“Jumanji: Welcome To The Jungle” has only the most tangential connection to the critically ravaged but popular Robin Williams movie which had only a fleeting connection to the 1981 story by Chris Van Allsburg. The basic premise of a game that springs to life survives, but that’s about it. The new film trades on the goodwill of the other projects and could just as easily have been called “Java 1.2: Welcome To The Jungle” or any other title that might conjure up nostalgia for the 1990s.
The premise is basic. Nerdy gamer Spencer Gilpin (Alex Wolff), mean girl Bethany Walker (Madison Iseman), jock Anthony “Fridge” Johnson (Ser’Darius Blain) and Martha Kaply (Morgan Turner) are assigned to detention. Stuck in a storage room, they discover a dusty old Jumanji gaming console. Hooking it up, the game sputters to life. “A game for those who seek to find,” it says, “a way to leave their lives behind.” As each click on an avatar they are suddenly swept away into the world of the game, plopped down in the Jumanji jungle and in the middle of an escapade.
They also look different. Their teenage selves are gone, replaced by heroic videogame characters. Spencer is now Dr. Smolder Bravestone (Dwayne Johnson), a buff hero, fearless with no vulnerabilities. Martha is warrior Ruby Roundhouse (Karen Gillan) while Fridge is zoologist Moose Finbar (Kevin Hart). The biggest change is reserved for Bethany who is now cryptographer Professor Sheldon Oberon (Jack Black).
Adjusting to their new bodies presents challenges. “I don’t have my Claritin!” Spencer complains. “I look like a garden gnome,” whines Bethany. But soon a bigger problem presents itself. How do they get back? Enter game guide Nigel (Rhys Darby) who gives them the rules—to leave game they must return a jewel, stolen by the evil explorer John Van Pelt (Bobby Cannavale), to the eye of the giant Jaguar statue located deep in the jungle. To do so they must complete different game levels. As they survive each level the danger increases on the next but each challenge also teaches them something about themselves that will apply to their regular lives if they are successful and make it home.
Robin Williams claimed the word “jumanji” is a Zulu word meaning “many effects.” It’s a definition director Jake Kasdan seems to have taken too literally. The family-friendly action is boosted by fake looking CGI effects that are almost entirely without charm.
Luckily the cast has charm to burn. When the CGI isn’t clogging up the screen the actors do a decent job of selling the story. Much of the movie’s humour comes from the actors playing against type. The muscle-bound Johnson as a scaredy-cat and Hart’s slapstick swing for the fences every time but it is Black, as a coquettish teenage girl, who has the best lines. When Bethany learns about going to the bathroom while standing up he/she squeals, “This is so much easier! You have a handle!” Later as the game intensifies he/she says, “I feel like since I lost my phone my other senses have heightened.”
You don’t have to work too hard to find the laughs here, but they are courtesy of the cast’s delivery and charisma not the flimsy script. When they aren’t cracking wise the script—credited to no less than five writers—has characters spend too much time talking about what they’re going to do just before they do it.
When they aren’t droning on about the game to one another or the audience they are engaged in some light pop psychology. “We’ve always only had one life to live,” Moose opines as Bravestone’s videogame power bars deplete, “it depends on how you live it.” It’s as deep as a lunch tray
There’s also much talk of empowerment. In the land of Jumanji the smart ones are gifted with physical progress while the damn bulbs are bumped up intellectually. The mean girl learns selflessness while the brainiac, who had no one use for Phys Ed class, learns the benefit of dance fighting as exercise. By the time the end credits roll everyone are better off than when the movie started… except maybe the audience who deserve more than a handful of laughs and warmed over 90s nostalgia.
Guardians of the Galaxy Vol. 2 opens with a battle scene that would not be out of place in almost any other superhero movie.
The set-up has the Guardians — Peter Quill /Star-Lord (Chris Pratt), Gamora (Zoe Saldana), Drax the Destroyer (Dave Bautista) and Rocket (Bradley Cooper) — working for the Sovereigns, a thin-skinned race of aliens who have hired the heroes to protect valuable batteries from an inter-dimensional monster.
