Tarzanin legenda

Miehenä minuun ei ruotsalainen (omien sanojensa mukaan ankarasti treenattu) lihaskimppu tee vaikutusta, ja Margotia taas katselen mieluummin Suicide Squadissa tai The Wolfissa. Elokuva on yhtä yksinkertainen, kuin kasa viime aikojen kirjoihin perustuvia toimintapläjäyksiä (nyt tulee mieleen Eckhartin Frankenstein). Ace Venturan loppukohtaus oli parempi... Lähinnä minua kuitenkin harmittaa, että kahden Oscarin Waltz ei saanut enempää tilaa tai parempaa käsikirjoitusta. Ja toinen juttu mitä en tajunnut: miksi palkata Ben Chaplin pyörähtämään elokuvassa kahdenkymmenen sekuntin ajan? Loppujen lopuksi elokuva ei ole supertylsä, mutta se kuulunee kuitenkin niihin, joita en tule katsomaan uudestaan. (05.12.2016)

Someone might enjoy all the pulp as a guilty pleasure, but I found The Legend of Tarzan more and more annoying with every passing minute, despite its very promising start. Jon Favreau’s The Jungle Book is the clear winner here. (03.07.2016)

Animals versus colonialism or the Swedish model makes Africa great again. When the creators are already pushing so hard on the racial and colonial aspect, the character of the scattered and theatrically very faint Aryan is very interesting, by which I do not want to suggest that anything from The Legend of Tarzan deserves to be taken seriously. Attempts at moralizing are as rigid as trying to tell two stories at once (both the "origin" and the new storyline drag on). Christopher Waltz could send his less talented double to the set to play the villainous roles, and David Yates confirms that he is a boring director, especially when the screenwriters don't give him brisk dialogues. Plus, it sometimes looks like some of the shots disappeared, so Samuel L. Jackson fires like a rich Texan. I can also forget that the film opens a meaningless amount of storylines and tells them very roughly, and sometimes not at all. Favreau didn't try a tenth of the "serious overlaps" in The Jungle Book, yet his film looks ten times more mature than this CGI nonsense. One then notices with fascination all the bullshit, such as the fact that a man living his whole life among gorillas is shaved like a real Dandy. Well, the nobleman's son won’t be denied. (22.01.2017)

The beating heart, wide open eyes, and dancing soul of a former ten-year-old geek who has read everything that could be found about the ubiquitous man from the apes family. You don't forget your childhood loves even two decades later, and David Yates knows how to tell stories about heroes, villains, love, and friendship in such a fresh yet old-fashioned way that I have no defense. Alexander Skarsgård was born for the role of John Clayton, and when Margot Robbie for the first time in her career isn't annoying me, I am most excited after some slight hesitation. The power of the story and its message outweigh any quiet objections about minor physical flaws. I would take a sequel immediately, and even though the creators surprisingly quickly exhausted one storyline (Opar), I have dozens of directions in my head to explore. (09.07.2016)

At first I was surprised with the story itself. The thing is that the film does not offer the classical view of Tarzan’s life in the jungle, but it starts at a moment when Tarzan is already a cultivated and respectable English subject with an aristocratic past and the manners or a true elderly gentleman. The beginning seems really good and it is really entertaining. But after about half an hour, Tarzan sets off on a journey to his original homeland. There is a plot twist and the story goes back to its beginning. So once again Tarzan is flying around on endless lianas – a liana in one hand, the beautiful Jane in the other – and he’s fighting against British colonists. At that point, the excitement starts to wane and unfortunately it doesn’t get better again. It’s fine, but this movie doesn’t deserve more than three stars to be swung towards it on a liana. (15.12.2017)