Though I've been unkind to most Disney remakes, I'm hip to Jon Favreau's "The Jungle Book". Let's face it, there have been other adaptations of Rudyard Kipling's classic tale prior to and beyond the studio's exalted cartoon: case in point, Disney '94, live-action edition with Jason Scott Lee.
I'm also hip to Favreau's retelling of "The Lion King" for much the same reason. Whether new or old, "The Lion King" is a retread at heart, stealing shamelessly from "Kimba the White Lion" and "Hamlet". "Lion King" also captures the let's-crush-the-cuteness conflict of "Watership Down", as well as the prophetic power of Arthurian legend, but maybe I'm stretchin' it a tad. All the same, most media-savvy folks would label "Lion King" a fine, royal hodgepodge.
Unlike other recent Disney remakes, the new "Lion King" isn't truly live action. I suspect its redundancy could cause some distress among those desiring actual animals with simulated mouths. No matter how one spins it, "Lion King '19" is another animated endeavor, despite it looking "live". It's also rich in character and breadth and damn it, I do dig its colorful, CGI components, even though (I suppose) I shouldn't.
The top-drawer vocal talent doesn't hurt, either: Donald Glover and JD McCrary as Simba; Beyonce as Nala; Seth Rogan as Pumbaa; Eric Andre as Azizi; Kegan-Michael Key as Kamari; Florence Kasumba as Shenzi; Billy Eicher as Timon; Chiwetel Ejiofor as Uncle Scar; John Kani as Rifki; Alfri Woodard as Sarabi; John Oliver as Zazu; Phil Lamarr as Impala...and sticking to regal tradition, James Earl Jones as King Mufasa.
To fortify the familiar unfurling, Jeff Nathanson's script presents the same, epic setup that Irene Mecchi, Jonathan Roberts and Linda Wooverton offered in '94, albeit with a half hour of padding. At least Nathanson's extensions aren't as superfluous as those of the new "Aladdin" and "Beauty and the Beast". In fact, "Lion King'"s heft holds welcoming virility and ferocity: ideal for essaying the ups and downs of seizing one's rightful crown within that great circle of lion-eat-lion life.
These beefy additives balance well with the movie's intermittent levity. When those beloved, Elton John/Tim Rice songs (along with the Tokens' wondrous "Wimoweh") bounce off Hans Zimmer's reinstated score, the effort feels natural and never overdone, thanks to Favreau's dealt-in-moderation execution.
Impulse inspires me to call this remake the majestic exception to the rule, exceeding its famous foundation on all (or at the very least, most) aesthetic levels. I sure didn't see that coming, but it's made me darn glad and maybe a little more open-minded to future Disney rehashes.
On the other hand, an imprint is an imprint, and just because something hits the right chord at the right moment doesn't make Gus Van Sant-ish tactics acceptable. Will I get that "Lion King" vibe when I catch Disney's live-action "Lady and the Tramp" and/or "The Little Mermaid"? Probably not, but if my chord just so happens to be receptive...
Back when Tobey Maguire acted as our favorite web slinger, a pompous chap told me that the actor's initial chapter pissed him off, but was too full of hot air to articulate why. Later I deduced it was Peter Parker's diligence that spurred the bum's scorn, with cowardice being his "diagnosed" excuse (ha, ha) to stay idle: Spider-man is what he'd aspire to be if only he had the courage.
Steve Ditko gave Parker heaps of courage (along with great power and responsibility), which has prevailed through decades of Marvel comics and cartoons. It's embedded in Maguire's trilogy, Andrew Garfield's love-laden set, the way-out "Spider-verse", the recent Avengers pics and Tom Holland's piloted outings.
This commendable component hits a pleasing high in "Spider-Man: Far From Home": the first in the fourth phase of the Disney-distributed, Avengers series, directed by John Watts and scripted by Chris McKenna and Erik Sommers, the trio responsible for "Homecoming".
This time the attentive Parker swings far from Manhattan on a European "vacation", accompanied by chaperones Mr. Harrington (Martin Starr) and Mr. Dell (J.B. Smooth), Michelle, aka MJ (Zendaya), Ned Leeds (Jacob Batalon), Betty Brant (Angourie Rice), Brad Davis (Remy Hii) and rude but industrious Flash Thompson (Tony Revolori). In Thompson's defense, I'll take a wiseass any day over a lazy one.
In addition to Parker and his school mates, we're given Aunt May (Marisa Tomei)'s new squeeze, Happy Hogan (Jon Favreau), Nick Fury (Samuel L. Jackson) and Maria Hill (Cobie Smulders), each within proper proximity in case anything goes wrong, and of course, it does. (BTW: When it comes to Fury and Hill, a post-credits segment might reveal a catch, and I'll let it be at that.)
These skilled protectors must deal with the consequences of a parallel-plane portal that unleashes colossal creatures (Elementals) upon the Earth...or so that's the claim. And yet it's not only the irrefutable bad that seemingly slips through the other side, but assisting "good". (The quotation marks are there for a reason. Duh.)
Shoot, we're talkin' Mysterio here, aka Quentin Beck, played by Jake Gyllenhaal, an actor who might have played Spider-man in that second, Sam Raimi flick, if Maguire couldn't make it. Maybe in some alternate universe, Gyllenhal did, in fact, play the part: an idea that has led fans to ponder if Mysterio might be a parallel Parker and not the trickster of traditional lore.
So, is he another Parker? The next Iron Man? Well, I ain't gonna tell, but I'll say this much, Mysterio holds a potent place in "Far From Home". Maybe it's Gyllenhaal's clever nuances, that gladiator armor and emerald, Robot Monster dome, or maybe it's just his basic air of mystery that does the trick. Know what? I'll opt for the latter. Mysterio's equivocation colors this fast-paced adventure, even if its chief hue stems from its intrepid acts, which pile on in sterling spades in honor of those gutsy enough to rub a little elbow grease onto any sticky situation.
In fact, most of the characters demonstrate their commitment to doing right, no matter how daunting the sacrifice. Sometimes the gang gets frightened, frustrated...makes major mistakes (and good ol' Spidey is right at the top of the list), but they dust themselves off and never let others do what they can do themselves. These good folks possess integrity: a trait that cowards lack.
All the same, among the daring diligence comes some scattered romance. Parker and MJ's love blooms in "Far From Home", but shucks, even that takes sincere courage on their parts. At least the labored affection never gets overbearing, as it does in Garfield's films. It instead sprinkles the scenery with upright pause (and cause), which in turn amplifies the action whenever it resumes: further proof of a laudable, balls-attached chapter.
Yeah, bums will take offense to "Far From Home", but Spider-man isn't a hero for those pissed-off sloths. Guess that's just how it rolls in the crybaby, do-nothing annals. For the rest of us, this flick is a metaphoric testament to the bravery we apply to every sweat-brow day: that special way we rise to the occasion even when we're afraid.
