Zoltan Korda
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Filmography
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Connections, in both directions
This might be a clever nod to the true love story believed to have inspired the fairy tale (Google: Pretus Gonslavus), but the character never looks photo-real in the way of “Jungle Book”s incredible detailed furry heroes.
Jon Favreau made a live action "Jungle Book" with one human actor entirely surrounded by CGI and most wouldn't known they were not looking at real wilderness.
It can work, as witness the charming “Cinderella” (2015) and the dazzling “Jungle Book” (2016).
But most of these do-overs, from the lightly revisionist Maleficent to last year’s state-of-the-art Jungle Book , at least attempt to do something different with their source material.
But 2016’s Jungle Book was a triumph, even though, ironically, it was still mostly animated, this time with CGI instead of pen-and-ink.
It’s like dozens of other tank films, like a gory version of Humphrey Bogart’s Sahara, but that’s not a bad thing.
Two rare exceptions are 1943’s Sahara and 1988’s The Beast of War, both of which centred on lone tank crews bravely engaging the enemy against seemingly impossible odds.
1943’s Sahara comes to mind along with the more recent The Beast and Lebanon (which takes place entirely inside of a tank), but there aren’t too many more.
There are countless war movies, but few — like Humphrey Bogart in "Sahara" (1943) — are told from the cramped perspective of a tank.
Overseeing it all is Serkis, who understands the technology required to get the necessary virtual performances better than almost anyone, but demonstrates almost no vision as a director (this despite showing promise with earnest awards-bait drama “Breathe” and dark, ultra-ambitious CG “Jungle Book” adaptation “Mowgli”).
Hardy’s vision won out in the end, and who better to bring Brock back to the screen than the man who made the de-facto most violent Jungle Book film?
If Disney goes the “Jungle Book” route again, consider him a lock for Baloo.
Aquaman 's visuals are less Jungle Book photo-realism, more Lisa Frank razzle-dazzle.
Much like many “small child encounters a large CGI creature” films of this year (Pete’s Dragon, Jungle Book), A Monster Calls handily crafts a large personified Yew tree – complete with formed buttox – never leaving questions about the digital composition of such a massive Ent.
An Indian boy and a Bengal tiger: a tale familiar to children a century ago from Rudyard Kipling’s story of Mowgli and Shere Khan in Jungle Book and, with more unfortunate racial stereotyping, in Helen Bannerman’s The Story of Little Black Sambo.
But writer-director Stephen Sommers ("Deep Rising," the live-action "Jungle Book") pokes fun at the inevitable flaws of a movie based on cheesy antique horror with such deliberate self-mockery that "The Mummy" is all the more enjoyable because of its silliness.
The striking thing about The Lion King isn’t that this is Disney’s “Jungle Book” meets Hamlet, but how unremittingly bleak and depressing the film would have been if it wasn’t for the comic relief supplied by (a) Scar’s bumbling hyena henchmen (one of whom is voiced by Whoopi Goldberg) and (b) the warthog and meerkat.