Jungle Cruise Review (2021) Dwayne Johnson, Emily Blunt, Jack Whitehall

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IGN 27 July, 2021 - 06:15pm 50 views

Is Jungle Cruise a remake of African Queen?

The film is described as a "period piece in the vein of Humphrey Bogart's The African Queen." ... The film's release was delayed first from 2019 to 2020, and then again to 2021 due to the COVID-19 pandemic. Jungle Cruise had its world premiere at the Disneyland Resort in Anaheim, California on July 24, 2021. wikipedia.orgJungle Cruise

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The Rock and Emily Blunt can't steer Jungle Cruise into bigger thrills

The A.V. Club 27 July, 2021 - 11:00am

Emily Blunt, Dwayne Johnson, Jack Whitehall, Jesse Plemons, Édgar Ramírez, Paul Giamatti

Theaters everywhere and Disney+ July 30

Chases, archetypes, a magical MacGuffin: Jungle Cruise keeps things relatively simple. It represents a clean slate, with none of the tangled continuity of the now-dormant Pirates franchise, which was spawned from the great, surprise success of a different Disney ride adaptation back in 2003. Yet as frustratingly overcomplicated as those Gore Verbinski Pirates sequels could be, with their mystical curses and magical compasses that seemed to point the filmmakers in just as many directions as the characters, Jungle Cruise’s simplicity seems almost designed to evoke a longing for Verbinski’s commitment to his fantastical world.

Absent cleverness, Collet-Serra offers some comfort for weary eyes, like the flashes of silent black-and-white footage of the stars shot with Lily’s newfangled movie camera. At the risk of sounding like a critic from a way-old demographic, Jungle Cruise works best when it leans in this more old-fashioned direction. Its fantastical elements are well-designed, but without the stunning verve of the Pirates effects work, the more memorable villains are Plemons and, in a sadly tertiary role, Paul Giamatti, both feasting on outrageous accents. It’s a shame that the former’s weirdo fussiness never forms an alliance with the latter’s shameless, sunburnt mugging. How disappointing, too, that the film chases off anything resembling bittersweet regret, as a potentially poignant element of Johnson’s character takes a turn for the cuddly. In Disney World, there’s no chance for, say, a supernatural object getting packed into a warehouse as the camera pulls away. The ride has to stay open for business indefinitely.

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