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Running time 106 minutes Country United States Language English Budget $175 million Box office $1.01 billion The Jungle Book is a 2016 American directed and co-produced by, produced by, and written. Based on 's and inspired by 's, The Jungle Book is a film that tells the story of, an orphaned human boy who, guided by his animal guardians, sets out on a journey of self-discovery while evading the threatening.

The film introduces Neel Sethi as Mowgli and also features the voices of,. Favreau, Marks, and producer Brigham Taylor developed the film's story as a balance between Disney's animated adaptation and Kipling's original works, borrowing elements from both into the film. Principal photography commenced in 2014, with filming taking place entirely in Los Angeles. The film required extensive use of to portray the animals and settings. The Jungle Book was released in North America in, 3D, and premium large formats, on April 15, 2016.

It became a critical and commercial success, grossing over $1.01 billion, making it the and the. A sequel is in development, with Favreau and Marks set to return as director and writer, respectively. Contents.

Plot is a 'man cub' raised by the and her pack, led by, in an jungle ever since he was brought to them as a infant by the. Bagheera trains Mowgli to learn the ways of the wolves, but the boy faces certain challenges and falls behind his wolf siblings, while Akela disapproves of him using human 'tricks', like building tools, instead of learning the ways of the pack.

One day, during the, the jungle animals gather to drink the water that remains as part of a truce during a drought that enables the jungle's wildlife to drink without fear of being eaten by their predators. The truce is disrupted when a scarred with a blinded left eye named arrives, detecting Mowgli's scent in the large crowd. Resentful against man for scarring him, he issues a warning that he will kill Mowgli at the end of the drought. After the drought ends, the wolves debate whether they should keep Mowgli or not.

Mowgli decides to leave the jungle for the safety of his pack. Bagheera agrees with the decision and volunteers to guide him to the nearby man village. En route, Shere Khan ambushes them and injures Bagheera, but Mowgli manages to escape. Later, Mowgli meets an enormous python named, who hypnotizes him. While under her influence, Mowgli sees a vision of his father being killed by Shere Khan while protecting him, which also warns of the destructive power of the '.

Kaa attempts to devour Mowgli, but she is attacked by a large animal who rescues the unconscious Mowgli. Mowgli later awakens to find that the animal that rescued him from Kaa was a named. The two bond while retrieving some difficult-to-access honey, and Mowgli agrees to stay with Baloo until the winter season arrives. Meanwhile, upon learning that Mowgli has left the jungle, Shere Khan throws Akela off to his death and threatens the pack to lure Mowgli out. Bagheera eventually finds Mowgli and Baloo and is shocked that Mowgli has not joined the humans as he had agreed, but Baloo calms him down and persuades both of them to sleep on it. During the night, Mowgli finds a herd of led by gathered around a ditch and uses vines to save a baby elephant from the ditch.

Although Baloo and Bagheera are impressed, Baloo realizes that he cannot guarantee Mowgli's safety after learning that he is being hunted by Shere Khan. Baloo agrees to push Mowgli away to get him to continue onward to the man village.

However, Mowgli is kidnapped by a gang of monkeys known as the ', who present him to their leader, a named. Assuming that all humans can make fire, King Louie offers Mowgli protection from Shere Khan in exchange for it.

Baloo arrives and distracts Louie while Bagheera tries to sneak Mowgli out, but their plan is discovered. As Louie chases Mowgli through his temple, he reveals to him about Akela's death, but he doesn't believe him. Louie's rampage eventually causes his temple to collapse and fall on top of him where he is buried under the debris. Upset that Baloo and Bagheera never told him the truth about Akela's death, Mowgli goes to confront Shere Khan alone, but Baloo and Bagheera follow after him.

Mowgli steals a lit torch at the village to use as a weapon and heads back to the jungle, accidentally starting a fire in the process. He confronts Shere Khan, who states that Mowgli has made himself the enemy of the jungle by causing the fire. Mowgli throws the torch into the water, giving Shere Khan the advantage to attack. Baloo and Bagheera intervene and hold Shere Khan off along with the wolf pack while Mowgli sets up a trap. He lures Shere Khan up a tree and onto a branch, which breaks under the tiger's weight, sending Shere Khan falling to his death into a fiery pit below, avenging the deaths of Mowgli's father and Akela. Mowgli then directs Hathi and the elephants to divert the river and put out the fire.

