Review: ‘The 355,’ starring Jessica Chastain, Penélope Cruz, Lupita Nyong’o, Diane Kruger and Bingbing Fan

January 6, 2022

by Carla Hay

Penélope Cruz, Jessica Chastain, Diane Kruger and Lupita Nyong’o in “The 355” (Photo courtesy of Universal Pictures)

“The 355”

Directed by Simon Kinberg

Culture Representation: Taking place in Colombia, France, the United States, Morocco, the United Kingdom and China, the action film “The 355” features a racially diverse cast (white, Latino, black and Asian) representing the working-class, middle-class and wealthy.

Culture Clash: Five women from five different countries join forces to prevent a world-destroying computer hard drive from getting into the wrong hands. 

Culture Audience: “The 355” will appeal primarily to fans of the movie’s star-studded cast and spy movies that are big on action and lacking in believable and well-written stories.

Bingbing Fan, Lupita Nyong’o and Jessica Chastain in “The 355” (Photo courtesy of Universal Pictures)

If you’re going to do a “female empowerment” film set in the world of international espionage, then don’t make a movie that’s not just embarrassing to women but also to anyone who wants to make or see a good movie. Even with an all-star cast of headliners, “The 355” is just a silly parade of fight scenes to distract from all the plot holes and lack of logic in this witless spy caper movie. “The 355” has a very talented and experienced cast, but the entire story is so cringeworthy and badly conceived, it seems like it was made for a beginner student film instead of a major studio film starring at least two Oscar winners.

“The 355” was directed by Simon Kinberg, who co-wrote the atrocious screenplay with Theresa Rebeck. Kinberg is best known as a producer and writer of several “X-Men” movies. He made his feature-film directorial debut with the 2019 tedious train wreck called “Dark Phoenix,” which was a lackluster end to “The X-Men” prequel movie phase that began with 2011’s “X-Men: First Class.” “The 355” is another train wreck, but at least it has more adrenaline-packed action than “Dark Phoenix,” even if the action scenes are ridiculously staged.

“The 355” is about five women from five different countries who band together to stop the wrong people from getting a computer hard drive that’s capable of destroying the world. Four of the women have experience in international espionage, while the fifth woman is a “fish out of water,” which is just an excuse to have a woman act like a Nervous Nellie in a gun-toting action movie because she’s afraid of guns. The movie’s title refers to the code name for the unidentified female spy who was crucial in helping the Americans in the U.S. Revolutionary War. Some female spies are still referred to as 355.

The five heroines of the story are:

  • Mason “Mace” Browne (played by Jessica Chastain), a hard-driving American who’s an independent-minded agent for the CIA.
  • Marie Schmidt (played by Diane Kruger), a ruthless German spy working for an unnamed agency, who’s even more of a cold-blooded assassin than Mace is.
  • Khadijah Adiyeme (played by Lupita Nyong’o), a computer-savvy Brit who used to be an agent for MI6, but she left the agency to become a computer specialist.
  • Lin Mi Sheng (played by Bingbing Fan, also known as Fan Bingbing), a mysterious Chinese operative who plays the role of a wealthy art curator in charge of a pivotal auction in the movie.
  • Graciela Rivera (played by Penélope Cruz), a Colombian psychologist who unintentionally gets mixed up with these spies and spends a lot of time complaining about it.

The sought-after destructive computer hard drive is shown in the movie’s opening scene, which takes place 150 miles south of Bogotá, Colombia. A British financier named Elijah Clarke (played by Jason Flemying) has arrived at the palatial estate of a man named Santiago (played by Pablo Scola), who is obviously a shady character, based on all the menacing-looking armed bodyguards on his property. Santiago’s young adult son is a computer whiz named Jeronimo (played by Marcello Cruz), who has invented a computer program that can cause massive global destruction, including worldwide blackouts and aircraft explosions—all by doing a few keystrokes on a computer.

Jeronimo and Santiago proudly show off a few demonstrations for Elijah, by making a plane explode in the air and causing a citywide blackout in Bogotá. Jeronimo brags about his destructive computer program: “Try to make a copy, it deletes itself. I’m the only one who can make it.”

Meanwhile, a group of six Colombian National Intelligence Directory agents are hiding outside in a jungle near the estate. The agents are armed and ready to attack, because they think a major drug deal is happening in Santiago’s home. But they hear on their audio surveillance equipment that this isn’t a drug deal. It’s something involving computers and cyber destruction.