The action is as wild and woolly as we’ve come to expect from these big CGI extravaganzas, but the thing that sets the scene apart from all other superhero movies is the sheer, unbridled joy brought to the screen by Baby Groot (Vin Diesel), a tree-like being too small to take part in the fight. Instead he blissfully dances throughout to Mr. Blue Sky, the lush, Beatles-esque ELO song that underscores the sequence.
The scene and the movie brim with the missing element of so many other big superhero movies — fun.
“That’s what we hoped to do,” says star Michael Rooker, “bring back the fun. It was fun as hell doing it.”
Rooker reprises his role as blue-skinned, red-finned mercenary Yondu. The former Walking Dead actor — he played Daryl’s older brother Merle Dixon — jokes that his normal look, his handsomely craggy face, is actually make-up, and the Blue Man Group style we see in the movie is the face he was born with. “It takes four or five hours to get this on,” he says, pulling at his cheek. “The real problem is getting the fin off.”
Yondu’s weapon of choice is a flying arrow made of special sound-sensitive metal he controls through whistling.
“Dude,” he says, “everyone is digging that weapon.” It’s the character’s trademark and Rooker laughs when remembering talking to director James Gunn about the role. “Man, I was glad I was able to whistle.”
“The first time I got to whistle I did the melodic whistle… I hypnotized one of the aliens and then I shot out a piercing whistle. Yondu has different whistles.”
One wild action sequence with Yondu’s deadly arrow and set to ’70s pop ditty Come a Little Bit Closer is a showstopper, an imaginatively staged set piece with a huge body count and just as many laughs.
“That whole sequence is very much like a western gun fight if you think about it,” Rooker says. “You go out, and jacket pulled back, methodical, not fast. It is a total tribute.”
In the scene he is accompanied by two computer-generated characters, Baby Groot and Rocket, a genetically engineered raccoon-based bounty hunter. Neither actually appeared on set while shooting, but Rooker says they were there in spirit.
“Because these movies use a lot of CGI they require your imagination to be fertile and open and ripe for seeding,” he says. “I’m like, ‘There is Baby Groot. He’s over there and he’s sopping wet…What have they done to him?’ I talk to them like they were any other two characters.”
Yondu may be a vicious, arrow-wielding mercenary but he’s also the film’s emotional core and James Gunn says people will be “surprised by Michael Rooker’s performance. He deserves an Academy Award nomination. No joke.”
What does Rooker think? “We’ll see about that bro. I’m up for anything.”
“Guardians of the Galaxy Vol. 2” opens with a battle scene that would not be out of place in almost any other superhero movie. The set-up has the Guardians—Peter Quill / Star-Lord (Chris Pratt), Gamora (Zoe Saldana), Drax the Destroyer (Dave Bautista) and Rocket (Bradley Cooper)—working for the Sovereigns, a thin skinned race of aliens who have hired the heroes to protect valuable batteries from an inter-dimensional monster called the Abilisk. In exchange they will receive Gamora’s estranged sister Nebula (Karen Gillan).
It’s a lot of names and intrigue to keep straight right off the top. The action is as wild and woolly as we’ve come to expect from these big CGI extravaganzas, but the thing that sets the scene apart from all other superhero movies is the sheer, unbridled joy brought to the screen by Baby Groot (Vin Diesel), a tree-like being too small to take part in the fight. Instead he blissfully dances throughout to “Mr. Blue Sky,” the lush, Beatlesque ELO song that underscores the sequence.
The scene and the movie brims with the missing element of so many other big superhero movies—fun.
Anchoring the rock ‘em sock ‘em action is a subtext about family; you can choose your friends but you can’t choose your family. Gamora is bound by blood to a sister with an extreme case of sibling rivalry while Peter must choose between his birth father, a small ‘g’ god named Ego the Living Planet (Kurt Russell), his adopted dad Yondu (Michael Rooker) and his Guardian posse.