In the aftermath, Raksha becomes the new leader of the wolf pack. Mowgli decides to utilize his equipment and tricks for his own use, having found his true home and calling with his wolf family, Baloo and Bagheera. as, a who encounters and befriends Mowgli.

as, a who is Mowgli's mentor and protector. as, a fearsome, scarred with a blinded left eye and Mowgli's arch-nemesis. as, a female who is Mowgli's adoptive mother.

as, a gigantic. as, a male who leads the pack. as, a who rules the.

as, an that observes the Water Truce. Brighton Rose as, a wolf cub who is the youngest of Mowgli's adoptive siblings. as Fred, a.

as Rocky, an. Madeleine Favreau as Raquel, an Indian rhinoceros. Sara Arrington as a., Max Favreau, Chloe Hechter, Asher Blinkoff, Knox Gagnon, Sasha Schrieber, and Kai Schrieber voice the Young Wolves., Artie Esposito, Sean Johnson, and provide additional animal voices. Production Development and casting. 'The idea of going out to the jungle and shooting this, it just felt like it wouldn't have the magic that the 1967 film had had. There was a dreamlike quality to it.

There was a surreal quality to it. It was a high-water mark for character animation and to me, that's what I remember about it. And so I wanted to make sure we preserved that.But what said was: Look at the technology. Why not use the technology to create a whole world that transports you? Let's really embrace this new technology and see what we can do if we push its limit.'

Jungle Book Full Movie Disney

— Jon Favreau on approaching the film's technical intent. On July 9, 2013, announced that a live-action adaptation of 's short story collection was in development, with Justin Marks set to write the script. The film would be Disney's third live-action adaptation of Kipling's works, following and the 1998 direct-to-video film; and the studio's fourth overall after the. Was confirmed as director on November 5, 2013. Favreau as a child used to watch Disney's 1967 animated film. He felt the need to strike a balance between the two films by retaining the buoyant spirit of the 1967 film, including some of its memorable songs, while crafting a film with more realism and peril. He also stressed the importance of nature and realized how things have shifted during Kipling's time and now, 'In Kipling's time, nature was something to be overcome.

Now nature is something to be protected.' He was encouraged by chairman to take advantage of the film's setting and story as an opportunity to use the latest advancements in, and technologies. The story of the film is not independently taken from Kipling's works, but also borrows cinematic inspirations from other films, including the child-mentor relationship in (1953), the establishment of rules in a dangerous world from (1990) and the use of a shadowy jungle figure in (1979). The cast was announced between March and August 2014, with being announced to voice during early stages and eventually confirmed as the voice of Baloo in August 2014.

Between then, and were confirmed to play,. Favreau decided to cast Johansson to play Kaa, originally a male character, as he felt the original film was 'a little too male-oriented.'

Favreau and Marks noticed the lack of female characters in the 1967 film version and wanted to address that by featuring Raksha's character more prominently, as in Kipling's tales. Was cast as as Favreau believed her voice imbued the emotion required for the role, 'Lupita has tremendous depth of emotion in her performance. There's an emotional underpinning she brings, and a strength, and we wanted that for this surrogate mother. Much of that comes from her voice.' Favreau also decided to change King Louie from an to a due to the fact that orangutans are not native to, where the story takes place. His character was given a slight alteration from the 1967 film and was partly inspired by 's character in Apocalypse Now, as well as incorporating Walken's own physical mannerisms.

In regards to Louie's changes, Favreau stated, 'We created this looming figure that was trying to extract the secret of fire from Mowgli. And also this gave Mowgli the idea that if he had fire, he could have power over Shere Khan, whether it was good or bad. So there was a aspect to that; the fire was almost like the ring in that was going to give someone ultimate power, but corrupt them as well as create destruction.' The film is dedicated to, who voiced a porcupine in the film and died of a before the film's release. The search for casting was extensive, with thousands of children auditioning from the United States, the United Kingdom, New Zealand, and Canada. Eventually, newcomer Neel Sethi was confirmed for the role, with casting director Rebecca Williams describing him as embodying 'the heart, humor, and daring of the character. He's warm and accessible, yet also has an intelligence well beyond his years and impressed us all with his ability to hold his own in any situation.'

Sethi underwent training in preparation for the role. Assisted in the development of the story, as well as providing suggestions for the film's end credits sequence. Filming and visual effects took place entirely on sound stages at in downtown.