When the agents see the plane explode in the air, the agents go on the attack and raid the home. A shootout happens that leaves almost everyone in the house dead, except for Elijah (who made a quick escape) and a Colombian National Intelligence Directory agent named Luis Rojas (played by Édgar Ramírez), who takes the computer hard drive. Luis then decides to sell the hard drive to whoever is the first to pay him $3 million, because he wants to take the money and disappear with his family to have an anonymous, wealthy life.

Someone should’ve told Luis (and “The 355” filmmakers) that $3 million is a ridiculously low amount of money for this type of weapon that can cause global destruction. And it’s really not even enough money for a family to live on for the rest of their lives, if they want to be considered “rich.” It’s one of many poorly conceived details in “The 355,” which is one of the worst big-budget, major studio movies about international espionage in the 21st century.

The word gets out to various government intelligence agencies that this destructive computer drive is up for sale on the black market. As an example of how creatively bankrupt “The 355” is, the filmmakers don’t even come up with a name for the computer hard drive. The characters in the movie just keep referring to the computer hard drive as “the drive.”

“The 355” then shows how various people (heroes, villains and some people in between) try to get possession of “the drive” and all the dumb shenanigans that ensue. There are so many things wrong with how badly these operations are bungled. For example, this scenario is repeated to boring predictability in the movie: People who think they’ve stolen the drive find out that they don’t have it after all.

This computer hard drive is the equivalent of a deadly weapon, but no one in the movie takes any precautions to put this computer hard drive in any type of protective casing to avoid scratching or other damage. Time and time again, the drive is plopped into backpacks, mishandled and tossed around in so many fights, it’s a miracle that this hard drive comes out unscathed, as it does in this grossly unrealistic movie. And if this hard drive is a weapon of mass destruction that can’t be duplicated, then none of the “heroes” thinks of taking the obvious action, until toward the end of the film.

Another ludicrously awful thing about “The 355” is how it depicts spy agencies of First World countries as woefully understaffed and incompetent. It’s the only illogical reason to explain why these agents zip around the world with almost no accountability to supervisors, but they have miraculous access to resources that can only be cleared through supervisors. Major decisions about international security are staged to look like only one mid-level spy supervisor in each country makes all these important decisions, thereby completely erasing a realistic chain of command.

That’s what happens when Mace and her longtime spy partner/best friend Nick Fowler (played by Sebastian Stan) get assigned by their supervisor Larry Marks (played by John Douglas Thompson) to retrieve “the drive” in Paris. Larry’s CIA title is never revealed, but he’s not at the highest level, based on the small number of people who report to him and the low-quality office space where he works. The same could be said for Marie’s boss Jonas Muller (played by Sylvester Groth), who is later described as Marie’s closest confidant, even though he doesn’t really trust her.

Why do Mace and Nick have to go to Paris? It’s because the CIA somehow found out that Luis will be there at an outdoor cafe to sell “the drive.” Why choose an outdoor cafe where there could be dozens of witnesses, street cameras and many things that could go wrong in a public place? Why not choose a private place to do the deal in secret? Because it’s an idiotic movie like “The 355,” were so-called trained professionals make the dumbest decisions.

Mace and Nick have been assigned undercover identities for this mission, where they have to pose as American newlyweds named Joel and Ethel Lewis. And they just happen to sit right next to the same outdoor cafe table as Luis. Nick just happens to have a backpack that’s identical to Luis’ backpack. Luis, like a fool, leaves his backpack on the ground.

You know what’s in the backpack. Nick does too. And so does a cafe waitress, who is really German spy Marie going undercover. Nick and Mace try to distract Luis in a conversation, so that Nick can switch his backpack with Luis’ backpack when Luis isn’t looking. But what do you know: Marie, posing as a waitress with Nick’s order, spills the food and drinks on Nick, and then steals Nick’s backpack intead of Luis’ backpack. A person with common sense would’ve taken both backpacks, in order to leave nothing to chance.

The ruckus results in two simulatenous chase scenes: Mace chases after Marie, who ends up getting away in a subway train. Nick chases after Luis, who takes his backpack and runs away in a panic on a busy street. The chase scenes predictably have “near miss” scenarios where subways and cars get in the way, and it looks like people might be run over if they’re not careful. And after all that trouble, Marie finds out that she took the wrong backpack.