Set to a soundtrack of 70s radio hits and a cavalcade of pop culture references “Vol 2” is less story driven than the first film. With the origin tale out of the way it focuses on the characters and their relationships. Director James Gunn doesn’t allow the characters to become overwhelmed by the computer generated imagery. From Rocket’s wisecracks to Peter the semi-inept action hero and Gamora’s pragmatism—“If he does turn out to be evil will just kill him.”—the characters are front and center. Like the true scavengers they are, Drax—with Bautista’s deadpan delivery—and Baby Groot—“He’s too adorable to kill,” says Taserface (Chris Sullivan)—steal the show.
Fans will get what they expect—loads of goofy, gross and gooey cartoon action and cool Day-Glo creatures—but it’s the characters that make it so enjoyable. They spend as much time laughing as they do in action, bringing with them an infectious joyfulness. The movie is at it’s best when the characters are hanging out, when Peter finally gets to play catch with his dad with a ball made of pure energy, when Drax is ribbing Mantis (Pom Klementieff) or when Baby Groot is perched on the shoulders of his Guardian pals.
But Gunn also stages interesting action. The “Come a Little Bit Closer” sequence with Yondu’s deadly arrow is a showstopper, an imaginatively staged set piece with a huge body count and just as many laughs.
“Guardians of the Galaxy Vol. 2” is a mix of high-tech and lowbrow that breaks the sequel curse. It’s a tad too long, succumbs to CGI overload in its final moments and the not so subtle anti-bullying and free to be you and me messaging feels tacked on but is so much fun (there’s that word again) you’ll forgive its transgressions.
There will be a time when the “Guardian of the Galaxy’s” formula of 70s kitsch and wisecracks won’t work but we’re not there yet.
One day someone may write about Emma Watson without mentioning the Harry Potter franchise, but today is not that day. Few child stars have faced the glare of the spotlight as acutely as the core Potter cast and the fame that came along with playing Harry, Ron and Hermione will likely follow them around for as long as Potterheads roam the earth.
It’s not like they are crying over spilt potion, however. On screen Daniel Radcliffe takes on demanding roles that give him the chance to distance himself from Harry and, apparently, show his bum at every opportunity. Rupert Grint has kept a lower profile, starring in a few independent films and playing an upper-crust criminal on the television adaptation of Snatch.
Of the three Emma Watson has maintained the highest professional profile. Whether addressing the United Nations or starring opposite a heartbroken furry beast or accepting British GQ’s Woman of the Year Award she has rarely been far from view.
This weekend she follows up her biggest post-Potter hit, starring as Belle in the live action remake of Beauty and the Beast, with the high-tech thriller The Circle. Appearing opposite Tom Hanks she plays a young woman hired at The Circle, America’s most influential and possibly dangerous tech company.
She says, “I pick movies, not roles,” and has amassed a carefully curated IMDB page—including everything from This is the End’s axe wielding version of herself to Noah’s adopted daughter—designed to challenge an audience used to seeing her as Hermione and showcase strong and independent characters.
A year after Harry Potter and the Deathly Hallows – Part 2 she surprised fans by playing a wise-beyond-her years free spirit in The Perks of Being a Wallflower. “If you had told me that the first movie I was going to do coming out of Harry Potter was an American high school movie,” she told the Hollywood Reporter, “I would have laughed at you.”
Based on a popular junior adult novel, it uses one of the building blocks of teen drama—the friendless teen trying to navigate high school in his freshman year—but layers in equal amounts of teen angst and exuberance before the final class bell rings. Watson is terrific, avoiding the square-peg-in-a-round-hole clichés that could have dogged her character.
Her next starring role silenced Hermione comparisons forever. The Bling Ring plays like a Law & Order episode of The Hills. Based on actual events, it centers on a group of narcissistic Los Angeles teenagers who track the comings and goings of their favourite celebs on the internet. While one-named millennial stars like Paris, and Lindsay are out on the town the Ring “go shopping,” breaking into their homes, helping themselves to jewels, designer clothes and loose cash.
