I saw one trailer for this movie very many times because it was on the tape for Thomas and the Magic Railroad or something else that played a lot at our house, but I don’t think I’ve actually seen the whole movie.
I completely spaced who played the father and somehow got to thinking it was Jack Nicholson, which would’ve been pretty late for Nicholson to take a role like this.
Anyway, I remember not being very interested at the time because the trailer leaned heavily on some sophomoric humor, but trailers rarely represent their movies well, especially when they have that kind of heavy reliance on a single note that isn’t at the core of the genre.
I haven’t been able to laugh at the presidency in years. At least, not as the product of something other than a mixture of horror, anger, and embarrassment. Washington/the Federal Government lately hasn’t been a source of cynical guffaws. But things have changed and there’s room to be relieved and somewhat relaxed again. For the foreseeable future, we’re returning to, at worst, garden variety corruption and only casual imperialism.
This movie came to me in a presidential-themed movie collection that I found when looking for a disk-based replacement to an old VHS copy of Dave, a favorite I’m looking forward to returning to soon, and could get a Movies of My Yesterdays if “soon” is not all that soon.
Despite having gone through a phase in my early teens when I got obsessed with and went through the filmographies of many actors including Christopher Lloyd, it seems I can still be surprised. I don’t recall knowing about this movie’s existence until immediately before deciding to review it. I was trying to find something weightier since it’s been a while since I’ve done good drama, but as soon as I saw Christopher Lloyd, my decision was made.
It seems this concerns a no-rules retreat camp created by teens who don’t want to be sent away to the camps chosen by their parents. I’m not sure how much my impression that the poster wants me to think it’s “Animal House, but with teens” comes entirely from the fact that Lloyd’s character is wearing a toga. Also the girl in the swimsuit seems a bit shoehorned in I guess.
One thing I recall about the circumstances of the George of the Jungle release was that it seemed to come out at about the same time as Disney’s Tarzan, but apparently this actually predates it by two years. Given what I know about animation production schedules, Tarzan was probably already in the works when they started on this, but just came out later. I now recall that it wasn’t until the direct to video sequel that they were able to reference Tarzan.
However, this was definitely part of a wave of Jay Ward cartoon adaptations made in the late 90s. As much as I like 2000’s The Adventures of Rocky and Bullwinkle (so much so that I did a redub of a sequence for college mainly because I thought there was a bad music decision that I wanted to fix. How did it go? Okay enough.) and Dudley Do-Right, I think this was the best of the bunch. Though it’s possible that’s just because I never saw any of the George of the Jungle cartoon, so I don’t know how badly it was changed. That didn’t stop me from loving the Inspector Gadget movie though.
Fabulously wealthy San Francisco heiress Ursula Stanhope has come to Burundi to explore the jungle, but is surprised when her equally rich but pompous fiance Lyle Van De Groot tracks her down and joins her expedition, insisting they should return home as soon as possible for the wedding. Lyle has been accompanied by two poachers who are after the White Ape, a legend of the Burundi jungle that could get them a fortune. In reality, the White Ape is actually George, a human who was lost in the jungle as a baby and raised by apes, and now is the King of the Jungle. When Lyle and Ursula are attacked by a lion, Lyle tries to abandon Ursula and run away, and George swings in to save her, bringing her back to his treehouse to help her recover from the shock. When Lyle and the poachers find Ursula and George’s treehouse, there’s an altercation that leads to Lyle accidentally shooting George, leading Ursula to bring him back to San Francisco for medical care. Having seen Lyle for the selfish coward that he is, next to the humble and gorgeous hero George, Ursula now finds herself with questions about her future, much to her status-obsessed parents’ chagrin.
Maybe this is again because I’m not familiar with the source material, but it still feels like this movie more naturally adapted to modern styles than the other cartoon movies I named above. It’s a cartoonish slapstick farce with a lot of self-aware commentary, sometimes even not delivered through the narrator, but it meshes with the 90s writing aesthetic somehow. George is a timeless klutzy hero, but Dudley is a relic of a different era, and Rocky and Bullwinkle spend their entire movie commenting on how they’re 30 years behind. The narration is really the only anachronism I can find in this movie, and the Narrator is a comic character in his own right.
