“The Jungle Book” (2016) movie review

JungleBookDisney Nature meets beloved animated classic! Disney’s newest live-action remake of an animated classic surprisingly plays out very well. Unlike last year’s CinderellaThe Jungle Book strikes a perfect balance between creating a new more visceral experience of a familiar story and paying homage to the best of what the animated version had to offer–the essence of what made it “Disney.” As I was sitting in the theatre, I was amazed at how much the film truly felt like a classic Disney masterpiece that just happened to include beautiful cinematography, incredibly well engineered CG animals, and a plot; albeit, not a dynamic, thrilling, or deep plot, but a coherent plot nevertheless. That’s more than I can say about the original. Even though, I too like the classic. After the Cinderella cinematic schlock, I was not expecting much out of this film. But, I stand (or sit, rather) corrected. The Jungle Book is encouraging in that it proved to me that Disney can still tell a good story that is great for a wide audience and includes the core of the magic of an animated classic but successfully translates the narrative into a live-action movie.

Deep in the Indian jungles, an orphan human infant is found by a wise and caring panther named Bagheera (Ben Kingsley). Knowing he would die alone, Bagheera took him to a pack of wolves to be raised as one of their own. Being given the name Mowgli (Neel Sethi) spend his childhood as a wolf. When Shere Kahn (Idris Elba), a vengeful bengal tiger, threatens the wolf pack and the rest of the jungle, Mowgli decides to leave the pack and head for the man village–the jungle is no longer a place for a man cub. Guided and guarded by Bagheera, Mowgli must begin to adapt to his soon to be new life, but is having the most difficult of time. Throughout his journey through the misty jungles, Mowgli will encounter animals and beats he has never seen and even make some new friends along the way, including the lovable Baloo (Bill Murray). All the while, he must avoid an encounter with Shere Kahn while pressing on his journey of self-discovery and wild adventure.

Writer Justin Marks and director Jon Favreau demonstrate that a live-action remake of an animated Disney classic can be the best that a modern cinematic general audience movie can be and still hold onto the magic that has made it a story to stand the test of time. As I have not read the Rudyard Kipling work of literature upon which The Jungle Book is based, I’d like to imagine that this version of Mowgli, Bagheera, and Baloo’s adventures does the words of the English journalist and author justice. Unlike the original beloved movie devoid of any real coherent or conventionally structured plot, this remake tells a visual story supported by a simple but effective narrative complete with proper turning points, twists, and events. The pacing is also well-engineered, which creates a pleasant journey for the mind as well as the eyes. Using mostly on location jungle shots, supported with subtle sound stage sets gives this film a natural beauty that feels like something right out of a Disney Nature documentary. Contrary to how some CG animals can look, these creations were fantastically real–like you could reach out and stroke Bagheera’s ebony hair. Newcomer Neel Sethi is impressive to watch as Mowgli. He embodied the lovable characteristics of the animated version whilst adding in a modern twist. One of my favorite ways to evaluate an actor, in a genre such as this, is if he or she looks like they are having fun. And, Sethi definitely showed that he was having fun bringing this story to live-action cinema.

One of the reasons I was disappointed with the remake of Cinderella is that I missed the magic of the timeless music. Realizing that this was the first attempt to remake an animated classic (not a reimagination as is the case with Maleficent), it is entirely possible that Disney decided to make sure the next remake included the core of what made the animated version so beloved. And you will definitely find echoes of the original Jungle Book in this live action film. Most of the characters you remember from the original are also reprising their respective roles. Some of the roles are modified to either be more or less prominent, but it’s all very effective in building the story. One of the characters that is not as prominent in this version is the bola constrictor Kaa (Scarlet Johansson). But, in the relatively short amount of screen time, she delivers an exceptional performance, inclusive of the hypnotism, and through her interaction with Mowgli, Kaa reveals his backstory that adds to why Shere Kahn has vowed vengeance on his life. Just like in the original, King Luis (Christopher Walken) want to be just like Mowgli and possess the red flower.

There are certain elements of the original that are not included in the live-action version, but they are elements that did not fit in the world Favreau created for this film. Suffice it to say, I do not think that you will greatly miss those parts of the original because this Jungle Book holds onto the original magic and brings it into 21st century cinema. What about the talking animals??? Like with many movies, I did not read up on this one too much because I wanted to be surprised. Needless to say, I did not look up the voice actors so I was not prepared for the animals to speak. When Bagheera first began to speak, I was definitely caught off guard. However, I quickly accepted that the articulating mouths on the animals speaking perfectly good English in the jungles of India were as natural as the luscious green trees and crystal clear water or as natural as Mowgli’s ability to communicate with nearly every creature. The UN must have implanted Mowgli and his friends with those instant translator devices. But, because of the quality of the production, the adherence to the Disney magic that made the original memorable, and the solid writing, I was more than willing to engage in the suspension of disbelief in order to enjoy the movie to its fullest extent.

