Jumanji: Welcome to the Jungle
Hollywood has always embraced the ‘remake,’ taking a favorite, profitable movie and slightly retool it for a new audience and spark the interest of that fanbase. Typically, it is a gamble since the connection to a proven hit is a two-edged sword. Certainly, it has a proven formula as a foundation, but expectations are often frequently greatly overestimated. A remake, or, to use a recent term, reboot, lives in the shadow of its famous predecessor. The more beloved the story, the greater the public will expect the new film must meet or, hopefully, exceed the original. Fans are quite finicky, particularly in this age of the internet where a movie can be dissected practically frame by frame. It does seem to help when the genre is fantasy; light-hearted action is especially conducive to this treatment. Among the most recent batch includes a movie that has been a classic action-comedy that feature the comic genius, Robin Williams and an early performance of Kirsten Dunst, as she transitioned from childhood to teenager. With this legacy, many were optimistic that the time was perfect for a reboot. A lot depended on the cast selected to move forward as well as the usual factors controlled by the filmmakers. Fortunately, in this instance, things proceeded better than expected for the remake of ‘Jumanji,’ rebranded as ‘Jumanji: Welcome to the Jungle.’ Besides the obvious, at least to the older crowd, connection to the 1987 Guns ‘N Roses iconic metal standard, ‘Welcome to the Jungle,’ it also adds a certain distinctive video game feel to the title. This is more than a casual decision; it affords a spot-on tie-in to a major plot update defining the narrative. A series of thoughtfully crafted alterations and plot tweaks. This movie can serve as an example of how a filmmaker should proceed down the reboot path. The cumulative result was a clever adaptation of a favorite family managing to retain the quirky, family-friendly nature of the film.
In situations like this, fans greatly approve of filmmaker’s honest efforts to create a solid and reasonable connection to the original. This was achieved by director Jake Kasdan and the screenwriting team of Chris McKenna and Erik Sommers with the opening scene. In 1996 Brantford, New Hampshire, teenager Alex Vreeke receives an old board game from his father, Jumanji who found it on a beach. This directly ties this film to the original where Alan Parrish (Robin Williams) and Sarah Whittle (Bonnie Hunt), the original set of children, tossed the cursed game over a bridge. That would usually be sufficient for most fans, but the filmmakers took a much-appreciated step further. Reinforcing the supernatural origins by having the board game transform into a video game consistent with the technological level of the time. This consisted physically of a game console and a connected set of four game controllers. The crucial story element of pulling the players onto the game is referenced leading directly to reinforcing the wickedly adapted nature of the game. The game can change its nature to attract children of the current time. However, once a game commences, it is fixed in that configuration.it is especially important in a fantasy film to provide the audience with some plot devices that are grounded or attach a semblance of believability to the proceedings. By accomplishing this the ability of the audience to emotionally bond with the characters and feel comfortable inserting themselves into the story facilitating its effect greatly.
The narrative moves forward in time 27 years where the focus shifts to Brantford High School where four students are occupying drastically different and mutually exclusive cliques. Geek gamer and ace student Spencer Gilpin (Alex Wolff), is caught writing an essay for star football player, Anthony "Fridge" Johnson (Ser'Darius Blain). Social media addicted Bethany Walker (Madison Iseman), is dispatched to the principal’s office after refusing to end a video call with a friend. Finally, there is Martha Kaply (Morgan Turner), a social justice activist who refuses to participate in gym class since such mundane activities contribute nothing to her scholastic objective of acceptance to an Ivy League University. Each case resulted in detention to be served cleaning out an old storage room being repurposed. While Martha dutifully begins the odious task, the others are reticent to help. The Fridge pokes around in the piles of discarded objects discovering an old gaming box and cartridge labeled ‘Jumanji: Welcome to the Jungle.’ Bored an unwilling to undertake the assigned tasks he suggests finishing the game saved in progress. Each of them selects one of the four characters offered by the game. When ‘start’ is pressed, they are pulled into the game. Each of them is now the embodiment of their avatar.
The natural expectation of the audience would be to imbue The avatars with the opposite personality traits as those defining the real person. the standard formula held that the purpose underlying of the transformation was intended to teach the teens a life lesson ultimately. The deployment of this familiar device was incompletely achieved. The teen quartet does receive avatars diametrically opposite to their true selves. The nerdy, polyphonic Spencer is transformed into the rugged action ready archeologist, Smolder Bravestone (Dwayne Johnson). The change is successful in large part to Mr. Johnson’s natural inclination and many films honing his penchant for comedy. A huge, self-assured hero frightened of every insect, small animal and plant is widely funny due to the expertise the Rock infuses in the physical comedy. In contrast, the overly masculine fine himself in the diminutive form of Smolder’s sidekick and trusted porter, Franklin "Mouse" Finbar (Kevin Hart), a zoologist and weapons specialist. His considerable experience in self-deprecating humor concerning his lack of the statue made him the ideal selection for this role. The requisite introverted champion of Social Justice, Martha, become the scantily attired Ruby Roundhouse (Karen Gillan), a Lara Croft-like commando, martial artist, and dance fighter. The awkward, reserved young woman is embarrassed by the lack of wardrobe given to her in-game persona. Finally, the vain, self-centered, Bethany Walker is unhinged by the realization that there is no internet, no affixes, and no status updates. Her transformation is arguably the most drastic transformation and emotionally pain jack, Black. Ul. Bethany loses her carefully sculpted figure and meticulously cared for complexion and make-up, discovering she is Sheldon "Shelly" Oberon, a cartographer, cryptographer, archaeologist, and paleontologist, even worse her new body is played by Jack Black. One thing that is consistent in every interaction of the game remains constant, Jumanji is mercurial and frequently cruel to those lured into playing.
Another reason for the success of this remake is the entertaining fashion that the rules and flow of the game are modified, in fact, modernized remaining consistent with the change from board to video. In the traditional board game, the players proceed episodically, determined by the role of the die and the contents of the square landed upon. In contrast, a video game is constructed to force the players to face adversarial conditions increasing with each successive level. The narrative of the story infuses considerable imagination achieving this objective. Working in a beautifully precise ensemble performance, the incredible cast working concert. Mr. Johnson has that rare combination of imposing physical stature with a finely honed a sense of comedy that shines through in every frame of his performance. The classic buddy comedy as defined in Hollywood’s golden age by Martin and Lewis, Hope and Crosby and, of course, Abbot and Costello, delightfully reinvigorated for the benefit of a new generation by Johnson and Hart. This is certainly not to suggest that the performs here are anywhere close to the level of genius of the greats, merely the chemistry they demonstrated was highly reminiscent of those pairings. We can hope that this collaboration is nurtured and expanded in the future.
The final, primary personal relationships are formed between the two teenage girls via their avatars, Bethany and Martha, had Bethany selected Ruby Roundhouse the results would have been diluted beyond any narrative validity. She would have spent every possible moment preening over her new, curvaceous adult body and luscious red locks. Martha might have been better equipped emotionally for a transformation into a portly, middle-aged professor. The role reversal placed the best performer in the right spot. Mr. Black is an experienced comedian quiet adept at undertaking bizarre, unorthodox roles such as assuming the persona of a conceited teenage girl exhibiting the symptoms of narcissist personality disorder. Ms. has benefitted from significant involvement in two of popular cultures most significant franchises, The Marvel Cinematic University and the grandfather of modern science fiction, Doctor Who. The conclusion is this is a film you will enjoy many times. There is a 3D version that is available in the UK but not here. You might also try the SVOD service, Vudu. The 3D effects are worth the effort to locate them.