Wolfgang Reitherman
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The Legend of Tarzan (2016)
Directed by David Yates
influenced by The Jungle Book (1967)
Visuals Plot Themes
“The Jungle Book” delivered CG environments that melded seamlessly with their human hero, and animated animals that looked so photo-real you could practically reach out and stroke their fur.
In flashbacks throughout the film, you do see the legend according to Burroughs — of the white orphan baby raised by an ape mother in the African jungle where his buddies, just as in Kipling’s “The Jungle Book,” are wild animals from whom he learns to swing ape-like from tree to tree via those ever present vines.
Disney’s live-action remake of The Jungle Book had no real tigers or snakes either, but the animals in that one talked and occasionally sang.
The Legend of Tarzan is a lot like The Jungle Book in that respect, although in this movie no talking bears start singing.
If you enjoyed the new version of "The Jungle Book" then you should enjoy "The Legend of Tarzan."
With its ultra-serious reboot structure screams Batman Begins and its CGI jungle environments trying (and failing) to match the likes of The Jungle Book, what The Legend of Tarzan really needed was a dose of fun personality ala Pirates of the Caribbean to add some energy to its doldrums.
This very funny, and very likable holiday treat from Walt Disney Animation Studios was partly inspired by co-director Bryon Howard’s love of Disney’s 1973 Robin Hood , which replaced familiar human characters with talking animal counterparts.
In theory, Zootopia’s residents have evolved past distinctions of predator and prey, which might explain the small matter of cartoon biology: Whether tiny mice or hulking rhinoceroses, all animals have front-facing eyes, upright postures and opposable thumbs — a throwback to the delightful character design featured in Disney’s “Robin Hood” (1973), which reimagined a human world populated entirely by animals, integrating characteristics of each species into the ways different creatures move.
King Arthur: Legend of the Sword (2017)
Directed by Guy Ritchie
influenced by The Sword in the Stone (1963)
Plot
The kids have Disney’s “The Sword in the Stone” (1963) and foreign-film fans have Robert Bresson’s “Lancelot du Lac” (1974).
But this expensive bit of widescreen nightsoil only makes you yearn for the simple Sunday pictures of "Prince Valiant"; even the child's "The Sword in the Stone" looms like a leviathan in comparison.
For those who grew up with "The Sword in the Stone", "Camelot" and even "Excalibur", this movie with absolutely no romance will come as a shock - and this is the first installment in a reported series.
Anyone with an answer for what the good fuck is going on in John Boorman's Excalibur is the forgiving sort who already has a working conversation with the Arthur mythos--who's already read T.H. White or at the minimum watched The Sword in the Stone.
Anderson and co-writer Noah Baumbach’s adaptation of Fantastic Mr. Fox, Roald Dahl’s 1970 children’s novella, begins by paying homage to nearly every Disney children’s book adaptation from Snow White to The Jungle Book to Robin Hood: a stop-motion animated book opens, reminding us to respect the written word behind the story to come.
The use of Disneyfied cartoon animals, including a pack of murderous wolves who look like they walked out of The Rescuers, undermines sleek action sequences…
The Nut Job (2014)
Directed by Peter Lepeniotis
influenced by The Sword in the Stone (1963)
Characters
The design seems a little too familiar, though: Buddy’s design owes a little too much to Remy in Ratatouille, and Surly and his love interest/apologist squirrel Andie (Katherine Heigl) are dead ringers for computerized versions of the squirrels in Disney’s The Sword In The Stone.
There have, ironically, been almost no good movies made of the Arthurian legends (I’d say the best is Disney’s “The Sword in the Stone,” with “Excalibur” coming in a distant second — beyond that, the landscape is littered with high-flown Arthurian detritus like “First Knight,” “The Last Legion,” and “King Arthur: Legend of the Sword”).
Disney’s animated “The Sword in the Stone” enjoys a heightened status and the positively brilliant “Excalibur” from director John Boorman in 1981 set the standard.
The Great Mouse Detective (1986)
Directed by Burny Mattinson
influenced by Winnie the Pooh and the Blustery Day (1968)
So it was that, after a fair amount of executive meddling, from removing some of the incidental gags that did nothing for the plot, to changing the title to the more dynamic if also more generic The Great Mouse Detective , the project was approved, with Clements and Musker making their directorial debuts, aided by storyman and animator Dave Michener (who, having worked on "Winnie the Pooh and the Blustery Day" , was the most senior member of the directorial team) and storyman Burny Mattinson, the only one of the four who'd ever directed anything, the 1983 short "Mickey's Christmas Carol" .
Jackman’s fictional Peary is a functional alcoholic to the point that his alcohol consumption doesn’t have any bearing on his behaviour or performance; the character’s actual arc, care of both his relationship with Eddie and the shadow of his own former trainer Warren Sharp (a briefly featured Christopher Walken, The Jungle Book), is far more satisfactory than the crutch of an easily stashed hip flask.
Instead, though "Chappie" bears all the hallmarks of a "RoboCop" retread or a grungier "A.I." (or heaven help us, "Transcendence"), it's actually more like a warped, sci-fi version of "The Jungle Book" in which a child robot must survive the urban wilds of a gang-ridden Johannesburg.
He’s the most reluctant of Disney heroes since The Rescuers ‘ Bernard, but what he lacks in personality he more than makes up for in choreography.
The typical modern animated feature spends so much time and energy reminding parents and kids that they love each other that it creates the impression that families today are especially fragile and needy -- or certainly much more so than in the decades that produced "Snow White and the Seven Dwarfs" and "The Jungle Book."
Most Disney heroes are orphans—think of poor, mournful Penny in The Rescuers, or the Lost Boys of Never Land, dreaming of having parents.
Better Tagline: "From the creators of The Aristocats and Treasure Planet ."
“We keep the Crab Nebula and the White Dwarf from tearing each other’s eyes out,” explained one of the many CGI creations in this movie that made it so resemble a cartoon I thought I was watching an unauthorized sequel to The Aristocats, and God only knows nobody would authorize such a sequel.
It feels like four or five different movies happening at once, not to mention that it playfully winks at legendary films like Indiana Jones and The Temple of Doom (via Arthur’s hunt for the trident), the Lord of the Rings trilogy (the trident), The Sword in the Stone (also the trident), and perhaps unintentionally Mamma Mia: Here We Go Again (at one point, Arthur and Mera find themselves in a coastal Mediterranean town, and can’t stop love from happening).
Prince of Persia: The Sands of Time (2010)
Directed by Mike Newell
influenced by The Sword in the Stone (1963)
Themes
“Prince of Persia: The Sands of Time” feels like a cross between “Indiana Jones and the Temple of Doom,” “The Sword in the Stone” and “Pirates of the Caribbean”.
Lawrence is the voice of Boog, a laid-back grizzly bear who follows in the footsteps of animated ursine creatures that go back at least as far as Hanna-Barbera's Yogi Bear and Baloo from Disney's "The Jungle Book," not to mention a certain former Baltimore Orioles first baseman.
Like "The Jungle Book," this animated film tells the story of a group of animals who find a human baby.