If you enjoyed the music, characters, and story in the original, then you are definitely going to enjoy this live-action remake. I am excited to see that the essence of the original animated classic is alive and well in this film. I hope this is what we are to expect from the next live-action adaptation of a Disney animated classic.

“On Cinema and Theme Parks” (part 8)

My Book

For the movie studio (or media conglomerate), the theme park provides a seemingly limitless opportunity to cross-promote imagery and narratives from the screen into the park. This accomplishes the desire to advertise new movies and television programs and to sell merchandise pertaining to the various movies and themes that the park showcases. Either way, this two-fold process generates income to sustain the endeavors of the company (Davis, 1996)

Unlike SeaWorld Parks and Entertainment and Cedar Fair (parent company to Cedar Point), Disney and Universal use their parks for more than cross-promotion and merchandising opportunities. Until the late 1990s/early 2000s, they also used their parks as production studios and offices that acted as a counterpart to the Hollywood divisions (StudioCentral.com). The television channel Nickelodeon also operated two sound stages plus production offices at Universal Studios Florida (Riley, 1998). So, in addition to using the intellectual property provided by the movie and television studios, the two media giants used their parks as production facilities to create new media and entertainment content and create production jobs in Central Florida (Milman, 2001). Beyond MGM’s timeless logo featuring the Latin inscription ars gratia artis (art for art’s sake) surrounding Leo the Lion, the cinematic works and television programs can be converted from visual art to commodities because they now have a material place to exist in the real world accessible by millions.

DisneyMGMIn essence, the entertainment elements and advertising materials are so thoroughly fused that it is nearly impossible for the average park guest to tell them apart. Beyond the surface level of movies and theme parks, there is evidence that, when planning a blockbuster movie, the studio has it in its mind whether of not this movie would be good to ride or be used as a theme in a park for shows and other attractions. Susan Davis (1996) explains that the media conglomerates, that primarily run the theme park industry, can pull from other media resources by way of acquisitions, partnerships, and licensing in order to grow and widen audiences and park guests. A classic example of this is the (no longer active) partnership Disney had with MGM Studios. Disney’s licensing deal with MGM allowed the company to use the iconic MGM logo and pull from its film library.

2006_psychotramIt’s well established that theme parks are an outlet for the parent companies that own them, and the movie studios they also own, to act as conduits for one another: the end result being cash flow. But, there are different ways of utilizing the cinema to benefit the theme park experience (Riley, 1998). Whereas Disney uses the characters in its movies to bolster the parks’ influence, Universal Studios (Hollywood and Florida) took a different approach (although, Universal is trending toward the Disney model in recent years). Universal Studios uses its studio tour(s) to blend labor with spectacle (Murdy, 2002). This offers the park guests a glimpse into how films are made. In recent years, this has provided less of a pull since it is common knowledge that a large portion of filmmaking exists within a computer. Universal Studios presents cinema and television history, production techniques, and special effects to impress the audiences and guests. So, one could assess that Universal Studios parks are self-reflexive in their choice of entertainment. At least this was true until park guests demanded more thrill rides and less education and appreciation for film and television art and history (Murdy, 2002).

Find out what you missed by buying my book on AMAZON!

To return to the beginning of this series, click HERE

What is Wrong with Rey? — Kibbin’s Codex

Check out this interesting article by one of the bloggers I follow! I appreciate how he supports his thesis with evidence from not only Force Awakens but also other movies in the Star Wars universe. Whether you agree or disagree, he has written an intriguing article.

Rey is a bit of a “problematic” figure in the new Star Wars movie with everyone from Feminists to Mens Rights Activists putting her forward as their figure head for what is right and or wrong with the world. Beloved Liked Known writers are being sent death threats over their opinion of her. Now I didn’t […]

via What is wrong with Rey? — Kibbin’s Codex

“The Boss” movie review

TheBossA truly diversified portfolio of comedic stock! Last year Melissa McCarthy was a spy; and this year, she’s the boss. Over and over again, McCarthy proves that she is a brilliantly talented funny lady. And whereas some may see this movie as a sloppy pandering comedy, I see it as a fantastically entertaining movie with a pretty good plot filled with well-developed characters. No story exists without conflict, and comedy is no different. The best comedies are those full of conflict that ignites the hilarity and irony. Very much in the vein of other McCarthy comedies, The Boss is over the top. But, that’s perfectly acceptable because the movie certainly opens with a larger than life scene, and the movie never pretends to be something that it’s not. This type of comedy knows exactly what it is, and it rocks it! I always have more respect for movies that do not pretend to be anything other than what they are. It’s designed to provide an escape from the doldrums and mildly depressive lives many of us have and provide us with the best medicine–laughter. Is this new comedy on par with Bridesmaids or Spy? No. But, is it funny, filled with fun characters, conflict, and satire/parody? YES.

