More than 20 years after the release of Jumanji original, this faux-sequel follows the laid-back as a fun experience, and the virtual experience of a youth drawn by a society of the screen; and while freeing himself from the original in order to better understand the logic of the contemporary entertainment based on the culture of gaming.
There has always been a certain dangerousness, to tackle works as cults, unifying and popular than Jumanji. A work similar to small strides in a park of predators, the virtuosity in the least, but to sympathy as a seal. The work, which would be rather comparable to the commitment that we can bring it to a hook Spielbergien, where rationality and objectivity have no place, and where the benevolence sways in spoons to the imagination. An aura to the character generation so that continues, even today, to delude the imagination of these children become adults, as an invitation to launch continuously in the dice of nostalgia on a platter of memories.
Because review of Jumanji, it is inevitably deal with a tragic melancholy limbo of a spleen almost childlike. Namely, that the cause of our interest will never be of the party ; of these the zygomatic solicited by the tears of friendship, a genius has joined the paradise. Were there any need to reopen the box ? This question could apply to any reboot / remake contemporary hit films, a horde of fans empresserait of us would answer a bunch of comments as hostile as cruel, and, without the slightest objectivity. And even if one can question the legitimacy of such a principle, it is even more improper to demolish a film before even having seen it. Especially when the film in question decides not to follow in the footsteps of the original.Since JUMANJI : WELCOME to THE JUNGLE is not a movie for the nostalgic. The only cover of the song is more like a coup than a genuine desire to continue the original. And there, where everything is based on the will of postage to create an independent work, all of it could be summarized in this introductory sequence, where everything wants to be in constant adaptation. A film that survives by adapting to his time as a board game become a video game. If this film exists, it is first of all because of his audience. A work encapsulating the expectations to conform to a society in search of entertainment, as soon as consumed soon forgotten : a movie whose sole purpose is to suck its audience within its bowels completely uniform, before dismissing it just the word END came. And in this, JUMANJI : WELCOME to THE JUNGLE is an entertainment calibrated, as smooth and bland as pleasant and hassle-free.
“Suck her in public, even inside of his bowels in a uniform manner.”
As a desire to modernize a concept of the past to instill the force and the originality needed in order to overcome the uselessness of the project. Because, yes, the film is followed without displeasure. As a large part of the entertainment contemporaries. And here lies perhaps its main flaw : that impression of consuming a show warmed up which, once completed, leaves no flavor in the mouth. Single ambition : to capture the fun in not filming anything other than the factual. Basic would be the adjective to characterize this ” adventure cinematic “. Even in its skeleton narrative, the film embraces the video game, and makes each advance of the plot of a facility almost disconcerting : as a quest of levels, levels where the drama is confined to the lord’s succeed or die, without emotion or intensity. The so-called “villain” is looking for is still a usefulness within the story.However, by inverting the schema of the Jumanji original, launched as a joystick immersive, not everything would be a pretext for a diversion of the codes in order to target an audience of young people thirsty of gameplay. It’s no longer a question of making the reality a place where the game invites, but rather to show, in a more or less cynical and indirect, the influence of virtuality as its own reality to the players. A world where the addiction to the artificial and the superficial has become full to the point that the youth is sucked into the virtual lives of their own.
“It’s no longer a question of making the reality a place where the game invites you…”
See in the end a kind of satire teenager in the Breakfast Club, transposed in a society where appearances reign : young people of JUMANJI 2 in this representation, a caricature, of the paragons of their time, hiding in the final behind virtual avatars, victims also of their own caricature. The casting is for many : of the actors become caricatures of themselves, and show a front and fully conscious. If Dwayne Johnson and Kevin Hart explains this perfectly, pushing the caricature often in the trenches of the excess : laugh of the appearances of a stroke of the eyebrow, or pectoral, and a weakling at jacassement annoying ; for in the end retain only the lack of comedy by the attempt of one-upmanship.The logic would the same as this set of shots turns to the grotesque to allow spectators more experienced to see an aspect of self-deprecating humor. But the product itself is tainted by its flaws (including what had been able to characterize Baywatch) to the point that it loses all credibility in his uniform. And again, the narrative unearths a new time this inexhaustible morality of self-confidence by the collective action and reciprocal : strategies to loss of life, a kind of video game in multi-player mode. A legal entity, which in addition to being exhausted, comes to destroy any real attempt to denounce this obsession with the virtual, much like had done with a certain contempt The secret World easily add emoji. However, the last plan on the destruction of the console just to put a little order in this world of simulacra. A world that could continue to turn without this work in the end.
“A sense of recreation rather nice.”
Of punchlines in lightweight comedy, all the exchanges are extremely released and contribute more to a crazy video-fun to this side very artificial and wobbly of all. Only the commitment to its actors allows the narrative to take on the duration. Has the image of this Jack Black, free-wheeling playing on the codes of his character’s inner feminine, or even this irresistible Karen Gillian in Tomb Raider marginal. While there is not necessarily a great subtlety, but this JUMANJI : WELCOME to THE JUNGLE , reflects a sense of recreation rather nice. In addition, there would be almost a willingness to poke at Indiana Jones but without ever exploit the fad. And that’s a shame. On reflection, it would not be extravagant to think that The Rock is the modern equivalent of Harrison Ford : a funny evolution that the popular cinema to contemporary.
JUMANJI : WELCOME to THE JUNGLE is less a kind of sequel/ remake than a true adventure comedy family. And even if he is trying to tie its plot to the original (through references as under-exploited and useless), his only ambition is to follow the entertainment as a guideline, a way to embody a stress relief funny, and distractive, which is worn by the interpretations completely at ease and casualness. A work as a reflection of an era where the virtual has become the only way to interest a young audience : for a potential sequel, we should expect to find Jumanji on Android and App Store. In the limit of pokes available…
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• Achievement : Jake Kasdan
• Screenplay : Zach Helm, Chris McKenna, Jeff Pinkner, Scott Rosenberg, and Erik Sommers, after Jumanji by Chris Van Allsburg
• Main actors : Dwayne Johnson, Alex Wolff, Jack Black, Madison Iseman, Kevin Hart, Ser Darius Blain, Karen Gillan, Morgan Turner, Nick Jonas, Bobby Cannavale
• Release Date : 20 December 2017
• Duration : 1h59min