The animal characters were created entirely in, with the assistance of footage of real animal movement, the actors recording their lines, and performance capture for reference. The production team underwent a thorough process to realistically convey the animals' speaking, while still making them perceptually believable to the audience. Favreau researched earlier films featuring anthropomorphic animals—including 's animated features, such as and, as well as modern films such as —and adopted certain techniques from those films into The Jungle Book. Nearly 70 separate species of animals native to India are featured in the film, with several species being portrayed as '150% larger' than their actual counterparts. Was brought in to provide animal puppet figures for Sethi to act against, although none appear in the finished film.

The animal puppets were performed by Artie Esposito, Sean Johnson, and April Warren. Favreau utilized with certain actors, expressing a desire to avoid overusing the technology in order to prevent evoking an effect.

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The (MPC) and created the film's visual effects. MPC developed new software for animating muscular structure in the animals. Around 1,000 remote jungle locations in India were photographed and used as reference in post-production. Weta was responsible for animating the King Louie sequence, with visual effects supervisor Keith Miller adding that, 'It was important for Jon to see Christopher Walken in the creature.

So we took some of the distinctive Walken facial features—iconic lines, wrinkles and folds—and integrated them into the animated character.' Favreau expressed desire in wanting the film's 3D shots to imbue the abilities of the system utilized in Disney's earlier animated films. At Favreau's behest, the idea was extended into the film's version of the Walt Disney Pictures opening, which was recreated as 'a hand-painted, multi-plane logo' in homage to the animated films of that era, also incorporating the word 'Presents' in the same style as the 1967 film's opening credits. The film's ending also features the original physical book that opened the 1967 film. Sound Director Jon Favreau and composer sought to recreate the experience Walt Disney, himself, had in mind. When mixing the soundtrack in, as Favreau said, 'we isolated instruments when we could.

And in the sound mix, we created a Fantasound mix. If you see the film in Atmos, you will feel that there are instruments that move around the theater.' A mention for Fantasound appears in the film's closing credits.

Music The for The Jungle Book was composed and conducted by frequent Favreau collaborator John Debney, mostly drawing from ' original music. According to Debney, “Jon Favreau wanted a timeless sound to the score and I embraced that.' Debney created a theme for Mowgli that 'it's not overly emotional. It has an elegance and majesty to it. He’s becoming a man through this whole experience and that’s what Debney and Favreau wanted to say with his theme.' Shere Khan's theme was conformed of a three or four-note motif, while Baloo's 'called for quirky strings and bass' that is 'frolicking and emotional.'

While Bagheera dosen't have a theme of his own, he's represented by French horns and strings, and Kaa's music features snake-like sounds, while King Louie's features many instruments, like percussion instruments, bass marimbas, etc. Though Favreau decided not to make the film a, nevertheless, he and Debney incorporated several songs from the 1967 animated film.

',' written by, is performed by Murray and Sethi, and a cover version by is featured in the end credits. ' and '—written by the —are performed by Walken and Johansson, respectively; wrote revised lyrics for Walken's version of 'I Wan'na Be Like You.' Johansson's rendition of 'Trust in Me' was produced by and appears in the end credits only. The Jungle Book (Original Motion Picture Soundtrack).

Released April 15, 2016 Recorded 2015–16 Studio (score) Esplanade Studios, Music Shed Studios, New Orleans Orchestral, Length 74: 17 John Debney chronology (2016) The Jungle Book (2016) (2016) released the film's soundtrack on April 15, 2016. Track listing No. Title Writer(s) Performer(s) Length 1.

' and The Nite Trippers 3:36 2. 'Main Titles / Jungle Run' & 2:27 4. 'Wolves / Law of the Jungle' 2:16 5. 'Water Truce' 3:40 6. 'Rains Return' 1:46 7. 'Mowgli's Leaving / Elephant Theme' 3:28 8. 'Shere Khan Attacks / Stampede' 2:06 9.

'Kaa / Baloo to the Rescue' 5:21 10. 'Honeycomb Climb' 3:31 11. 'Man Village' 2:59 12. 'Mowgli and the Pit' 3:26 13.

'Monkeys Kidnap Mowgli' 1:52 14. 'Arriving at King Louie's Temple' 4:35 15. 'Cold Lair Chase' 4:03 16. 'Red Flower' 3:15 17. 'To the River' 3:05 18. 'Shere Khan's War Theme' 2:37 19.

'Shere Khan and the Fire' 4:52 20. 'Elephant Waterfall' 3:27 21. 'Mowgli Wins the Race' 0:41 22.

'Jungle Book Closes' 2:16 23. ' Richard M. Sherman, Robert B. Sherman 3:02 24.