There were things I was expecting in this movie that I guess I was remembering from the sequel. This is entirely in the jungle and in San Francisco (because the Americans won’t be interested if we don’t take the hero to America), except for a tag with Ape in Las Vegas, and I think I was remembering more scenes in other locations that are probably from the plot of that movie.
I still like this movie as much as I did then. The naked product placement was more noticeable now, but it didn’t bother me because it was often the joke. This is my favorite Brendan Fraser movie, and he did some great work in the 90s and 00s. George of the Jungle is a friend to you and me.
In what would have been 1995, I was a little confused at how Macauley Culkin had made two movies about having a lot of money that came out so close together. Maybe I thought Culkin was in this because of the similarity with Richie Rich, or maybe Bonsall just looks enough like Culkin that I didn’t really notice he wasn’t. In actuality, Brian Bonsall played both Andy Keaton on “Family Ties”, a show I discovered in reruns in the early 2000s, and he was the best version of Worf’s son Alexander on “Star Trek: The Next Generation”.
I think I wanted to see Blank Check sooner, but as I recall, I didn’t get to see it until a summer movie screening at the public library. I remember the inciting incident scene, and I remember “Mister Macintosh”, and not a lot else. Which is more than I can say about Richie Rich.
Preston’s older brothers are using his bedroom for their new business. His father will only tell him about the value of working hard for his money. His birthday is next week, but nobody seems to care. Carl Quigley just escaped from prison, and has a million dollars in easily-traceable bills he brings to bank manager Biderman, an old accomplice, to launder. Biderman gives him a book of temporary checks he can have his associate cash for a clean million. On the way out, Quigley runs over Preston’s bike and, in a hurry to leave the scene, signs a blank check to pay for the bike. Preston writes the check for “one million dollars” and takes it to the bank, where Biderman mistakes him for Quigley’s associate and fills his backpack with the money. In order to spend the cash he’s suddenly acquired without adults getting too suspicious, Preston creates “Mr. Macintosh”, a newly wealthy older man who just moved to town and hired Preston to help decorate his palatial home and generally have fun so that “Macintosh” can enjoy childhood vicariously through him. Obviously, Quigley wants his money, and the FBI is very interested in this Macintosh person.
I was expecting there to be an extreme suspension of disbelief required for the central conceit of “kid is spending a bunch of money”, but that was satisfactorily explained between “there’s this man you can’t meet who pays me to spend his money” and “you gave me a wad of cash so I’m going to stop questioning things”. But what actually bothered me more was that nobody seemed terribly interested in what this secretive man wanted with a random neighbor boy. When Preston’s parents realize that neither of them have ever met Macintosh, they still just shrug it off as kinda odd.
I’m also not fully comfortable with the subplot of Preston’s crush on bank teller Shay, a grown adult person who he is trying to give heart-pendant necklaces to. Shay comes to care about him as a sweet kid who’s fun to hang out with, but the closest Preston comes to getting over his crush is when he thinks she was only interested in him to get to Macintosh’s money.
This is not the big event movie I had built it up as when I was a kid. I wondered several times if it’s the kind of money that would go to theaters now, or if it might be direct to Disney Channel or a streaming platform. There’s a touch of the Home Alone style using the environment of the kid’s house against the bad guys at the climax, but it’s a very limited sequence, and I don’t think it contributed to my confusion about the casting, unless it was heavily featured in the trailers.
I don’t know if this is even a “summer movie”. It’s just a light bit of fun for kids any time. Children’s wish fulfilment stories are probably always more exciting when watching as a kid than when watching as an adult.
I don’t quite understand why Godzilla captured people’s imaginations. I would’ve said that a large part of the charm of the original Japanese kaiju movies was camp and cheap effects, but everything that sells eventually gets three high-budget reboots here, and I think this did pretty well in theaters.
I certainly remember it being heavily promoted and cross-promoted. It probably made its money back just on toy sales, or at least the studio thought they had a shot at doing so.