Luis goes into hiding at a hotel, but the Colombian government finds out where he is and dispatches Graciela to offer him therapy. “I’m the only one in the agency who really knows you,” Graciela tells Luis. It’s an obvious ploy to see if Luis will give up secrets about where he has “the drive.” And that’s how Graciela gets caught up in this battle for “the drive.” She finds out the hard way when she barely escapes a shootout that takes place when she’s walking with Luis through a fish processing facility, while Luis still has “the drive” in his backpack.

Graciela has a husband and two sons (the kids are about 6 to 9 years old) at home in Colombia, so the movie makes a big deal of Graciela being not just the only mother in the group of five heroines but also the only one who’s not trained to be a spy. Therefore, “The 355” has multiple scenes of Graciela lying to her family on the phone by telling them that’s she’s away on a safe business trip, while griping to everyone who knows the truth that she doesn’t belong in this dangerous mess.

Graciela is so afraid of guns, she doesn’t even want to touch guns. Why did Graciela choose to work for a government spy agency then? Couldn’t she be a psychologist somewhere else? Of course not, because then “The 355” wouldn’t have a stereotypical “I’m so not prepared to defend myself in fights” confused character that always seems to be in action movies that are plagued with the laziest clichés.

And here’s another lazy cliché for a spy movie: If a female spy is a lead character in the movie, then she has sex with a co-worker. That’s what happens when Mace and Nick hook up for real, shortly after they find out that they’re supposed to be posing as newlyweds. The movie drops big hints that Mace is secretly in love with Nick but she doesn’t want to admit it to anyone.

Nick has been hot and heavy to be “more than friends” with Mace for quite some time, but she tells him: “You’re my best friend. I don’t have anybody else. I don’t want to mess this up.” Immediately after she gives Nick this mini-lecture about wanting to keep things strictly professional between them, she starts seductively undressing in front of him in their Paris hotel room, and they have sex.

After the debacle of losing “the drive” in Paris, Mace goes to London to reconnect with her estranged friend Khadijah. Mace, who has now become a rogue agent, begs Khadijah to help her find Luis and “the drive,” as well as to get revenge on Marie. Khadijah, who has comfortably settled into civilian live with her understanding husband Abdul (played by Raphael Acloque), reluctantly agrees to help Mace on this mission. Abdul handles Khadijah’s decision to go on this mission and possibly be killed as casually as a husband being told that his wife is going away on an adventure trip.

More chase scenes and shootouts ensue. Marie poses as a police officer and whisks Graciela into her custody in a hotel room. Mace and Khadijah burst into the hotel room because they’ve been tracking Marie. They all decide they have a common enemy and decide to join forces. The scene where they decide to team up is so trite and overly contrived, you almost half-expect them to yell, “Girl power!”

Mace, Khadijah, Marie and Graciela end up in Morocco. And when an unimaginative action movie takes place in Morocco, you know what that means (cliché alert): a chase scene in a crowded outdoor marketplace in Marrakesh. And “the drive” gets bounced around in more backpacks and knapsacks.

After the hijinks in Morocco, the four women go to Shanghai, where there’s an auction of luxury art. That’s how Mace, Marie, Khadijah and Graciela meet Lin Mi, who is overseeing this event. And you know what that means (cliché alert): the female spies dress up in banquet attire so they can mix and mingle with elite society people at this auction. Predictably, it’s a scene where the women’s sex appeal is used as a distraction to men in at least two instances.

More clichés clog up the film. And almost all of them are unconvincing. One of the clichés is about someone who supposedly dies during a fight. But surprise! This person isn’t really dead after all.

This person’s “departure” is so abrupt and unrealistically handled in the movie, as soon as this person is announced as dead, it’s obvious that this person will be back in the movie at some point. The fake death subplot doesn’t take into account that many people (including a medical examiner) would have to see the body in order for a death certificate to be signed. Of course, “The 355” filmmakers assume that viewers are too dumb to know these facts.

“The 355” is so shoddily filmed, it’s obvious to tell who the stunt doubles are in the action scenes. In a scene where Mace and Marie are in a physical fight before they decide to team up, there’s a shockingly bad close-up where the face of Chastain’s stunt double can clearly be seen. Kinberg and Chastain are two of the producers of “The 355,” so they bear a lot of the responsbility for how this disaster of a movie turned out.

Beyond the stunts, some of the action scenes are plotted with absolutely no sense. There’s a scene were certain people are held captive in a house, then they are inexplicably let go (when in reality they would be killed by their captors), and the newly freed kidnapping victims find out that there’s an arsenal of loaded weapons in a nearby unlocked room. How stupid do kidnappers have to be to let that happen? As stupid as they are in “The 355.”