'The Bare Necessities' Terry Gilkyson, 3:01 Total length: 74:17. At the premiere of The Jungle Book in, The film was originally scheduled for October 9, 2015, but the film's release date was later postponed by to April 15, 2016. The film was released in the format in in the United States, and is the first film to be released in Dolby Vision 3D (in a few select theaters in and ). The Jungle Book held its world premiere at the on April 4, 2016. It was released on April 8 in 15 countries, including Argentina, Australia, Russia, Malaysia, and most notably in a week ahead of its U.S. Debut on April 15.

The release date in India was strategic for the film as it coincided with the and was a holiday in most parts of the country. The film had a special version with famous actors giving their voices to the main characters, including as Baloo, as Bagheera, as Ka, as Sher Khan and as Raksha, for its Indian audiences as the book and the Disney series based on it had been immensely popular in India in 1990s. Also commissioned a contemporary recording of ' (originally used for the popular Indian version of Japanese series ), overseen by the original Hindi song's composers and, and released it as part of the film's promotional campaign in India. Home media The film was released digitally on August 23, 2016, and on DVD and Blu-ray on August 30 (August 22 in the UK ). A 3D Blu-ray was said to be coming by the end of the year. The film topped the NPD VideoScan overall disc sales chart for two consecutive weeks. In the United States, the DVD and Blu-ray releases sold 2,027,137 units by December 2016 and have grossed $46 million as of August 2018.

Reception Box office The film became a huge financial success and a. It briefly held the record for the biggest remake of all time until the studio's own surpassed it the following year. It grossed $364 million in the United States and Canada and $602.5 million in other countries with additional collections from DVD sales for a worldwide total of $1012.8 million, against a budget of $175 million. Worldwide, the film was released across 28,000 RealD 3D screens and had an IMAX worldwide opening of $20.4 million from 901 IMAX screens, a new record for a PG film. It grossed a total of $39 million in IMAX screens worldwide.

On May 13, it became the second film of 2016 (after the studio's own ) to pass the $800 million mark. On June 10, it became the third film of 2016 after Zootopia and to pass the $900 million mark. Calculated the net profit of the film to be $258 million, when factoring together all expenses and revenues for the film, making it the sixth-most profitable release of 2016. United States and Canada Projections for its opening weekend in the United States and Canada were continuously revised upwards, starting from $60 million to as high as $88 million, with female and older male quadrants being the prime draw. The Jungle Book was shown across 4,028 theaters of which 3,100 theaters (75%) were in 3D, including 376 IMAX screens, 463 premium large format screens, and 145 locations.

It opened Friday, April 15, 2016, on around 9,500 screens across 4,028 theaters, and earned $32.4 million, the fourth-biggest April Friday. This includes $4.2 million from Thursday previews, the biggest preview number for a Disney live-adaptation film (tied with ), an almost unheard-of for a PG title which rarely attracts many ticketbuyers later in the night.

In total, it earned $103.3 million in its opening weekend, exceeding expectations by 40% and recorded the biggest PG-rated April opening (breaking 's record), the second-biggest Disney live-action adaptation opening (behind ), and the second-biggest April opening (behind ). It also performed exceptionally well in both 3D and IMAX formats, where they both generated an income of $44 million and $10.4 million of the film's opening-weekend gross, respectively, the later broke the record for the biggest April Disney release IMAX opening. Notably, it also became the only second PG-rated release to ever open above $100 million (following Alice in Wonderland) and the third film of 2016 overall to open above $100 million (following and ). It earned $130.7 million in its first full week, the second-biggest for a Disney live-action adaptation, behind only Alice in Wonderland 's $146.6 million seven-day gross. Buoyed by excellent and benefiting from, it fell only by 40% in its earning $61.5 million, still maintaining the top position and far surpassing newcomer. That puts The Jungle Book in the top fifteen second weekends of all time and in terms of films that opened above $100 million, it scored the fourth-smallest drop behind (−33%), (−39%), and (−39%). Of those numbers, $5.6 million came from IMAX shows for a two weekend cumulative total of $18.4 million which represents about 10% of its entire North American box office gross.