Universal Pictures’ The Boss is a slapstick comedy about media and economy mogul Michelle Darnell (McCarthy) who has pulled herself up from the tragic and challenging roots of her childhood to become the CEO of multiple Fortune 500 companies. But, like with all good things…after inside information, Michelle is found guilty of insider trading after a tipoff from a former friend turned enemy of hers. Having all her assets frozen, personal property confiscated, and losing her house, Michelle has no where to go after her short four-month stint in a white collar correctional facility. She has to turn to her former executive assistant Claire (Kristen Bell) for help. After driving Claire and her daughter crazy, Michelle is forced to start pulling her weight, which means taking Rachel, Claire’s daughter, to her Dandelions meeting (totally a parody of the Girl Scouts). That proverbial meeting proves to be just the catalyst Michelle needs to return to the top. However, she will soon come face to face with all new challenges in her business and personal life as she rises back to her previous epic heights.

At first glance, this movie appears to be another zany comedy that only McCarthy can pull off. Much in the same way Amy Poehler and Tina Fey are often type casted. But, a closer look at The Boss reveals a surprisingly well-developed and executed plot that is incredibly well-paced and includes impeccable comedic timing. Like with Poehler and Fey’s Sisters, this movie too has a heart-warming message throughout the narrative. You’ll just have to watch it to find out what that is. Like with the opening scene at Chicago’s United Center with Darnell descending to the stage on a fiery phoenix alive with pyrotechnics, Michelle herself is larger than life. Interestingly, this opening parallels the career or acting-style of McCarthy. She is the type of actor that has yet to prove a wide range of characters; but with the characters she plays, she is often the most dominant character whether among the supporting or leading cast. We expect her to provide us with that which we are accustomed to watching and enjoying. And in that respect, she has yet to fail her audience.

The phoenix at the beginning also symbolizes, as many of us know, the rising from ashes of defeat to become even more resilient and powerful than before. The character of Michele Darnell is very much a phoenix in this story. But is she the only phoenix? No. Michelle’s former assistant Claire is also a type of phoenix. Granted, she was not on top of the world and fell from splendor, but she also takes a journey similar to the phoenix. As Michelle’s assistant, she had a good job (although not paid nearly as well as she should have been)–let’s just go with the fact that she was employed. When Michelle lost her assets, she was no longer able to pay Claire and she was forced to take employment elsewhere. From riding around with Michelle in Cadillac Escalades to working in a cubical in a administrative pool, Claire fell from the glamour she was associated with by extension. After several turning points in the movie, which you will just have to see for yourself, Claire begins to rise up to achieve goals she never thought she would–personal and professional triumphs.

Unlike many comedies, this one has a dynamic range of dialog, physical antics, and high brow humor that is sure to keep you laughing during the movie. Furthermore, contrary to how many may perceive or expect of comedies, it is important that the audience not continuously laugh the entire time. If there is so much “funny” in the story structure, then the moments that should elicit the most laughter won’t succeed because they will just fall in line with the rest. It’s like Michelangelo’s famous Sistine Chapel ceiling fresco. Although I have never been, from others who have told me about their travels, the ceiling is not nearly as impressive as one may think it to be. Why is that? Because there are many painted ceilings throughout the chapel so Michelangelo’s masterpiece is fairly anti-climactic. Fortunately, The Boss strikes a pleasant balance and timing between the high comedic elements in plot and dialog. Another component of this movie that is sure to please the audience is the cameo by Kathy Bates! Thats right. Better known for her more serious roles, Kathy Bates is one of the most amazing actors because she can truly play a wide range of characters in film or television from the serious to the funny. It takes only the highest level of acting to be able to deliver brilliance in such a short amount of screen time. Plus, having Bates just classes up the film a little!

If you love Japanese katana fights, this movie has it! If you are a fan of McCarthy’s style of comedy? You won’t be disappointed. Having a bad week and just need to laugh for a while, then this movie is for you! There is little that I did not enjoy about this comedy. By no means to I argue that this is an amazing film–certainly that isn’t the case. But, is it s FUN movie that is actually well-produced, written, and acted? Yes it is.

How to Get American Netflix in Canada

Screen Shot 2016-04-07 at 3.47.05 PMBreaking away from my typical entries, I found this interesting and desired to share it with you. Having recently attended a conference with a speaker from Toronto, this topic came up. The speaker commented over drinks that she is unable to watch American Netflix in Canada. Since analyzing media and entertainment is something I do, I decided to explore how one could enjoy American Netflix in Canada. While I was browsing the internet for ideas that I may be able to share, I stumbled across this website. I found it to be quite useful and seems to solve the problem of the inability to access American (U.S.) Netflix in our neighbor to the north. Click HERE.