The Jungle Book (1967)
Directed by Wolfgang Reitherman
The boy Mowgli makes his way to the man-village with Bagheera, the wise panther. Along the way he meets jazzy King Louie, the hypnotic snake Kaa and the lovable, happy-go-lucky bear Baloo, who teaches Mowgli "The Bare Necessities" of life and the true meaning of friendship.
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What critics compared The Jungle Book to
“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.
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.
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.
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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."
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.
Then we leap forward 33 years, where it is again the Christmas season, and find that the deformed child has been raised by penguins in Gotham's sewer (a bizarre take on Romulus and Remus, who were raised by wolves in Roman mythology, or perhaps Rudyard Kipling's "The Jungle Book").
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Where 1989's The Little Mermaid and especially 1991's nauseating Beauty and the Beast tried to pass themselves off as Golden Age Disney (1937 (Snow White and the Seven Dwarfs)-1950 (Cinderella), for argument's sake), before a certain stateliness loosened its grip on the house style, 1992's Aladdin took its cue from Uncle Walt's twilight years, the sixties, when he was interested in telling--as he geared up to pass the torch, perhaps--mentor stories (The Sword in the Stone and The Jungle Book) and pop culture had finally caught up with his incongruous predilections for psychedelia and bohemianism.
Oh yes! Visually stunning and narratively engaging, Favreau brings The Jungle Book into a new era with a slightly more mature – though never dour – tone.
Disney’s newest film The Jungle Book is a culmination of really great moments speared between moments mouseketeers could recite from heart.
I saw the newest Disney version of "The Jungle Book" in the company of my enthralled 12-year-old son, and there were moments when I envied him—but not too many, because the film is so surefooted in its effects, so precise and simple in its characterizations, and so clear about what it's trying to say about the relationship between humanity and nature, that it made me feel about his age again, too.
Set in the most immersive fictional world the movies have seen since "Avatar" (2009), Jon Favreau's "The Jungle Book," an update of Disney's 1967 animated favorite, is an instant classic.
What I can say is that, like Kenneth Branagh’s Cinderella last year, The Jungle Book offers a lavish new reimagining of a beloved story, blending elements from the original literary source material with the classic animated Disney version.
In much the same manner as Kenneth Branagh's enchanting Cinderella last year, director Jon Favreau and scripter Justin Marks have crafted a film that manages to pay tribute both to the original tale as well as its animated adaptation.