The acting in this movie is nothing special, and it often looks subpar because of the moronic dialogue. Khadijah is written as the most intelligent and level-headed of the five heroines, but she also just spews a lot of computer jargon that’s very phony. Unfortunately, Fan’s acting as Lin Mi is so stiff, it’s easy to see why she has the least screen time out of the five actresses—she doesn’t appear in “The 355” until the last third of the film.

Even though Marie is supposed to be the secretive “ice queen” of the group, ironically, she’s the only one of the five who’s given a backstory, so that she can have a scene where she gets emotional about her past. (It has to do with her father, who was also a spy.) It’s worth noting that Kruger replaced Marion Cotillard, who was originally cast in “The 355” as a French spy named Marie. Cotillard should feel relieved that she didn’t get stuck in this terrible movie.

Graciela is a one-note character, whose main purpose is to say variations of “I don’t belong here! I want to get back to my family!” Mace is a hollow shell that the filmmakers obviously want to portray as the group’s badass leader. Too bad they forgot to give Mace an intriguing personality.

“The 355” also perpetuates outdated and sexist movie stereotypes that the best female spies can’t possibly be mothers too. It’s no coincidence that in “The 355,” the only trained spies in this group of heroines are women who don’t have children. It’s a not-so-subtle message that if you’re a female spy, being a mother is supposed to ruin your chances of being great in your career. In reality, there have been plenty of prominent female spies who were mothers at same time they were spies. Mata Hari and Josephine Baker are just two examples.

One of the most laughable things about “The 355” isn’t on screen but it’s in the movie’s production notes. There’s a statement in “The 355” production notes about the intention of the movie: “Character, realism and authenticity were key to the filmmakers’ vision.” However, almost everything in “The 355” is the opposite of realistic. As a spy movie, “The 355” is as unrealistic as James Bond being a Russian astronaut becoming an American cowboy who starts working for the CIA.

Universal Pictures will release “The 355” in U.S. cinemas on January 7, 2022.

Review: ‘Jungle Cruise,’ starring Dwayne Johnson, Emily Blunt, Edgar Ramírez, Jack Whitehall, Jesse Plemons and Paul Giamatti

July 27, 2021

by Carla Hay

Dwyane Johnson and Emily Blunt in “Jungle Cruise” (Photo by Frank Masi/Disney Enterprises, Inc.)

“Jungle Cruise”

Directed by Jaume Collet-Serra

Culture Representation: Taking place mostly in 1912, in Brazil and England, the action-adventure film “Jungle Cruise” features a racially diverse cast of characters (white, African American Asian and Latino) representing the working-class, middle-class and wealthy.

Culture Clash: A sassy researcher and her fussy botanist brother, who are both from England, enlist the help of a wisecracking American skipper of a ramshackle cruise boat to go to a Brazilian jungle to find a magical tree which has a petal with the power to save lives.

Culture Audience: “Jungle Cruise” will appeal primarily to people who are fans of any Disney adventure films, but might not hold much interest to people who’ve seen better family-friendly adventure films that take place mostly in a jungle.

Jack Whitehall, Emily Blunt and Dwayne Johnson in “Jungle Cruise” (Photo by Frank Masi/Disney Enterprises, Inc.)

Overstuffed with generic villains and too rambling for its own good, “Jungle Cruise” offers nothing new or exciting to people who’ve seen higher-quality and more unique adventure films with a jungle at the center of the action. It’s a bland misfire that borrows heavily from 1981’s “Raiders of the Lost Ark” and 1951’s “The African Queen.” Viewers already know how a movie like “Jungle Cruise” is going to end, so “Jungle Cruise” needed to have other elements to make it stand out from similar movies that have a wisecracking male hero and his adventurous love interest who wants to be treated as his equal. Unfortunately, “Jungle Cruise” is stuck in a rut of mediocrity that will make this movie forgettable soon after watching it.

At a total running time of 127 minutes, “Jungle Cruise” over-indulges in characters and scenes that weren’t needed for the movie. Children under the age of 8 and people with very short attention spans might get bored or irritated by the unnecessary convolutions to the plot, which just weigh the story down more than stagnant muck in a jungle swamp. Don’t be surprised if some parts of the movie will make you want to go to sleep.