How did I never know, or at least never have it sink in, that Jeff Goldblum is in this? Jim Carrey playing a weird alien, okay. Jeff Goldblum playing a weird alien, the potential to really let him run wild with it has massively piqued my interest.
I stayed away from this movie for a long time because I was expecting a raunchy comedy that hasn’t aged well. But now I find that it was inspired by a song by and co-written by Julie Brown, of songs like “Cause I’m A Blonde” and “The Homecoming Queen’s Got A Gun”, so it has the potential to at least not be tasteless in the way I was expecting. It’s still over 30 years old.
I’m not sure what to expect, but this sounds like a scheming revenge story, which is interesting to see Goldie Hawn in. Midler and Keaton, I can easily picture them scheming, but Goldie Hawn seems to be known for more innocent roles.
This seems to have been popular enough to get a TV remake, but nobody really talks about it past a basic log line, so it’s hard to have preconceptions.
I always thought this was the movie of a series, but it turns out that this is the expansion of a recurring sketch from All That. Keenan Thompson and Kel Mitchell were Keenan And Kel on a completely different (eponymous) show, and Keenan’s character in this movie was not in the All That sketches. All of this just goes to demonstrate that while lots of kids my age were watching All That and Keenan and Kel, I didn’t have Nickelodeon.
While not as embedded in the landscape of my media childhood as Lady and the Tramp or The Little Mermaid, The Rescuers Down Under was always there as far as I can recall. I associate a very youthful spirit of adventure with it that I think predates the time in my adolescence when I was defining my own tastes for what seemed like the first time, the “hit me at the right time” years.
While the original The Rescuers probably more deserves the appreciation of a mature reviewer, I don’t have the same fondness for it. The two movies came from different eras of Disney animation and have a very different look and feel. The first came from the time of The Fox And The Hound and 101 Dalmatians, but it’s almost as obscure as The Black Cauldron and hits a lot more of the same notes. Sensibilities had changed at Disney in the time between the two Rescuers movies and the latter is part of the upward trend moving toward the Disney Renaissance.
Cody, a very American sounding Australian boy, is a friend to the animals of the Outback, and rescues a giant Golden Eagle from a poacher’s trap. She gives him one of her golden feathers as a keepsake, and then on his way home, Cody finds a mouse tied up as what turns out to be bait in a trap sat by ruthless poacher MacLeach. MacLeach finds the golden feather and realizes that Cody knows where the last Golden Eagle is, so he kidnaps him in order to try to get him to divulge the location of the bounty. The rescued mouse reports Cody’s peril to the Rescue Aid Society, and soon Bernard and Bianca are on their way through the Outback to him with Australian Jake as their guide.
Where the first was likely modeled after a pulp adventure novel, this feels more like an action adventure movie. It has modern pacing sensibilities, but I think the first is stronger in that as I recall, Bernard and Bianca spend most of the story trying to find a way to get Penny out of her situation, this one doesn’t have them get to Cody until the climax. There’s not much for them to do but ride more Australian animals across the landscape while Jake tries to flirt with Miss Bianca and Bernard tries to find a moment to propose to her. It’s a comic relief subplot, but moreso Wilbur and the hospital mice fixing his back with extreme force.
Two things make this movie feel epically sized: the music and the sweeping three dimensional camera moves. Disney shopped out many backgrounds to Pixar, and while sometimes they’re obviously very primitive CG by today’s standards (I’ve seen previsualization renders more convincing than the city skyscrapers and cars), they do bring to life the camera perspectives and the Outback. People talk a lot about the clock gears in The Great Mouse Detective and the Ballroom in Beauty and the Beast, but I think this is the best demonstration of what cel animation can do with CGI backgrounds as a tool in the kit.
If this had Ashman/Menken songs, it would be 20 minutes longer, but it would also be at least at the level of the actual Renaissance Disney movies. The plot structure makes a lot of the returning or pseudo-returning (Wilbur is allegedly Orville’s brother despite how very different they are aside from being airline albatrosses) characters redundant, but it’s a fantastic adventure for the whole family, and it should be remembered as fondly as Disney’s biggest hits of the 90s.