It crossed $200 million on its twelfth day of release and managed to hold the top spot for the third consecutive weekend with $43.7 million from 4,041 theaters (an addition of 13 more theaters), a fall of only 29%, outgrossing the next six pictures combined (including the openings of three newcomers) and recorded the sixth-biggest third weekend of all time. Moreover, the 29% drop is the smallest third-weekend drop (from its second weekend) for a $100 million opener ever. Disney added an additional 103 theaters for the film's fourth weekend of release which propelled its theater count to 4,144 theaters, but nevertheless, it was overtaken by Disney's own Captain America: Civil War after experiencing a 50% decline. It passed $300 million on its thirtieth day of release, on May 14, as it continued to witness marginal declines in the wake of several new releases weekend after weekend. It made 3.53 times its opening weekend numbers, which is one of the biggest of all time for a film opening above $100 million. It became one of the few surprise hits and one of the highest-grossing films of the year, alongside, and Zootopia, centered around to dominate the year-end chart.

Other countries The film was released in approximately 70 countries. Outside the US and Canada, it opened across 15 markets and 69 IMAX screens a week ahead of its US debut, and faced notable competition from newcomer The Huntsman: Winter's War and holdover Batman v Superman: Dawn of Justice, the latter of which was entering its third weekend. The reason behind the divided release pattern was because Disney wanted to get some space before Captain America: Civil War releases in early May, as well as availing school holidays and avoiding local competitors. It eventually grossed $31.7 million, debuting at first place in all markets and second overall at the international box office, behind Dawn of Justice, which was playing across 67 markets. In its second weekend, it expanded to an additional 49 countries (88% of its total marketplace) and grossed $138.6 million from 64 countries, easily topping the international box office, a bulk of it came from China.

Approximately 63% or $85 million of that came from 3D screenings, with the largest 3D opening haul represented by China (98%), Germany (83%), Brazil (73%), Russia (60%), Mexico (47%), and the UK (39%). $10 million alone came from 525 IMAX screens, a record for a PG and April release. It further continued to hold the top spot in its third weekend after adding another $98.9 million from 53 territories, falling only by a marginal 32%. IMAX generated another $6.1 million from 484 IMAX theaters for a three-weekend total of $20.6 million.

After three straight No. 1 runs, it was finally dethroned by the studio's Captain America: Civil War in its fourth weekend.

In India, it scored the second-biggest opening day for a Hollywood film, earning $1.51 million (behind ) from around 1,500 screens and went on to score the second-biggest Hollywood opening weekend of all time, with $8.4 million from 1,600 screens, behind only Furious 7 in terms of local as well as U.S. Currency, performing better than expected and its initial $5–6 million opening projection. Its opening weekend in India alone surpassed the entire lifetime total of Disney's other live-fantasy adaptations—, Maleficent, and Alice in Wonderland—in the country. It then went on to score the biggest opening and single week for a Hollywood film with $15.1 million. In its second weekend, it dropped just by a mere 40% to $4.97 million. In just ten days, it became the fourth-highest-grossing Hollywood film there with $21.2 million. On Wednesday, April 19—its twelfth day of release—it surpassed Furious 7 to become the of all time there.

By the end of its theatrical run, the film made an estimated $38.8 million with half of its revenue—58%—coming from local dubbed versions, compared to, which saw 45% of its revenue from dubbed versions. In China, where the film was locally known as Fantasy Forest, expectations were high, with projections going as high $154–200 million or more. Ultimately, it was unable to hit these marks. Before the release of the film in the state, Disney had a very successful run at the box office with Zootopia the previous month, in which anthropomorphic animals were the central figure.

Noted that The Jungle Book was precisely the sort of film that Chinese audiences love with its 3D visuals, heartwarming story, and talking animal cast. It earned around $12 million on its opening day, including $300,000 worth of previews from 65,000 screenings.

Buoyed by good word of mouth and positive reception (albeit mostly from audiences with polarized reception from Chinese critics), it rose 72% on its second day to $20 million. Through its opening weekend it grossed $48.5 million, including $5.1 million from 279 IMAX screens, a new record for April release. Its opening marked the biggest Walt Disney Pictures film opening ever, the second-biggest for a family film (behind ), the second-biggest April debut (behind Furious 7), and the fourth-biggest Disney opening (behind Avengers: Age of Ultron, and Star Wars: The Force Awakens). It topped the daily box office through the whole opening week and went on to remain at the top of the box office for a second weekend, after dropping by a mere 20% to $29.8 million, despite facing some competitions. It ended its run there with a total of $150.1 million after thirty days of playing in theaters, adding $1.2 million on its last day. Albeit falling just below expectations, it nevertheless emerged as a huge financial success and becoming the fourth-biggest Disney release there. In the United Kingdom and Ireland, it had an opening weekend total of £9.9 million ($14.1 million) from 594 theaters and in France with $8.1 million.