Directed by Jaume Collet-Serra, “Jungle Cruise” was written by Glenn Ficarra, John Requa and Michael Green. The extraneous plot contrivances seem entirely designed to stretch out the movie’s running time, as if the writers were afraid that that sticking to a simple concept wouldn’t work. In addition, too many parts of the movie seem forced and very fake, such as the romance between the male and female protagonists.

There are also some heavy-handed references to sexism and feminism that are repeated to irksome levels, as if the “Jungle Cruise” filmmakers think viewers are too dimwitted to notice the first three times these same references are in the movie. A running commentary in “Jungle Cruise” is that some of the men can’t believe that the female protagonist is wearing pants. The male protagonist even starts calling her “Pants” as a nickname. It’s a tired joke that wears very thin quickly. And the “feminism” messages in “Jungle Cruise” come across as extremely phony when this movie’s cast members who get top billing are several men but only one woman.

“Jungle Cruise” takes place in 1912, but there are flashbacks throughout the story to previous centuries. The movie opens with a voiceover explanation about the ancient legend that serves as the catalyst for this story. (The musical score during this intro uses an instrumental version of Metallica’s 1991 ballad “Nothing Else Matters,” which is kind of distracting for viewers who know this song.)

In the Legend of the Tears of the Moon, a magical tree called Tears of the Moon exists in the Amazon jungle. This tree has a petal that can cure any illness and break any curse. Over centuries, many explorers sought to find this petal. One of these explorers was a Spanish conquistador from the 1500s named Don Lope de Aguirre (played by Edgar Ramírez), also known as Aguirre, who got injured during his exploration and was found by the guardians of the tree.

After these guardians nursed Aguirre back to health, he demanded that the guardians give him a sacred arrowhead, which is believed to be the key to finding the Tears of the Moon. Aguirre and his conquistadors attacked the guardians, and the jungle fought back. (And yes, there are predictable scenes of trees coming to life and using their branches to tie up people.) As a result, Aguirre was cursed and held captive by the jungle trees for eternity.

In London in 1912, botanist MacGregor Houghton (played by Jack Whitehall) is making a presentation pitch to an all-male group of high-society members in a museum lecture hall. He’s reading a speech from index cards that were written by his much-smarter sister Dr. Lily Houghton (played by Emily Blunt), a researcher who is watching nervously from the balcony. MacGregor wants to convince this group of elites that the Legend of the Tears of the Moon is real, so that they can invest in a trip that MacGregor and Lily want to take to the Amazon jungle to find this magical tree.

MacGregor is fairly unskilled at public speaking (or he didn’t take the time to rehearse his speech), because on the index cards, where Lily wrote in parentheses “pause for dramatic effect,” he actually reads out loud the words “pause for dramatic effect.” MacGregor’s speech is not well-received, to put it mildly. He gets a resounding “no” from the group when requesting funding for the exploration trip.

As McGregor verbally flounders and gets flustered on stage, Lily sneaks off into an off-limits room to find the sacred arrowhead that supposedly will lead whoever possesses it to the Tears of the Moon tree. She pries open a crate, sees the arrowhead and steals it. But before Lily can leave undetected, she runs into a museum official named Sir James Hobbs-Coddington (played by Andy Nyman), a stern and greedy bureaucrat.

He’s about to secretly sell the arrowhead to a visiting German royal called Prince Joachim (played by Jesse Plemons), who sees that Lily has the arrowhead and demands that she hand it over. A predictable chase ensues in the room with some unrealistic choreography involving a ladder that leads to Lily hanging out of a window where she could fall and die. Prince Joachim has her cornered and tells Lily that if she hands over the arrowhead, he will rescue her.

Lily gives Prince Joachim a small box that she says has the arrowhead, but he pushes her off the building anyway. Just then, a double-decker bus with an open top drives by, and Lily lands in the bus. Inside the building, Prince Joachim sees that what’s inside the box isn’t the arrowhead but a duck-hunting decoy shaped like a toucan. Meanwhile, MacGregor gets kicked out of the lecture hall with perfect timing to be outside in the same place as Lily when she landed. MacGregor and Lily make their getaway on the bus. Yes, it’s that kind of movie.

You know the rest: Lily and MacGregor find a boat navigator who can take them to the Porto Vehlo, Brazil, where their Amazon jungle adventure will begin. He’s a skipper named Frank Wolff (played by Dwayne Johnson), who makes a meager living as a tour guide to visitors on his run-down steamer boat La Quila. One of Frank’s identifying qualities is that he constantly likes to tell jokes with bad puns. People will either find it charming or annoying.

