormous desire to become an Olympian. With no coach, no experience, and no money, he goes to a training facility in Germany, where he eventually attracts the attention of Bronson Peary (Hugh Jackman), a washed-up, alcoholic, former Olympian who agrees to train Edwards.

The real life Eddie the Eagle was a moderately talented amateur athlete who simply wasn’t of Olympic caliber, except by qualifying in an event in which Britain hadn’t competed in over 50 years. That story endeared him to his countrymen and the Olympic crowds, but it apparently wasn’t sensational enough for director Dexter Fletcher and his screenwriters. Instead, they transform Edwards into a hapless buffoon who stands on top of a moving minivan and mentally prepares himself for his jumps by fantasizing about having sex with Bo Derek. By scrapping Edwards’ life story (and completely inventing the character of Peary), the filmmakers turn Eddie the Eagle into an English version of The Bad News Bears. Sadly, the endless clichés detract from the real drama in the film, the prospect that Edwards could break his neck at any time. Fletcher does manage to make that point, thanks to some often spectacular ski jumping footage and stunt work. Fortunately, the movie does capture Edwards’ natural charisma, thanks to a winning performance by Taron Egerton. In addition, Christopher Walken adds some badly needed dramatic weight when he shows up in a surprisingly subdued and effective last act cameo as Peary’s former coach. But all the acting talent and amazing camera work in the world can’t overcome a completely formulaic, poorly executed story. In the moviemaking Olympics, this bad plot form costs Eddie the Eagle any chance at a medal.     
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