Elsewhere, the highest openings were recorded in Russia and the CIS ($7.4 million), Germany ($5.1 million), Spain ($3.9 million), Australia ($2.8 million), Argentina ($2.3 million), and in Malaysia, where it scored the biggest opening weekend for a live-action Disney film with $2.3 million. In the UK, it became the first film of 2016 to earn over £5 million in three straight weekends and the first film since, and Star Wars: The Force Awakens (all 2015 films) to achieve such an accomplishment, and the first film of 2016 to earn above £40 million ($58 million). In South Korea, it faced competition with, but ended up debuting atop the charts with $6.2 million. It has so far grossed a total of $18 million there. It opened in Japan on August 11, alongside the superhero film and delivered a four-day opening of $6.2 million from 676 screens ($3 million in two days), debuting at second place behind The Secret Life of Pets. Although the opening figure was considered mediocre, noted that Japan is a market that can see big multiples. It fell just 30% in its second weekend earning $2.1 million for an eleven-day total of $13.7 million.

In total earnings, its biggest markets outside of the US and Canada were China ($150.1 million), the United Kingdom ($66.2 million) and India ($38.8 million). It was the highest-grossing film of 2016 in Europe with a total of $209 million, the United Kingdom and Ireland, and in India (although it was later surpassed by, in terms of Hollywood/imported films, it is still the biggest). Critical response.

The vocal performances of (left), (middle), and (right) were particularly praised. The film received praise for its visual effects, vocal performances, direction, musical score, and its faithfulness to the animated film. On, the film has an approval rating of 95% based on 306 reviews, with an average rating of 7.7/10. The site's critical consensus reads, 'As lovely to behold as it is engrossing to watch, The Jungle Book is the rare remake that actually improves upon its predecessors—all while setting a new standard for CGI.' On, the film has a weighted average score of 77 out of 100, based on 49 critics, indicating 'generally favorable reviews.' Audiences polled by gave the film an average grade of 'A' on an A+ to F scale, while reported filmgoers gave it an overall positive score of 92%. Ninety-seven percent of the audience gave the film an A or a B, and it got A's from both the under- and over-25 crowd and A+ among those under 18 years of age and also for the over-50 audience.

Of wrote, 'Exceptionally beautiful to behold and bolstered by a stellar vocal cast, this umpteenth film rendition of Rudyard Kipling's tales of young Mowgli's adventures amongst the creatures of the Indian jungle proves entirely engaging, even if it's ultimately lacking in subtext and thematic heft.' Andrew Barker of felt that this version 'can't rival the woolly looseness of Disney's, of course, but it succeeds on its own so well that such comparisons are barely necessary.'

Of gave the film four stars out of five, and deemed it 'a sincere and full-hearted adaptation that returns to Kipling for fresh inspiration.' Of says 'This 'Book' might lack the post-vaudeville razzamatazz of its predecessor, but director Jon Favreau and a team of effects wizards plunge us into one of the big screen's most engrossing artificial worlds since.' , writing for, gave the film four out of five stars and felt that the film had a touch of in it, finding the plot elements to be similar to those in.

He wrote that the film was 'spectacular, exciting, funny and fun' and that it 'handsomely revives the spirit of Disney's original film.' Pete Hammond of wrote that the film had laughs, excitement, an exceptional voice cast and, most importantly, a lot of heart, calling it a cinematic achievement like no other. He particularly praised Murray's performance and the visual effects, deeming it 'simply astonishing.'

Chris Nashawaty of graded the film an 'A–,' calling it one of the biggest surprises of 2016. He, however, felt the two songs were rather unnecessary and distracting, and believed the film to be a little too frightening for children. Of awarded the film three-and-a-half stars, pointing out the CGI as the apex achievement of the film. He labelled it 'a beautifully rendered, visually arresting take on Rudyard Kipling's oft-filmed tales' but found the musical numbers to be trivial, saying that without the musical numbers, the film might have been a more exhilarating streamlined adventure. ' remarked that ' The Jungle Book is the kind of family film calculated to make even those without families wish they had one to take along.'

Of awarded the film three-and-a-half stars out of four, labeling it scary and thrilling, yet unique and unforgettable, and adding that it 'fills us with something rare in movies today—a sense of wonder.' 's Bilge Ebiri hailed the film as fast and light and that it 'manages to be just scary enough to make us feel the danger of solitude in the middle of a massive jungle, but never indulgent or gratuitous.'