Watson’s performance nails the vapidity that made the robberies possible. Dead eyed, with a bored infliction on every word she mispronounces, her take on Nicki shows there’s more to her than being a wizard’s sidekick.
“I am aware I have a long way to go,” she told Elle UK. “I am not sure I deserve all the respect I get yet, but I’m working on it.”
The twenty-seven-year-old may have a long way to go, but one thing is for sure, if she continues to choose daring and exciting roles, she’s not going anywhere.
There’s an old saying that says a little knowledge is a dangerous thing. “The Circle,” a new Emma Watson, Tom Hanks’ thriller updates the message for the cyber age. “Knowing is good, but knowing everything is better,” is the chilling message.
Based on the Dave Eggers bestseller of the same name, “The Circle” stars Emma Watson as Mae Holland, a young woman who lands a gig at The Circle, a social media company with the influence of Apple and Facebook combined. It’s high tech glamour with a human touch, the chaos of the web made elegant. When Mae’s father falls ill her health coverage is extended to include her extended family. “You are a valued member of the Circle,” says the Zuckerbergesque company head and co-founder Eamon Bailey (Tom Hanks). “We care about everybody you care about.”
As she moves up the ranks Bailey convinces her to take part in a radical test. “Mae,” he asks, “do you think you behave better or worse when you are being watched?” It is a grand social experiment that sees her observed on-line every minute of the day via a new, lightweight, wireless portable camera. On the surface it’s a utopian idea, a way to make people better—“When we are our best selves,” says Bailey, “there isn’t a problem we can’t solve.”—that soon has some unexpected consequences.
When her co-worker Ty (John Boyega) warns her that “all the information, everything broadcast, recorded and seen is stored there and they can use it however they want,” she realizes the possibilities of a surveillance culture.
“The Circle” is a snapshot not of today but of two years ago. It’s almost impossible to tell a dystopian or cautionary cyber tale when Russian hackers are throwing American elections and your laptop is already spying on you and likely has been for years. The film feels as current as it’s musical guest star Beck, a musician old enough to be Watson’s father.
It does raise questions about the usage of personal data for the gain of personal wealth, the role of technology in government—“The government needs us more than we need them,” snarls The Circle’s COO (Patton Oswalt)—and the nature and importance of privacy in the wild west of the internet but it doesn’t add much to the conversation. The messages are earnest, but Watson’s Mae is a passive player, a shallow character too gullible and easily influenced to maintain our interest. The solution to her moral quandary feels better suited to a Facebook post than the climax to a movie.
While it is a pleasure to see Bill Paxton in his last big screen performance, “The Circle” often feels like an Exposition-A-Thon, a message in search of a story.
Trying to prove that someone was possessed by the devil when they did a bad thing is the kind of thing that generally only people in the movies do, and often not very convincingly. But a new film, Oculus, makes a creepy case for demonic interference even though the evidence is slight.
The story begins in present day with Tim (Brenton Thwaites) being released from a twelve-year stretch in a mental institution. The twenty-one-year-old was locked away at age nine after he gunned down his father (Rory Cochrane) who had just murdered his mother (Katee “Starbuck” Sackhoff).
His sister Kaylie (Karen “Dr. Who” Gillan), now a successful antiques dealer, lets him in on a family secret—she claims dear old dad was possessed by a demonic spirit that lives in a mirror. She has the ornate old looking glass and needs Tim’s help to destroy it.
Working in a tried and true supernatural genre—devil possession movies are a dime a dozen—director Mike Flanagan manages to find a new way to inject some life into the story of a haunted piece of furniture. Weaving together Tim and Kaylie’s past and present into one seamless whole, he flip flops through time, telling the story from the perspectives of the characters at different ages. It adds intensity to a tale that isn’t too far off from the terrible Amityville 4: The Evil Escapes (the story of a ghostly lamp).
The horror elements work because this is a character driven story and while there are blood and guts aplenty it is the intensity of the story and the performances that will stay with you.