' was less enthusiastic. Cath Clarke of compared Elba's character of Shere Khan to from The Lion King, calling him 'baddie of the year.' Matt Zoller Seitz of also had high praise for Elba's portrayal of Shere Khan stating: 'His loping menace is envisioned so powerfully that he'd be scary no matter what, but the character becomes a great villain through imaginative empathy. We understand and appreciate his point-of-view, even though carrying it out would mean the death of Mowgli.' The film's visual effects and were compared to those of Avatar,. Sarah Ward of wrote that the level of detail on display in the film 'is likely to evoke the same jaw-dropping reaction as 's box office topper.' Called it 'one of the few 3D movies that actually benefits from being in 3D.'

The film also had a positive reception from Indian contemporary critics and publications, such as,. The film also had its share of criticism with most reviewers criticizing the inconsistent tone of the film and the director's indecision to stick to one vision. Mac of wrote, 'Jon Favreau draws heavily on his film's animated predecessor for plot, characterizations, songs, and set pieces, but doesn't know how to fit these familiar elements into his own coherent vision'. Josh Spiegel of Movie Mezzanine also echoed these feelings, saying that the film 'stumbles because the people involved aren't willing to fully commit to either making a near-shot-for-shot remake or going in a completely different direction'. Rene Rodriguez of the felt that the movie was soulless, writing that 'The better these talking beasts look, the more the film resembles a gorgeous screen saver. You admire The Jungle Book, but you can't lose yourself in it'. Accolades.

Main article: Sequel Following the film's early financial and critical success, the studio has begun working on a sequel. Is reported to return as director and Neel Sethi is reported to reprise his role as, while screenwriter Justin Marks is also in negotiations to return. On April 25, 2016, it was announced that Favreau and Marks will return to direct and write, and the sequel could potentially have a release sometime in 2019 and will be shot back-to-back with a of. However, it was reported in March 2017 that the sequel was put on hold in order for Favreau to instead focus mainly on The Lion King.

By January 12, 2018, Marks ended an early draft for the sequel, which he said will 'go further through' Kipling's material, as well as feature elements of 's rejected drafts for the 1967 film. References. The Walt Disney Studios.

Retrieved March 29, 2016. March 29, 2016. Retrieved March 29, 2016. (May 23, 2017). Feature Film Study: Page 25. Retrieved May 10, 2018. Retrieved December 12, 2016.

The Walt Disney Studios. Retrieved March 28, 2016. ^ Thompson, Luke Y. (February 22, 2016). Retrieved February 27, 2016. ^ Turan, Kenneth (April 14, 2016). Los Angeles Times.

Retrieved April 16, 2016. Rawal, Sugandha (February 24, 2016). Business Standard. Retrieved February 27, 2016.

The Deadline Team (July 9, 2013). Deadline Hollywood. Retrieved December 13, 2014.

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Jungle Book Full Movie Putlocker

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Foutch, Haleigh (December 1, 2016). Fleming Jr, Mike (March 21, 2017). Jungle Book director Favreau has temporarily put down a sequel for that film to instead focus on a live-action musical version of The Lion King, one that will take the Jungle Book‘s photo-realistic technology further, and will fully exploit the Elton John songs from the original. External links.

I saw the newest Disney version of 'The Jungle Book' in the company of my enthralled 12-year-old son, and there were moments when I envied him—but not too many, because the film is so surefooted in its effects, so precise and simple in its characterizations, and so clear about what it's trying to say about the relationship between humanity and nature, that it made me feel about his age again, too. Maybe younger.

It's not accurate to call this 'Jungle Book' a 'live-action' version, since so much of it has been generated on a computer. But screenwriter, director and their hundreds of collaborators render such distinctions moot. Combining spectacular widescreen images of rain forests, watering holes and crumbling temples, a couple of human actors, and realistic mammals, birds and reptiles that nevertheless talk, joke and even sing in celebrity voices, the movie creates its own dream-space that seems at once illustrated and tactile. It's the sort of movie you might inadvertently dream about after re-reading one of Rudyard Kipling's source books or re-watching the 1967 animated Disney film, both of which contributed strands of this one's creative DNA. The Disney animated version was the last cartoon feature personally overseen by, and its release one year after his death marked the start of a period of creative wandering for the company (though other features that had been in development for years, most of them lackluster, would appear throughout the decade that followed).

Like a lot of the company's 1960s and '70s output, it was relaxed to a fault—a succession of beautifully rendered, mostly jokey set-pieces strung together by memorable songs, including 'The Bare Necessities,' 'I Wanna Be Like You' and the python’s seduction song 'Trust in Me'—but it still made a deep impression on '60s and '70s kids like the 49-year-old Favreau. This incarnation is a more straightforward telling that includes just two brief, according-to-Hoyle musical numbers, 'The Bare Necessities' and 'I Wanna Be Like You'—performed by Sethi with Murray and Walken, respectively. It relegates a longer version of the ape's song and a torch-song-y version of 'Trust in Me,' performed by Johansson, to the approximately seven-minute end credits sequence, which is so intricately imagined as to be worth the ticket price by itself. Other numbers, including the elephants' marching song and 'That's What Friends Are For,' performed by a barbershop quartet of mop-topped vultures, are MIA, presumably in the interest of pacing. I mention all this not because I consider the film's lack of music a shortcoming, but because it gives some indication of how gracefully this 'Jungle Book' juggles the competing interests of parents and kids. Musically, visually and tonally, there are enough nods to the 1967 version to satisfy nostalgia buffs, but not so many that the film becomes a glorified rehash. Kipling's tales are a stronger influence, down to the scenes where the wolves, Mowgli and other creatures recite a stripped-down version of Kipling's poem ' ('.For the strength of the Pack is the Wolf/and the strength of the Wolf is the Pack').

And there are nods to Edgar Rice Burroughs' Tarzan stories and the masterful comics illustrator, which seem to have influenced the way the movie's CGI artists render the movie's trees: as gnarled, knuckled, pretzel-twisted, vine-shrouded wonders, rising from the forest floor. The film creates its own, more politically evolved version of Kipling's literary ecosystem, with its ancient animal beliefs and practices, such as predators and prey declaring a 'water truce' during a drought so that they can all drink unmolested from a parched watering hole. And it invests Mowgli with a touch of optimistic environmentalist fantasy: where human mastery of fire and tools was presented in earlier films as a threat, and Mowgli's fated exit from the jungle as an unfortunate necessity, in this film the boy is shown using his ingrained ingenuity to solve problems beyond the capabilities of his animal pals, as when he builds a rappel and pulley system to help Baloo claim honey from a cliffside beehive he's been coveting. The idea here seems to be that humanity is not necessarily fated to subjugate and destroy nature. People and animals can live in harmony if we behave with kindness and mercy while showing reverence for the ancients of other species, like the elephants that Bagheera credits with creating the rain forest and directing the flow of water by digging canals with their hooves and tusks. The movie takes these ideas and others seriously, but in a matter of fact way, so that they don't feel clumsily superimposed, but rather discovered within a text that has existed for more than a century.

Kingsley's unhurried storybook narration hypnotizes the audience into buying everything Favreau shows us, as surely as Johansson's Kaa voice-work hypnotizes Mowgli. (The latter sequence includes one of the new movie's most extraordinary embellishments: as Mowgli stares into one of Kaa's eyes, he sees his own origin story play out within it.) Another kind of balancing act is happening in the voice actors' performances. Favreau leans on distinctive-sounding stars to earn knowing chuckles from the audience, and lets some of their familiar physical and facial tics seep into the animal 'performances': Murray is a shambling pleasure-seeker in life as well as in many of his movie roles.

Walken is legendarily good at playing funny-scary villains who love to mess with heroes' minds (he's merged here with Marlon Brando's performance as Kurtz in ',' entering the story swathed in Rembrandt gloom). Kingsley has aged into one of the cinema's great mentor figures. But the film is never content to use our affection for its voice actors as a storytelling crutch. These are strong, simple, clearly motivated characters, not movie star cameos wrapped in CGI fur.

The most impressive is Elba's Khan. His loping menace is envisioned so powerfully that he'd be scary no matter what, but the character becomes a great villain through imaginative empathy.

As was the case with Magua in Michael Mann's ' and General Zod in ',' we understand and appreciate his point-of-view even though carrying it out would mean the death of Mowgli. In every way, this quietly majestic film should be considered a triumph. The familiar, picaresque story of a young boy raised by forest creatures but fated to re-join Man has been re-imagined as a funny, scary, affecting family adventure with mythic heft but a refreshing lack of swagger. It was made with the latest in movie-making technology but has the ethical values and wide-net storytelling sensibility of an Old Hollywood classic. At its best it feels as though it always existed and we are only now discovering it.