For example, while ferrying a group of unlucky tourists who have to listen to his bad jokes, Frank points out a pair of toucans and says, “Only two can play.” Frank’s “wink and nudge” tone is: “Get it? The words ‘two can’ rhyme with ‘toucan.'”

He tells another groan-inducing pun joke to the people on his boat: “I used to work in an orange juice factory, but I got canned. I couldn’t concentrate. Yeah, they put the squeeze on me too.” A young girl on the boat tour voices what a lot of viewers will be thinking about Frank and his cheesy jokes: “Make him stop!”

“Jungle Cruise” is very self-aware that the jokes are silly, but after a while it does get very tiresome and comes across as lazy screenwriting not to have anything else about Frank’s personality that’s memorable. In fact, one of the reasons why “Jungle Cruise” is so disappointing is that none of the characters in this movie has an outstanding personality. You know a movie is bad when it has three villains/antagonists, and they’re just watered-down versions of many other movie villains.

The most obvious villain is Prince Joachim, who spouts cliché lines and does everything a stereotypical villain does but twirl his moustache. Plemons struggles with having a believable German accent in this role. It’s like he’s trying to do a parody of a Christoph Waltz villain, but it doesn’t land very well because Prince Joachim’s dialogue is so witless. Prince Joachim doesn’t come across as cunning or dangerous as much as he comes across as a spoiled and stupid royal who wants his way.

Another villain is Aguirre, who shows up later in the movie. The “Jungle Cruise” filmmakers wouldn’t have taken all that time in the beginning of the movie to tell viewers who Aguirre is without him making an appearance. Aguirre could’ve had an interesting personality and story arc, but he mostly just growls his words and gets into fights.

A third villain, who’s in the movie for less than 10 minutes, is Nilo (played by Paul Giamatti, speaking in a questionable Italian accent), a rival riverboat tour operator who is after Frank for debts that Frank owes to Nilo. If Frank doesn’t pay up, Nilo will get Frank’s boat. Nilo is probably the movie’s most useless character that has a well-known actor in the role. Most people who see “Jungle Cruise” won’t remember who the Nilo character is and what he does for a living.

There’s a time-wasting sequence where Frank impersonates Nilo when he first meets Lily, who’s looking to hire a boat navigator. She soon finds out who the real Nilo is, so her first impression of Frank is that he’s a liar and a con artist. The expected bickering between Lily and Frank ensues, which we all know will eventually lead to them feeling romantically attracted to each other.

MacGregor is a high-maintenance dandy who’s upset that he can’t take many of his possessions—such as a large wardrobe of clothes and tennis rackets—with him on Frank’s boat. Frank’s way of dealing with this issue of MacGregor’s extra luggage is to throw away the luggage in the water. How rude. Later in the movie, it’s implied but not said directly that MacGregor is a semi-closeted gay man. MacGregor talks about how grateful he is that Lily is his sister, because she protects him from being persecuted.

Frank has a pet leopard named Proxima, which is introduced in the movie in a very dubious way: Frank has trained the leopard to scare people away in a restaurant. How is that supposed to be funny? The visual effects for this CGI leopard are not very convincing. It looks every inch like the computer-generated animal that it is.

In fact, all of the visual effects in “Jungle Cruise” are very ho-hum or look bogus enough to be distracting to the movie. The hair and makeup are overdone for Lily, who looks too polished in certain action scenes, where realistically her makeup would’ve sweated off of her face, and her hair would be lot more disheveled.

As for the “jungle adventure,” Frank, Lily and MacGregor have the predictable experiences with jungle tribes, as well as chase scenes with Prince Joachim and his henchmen. There’s also the “eccentric exotic person” who seems to be in every jungle movie. In “Jungle Cruise,” this character is a tribe leader named Trader Sam (played by Veronica Falcón), who becomes an ally to these adventurers. And there are more bad pun jokes from Frank.

But when it’s revealed that Frank has a secret identity, that makes the movie go off the rails. Without giving away too much information, it’s enough to say that Frank’s secret identity meant that he grew up in a country where English is not the primary language. However, Frank has a very American accent throughout the movie. This discrepancy can be explained by Frank living enough of his adult life in the U.S. that he now has an American accent.

But the movie’s tone gets a little too dark for a family film when Frank says that he wants to die. (And it’s not a joke.) It puts a weird damper on the rest of the “adventure,” because it’s an unnecessary death wish for the hero of the story to have, after it’s made obvious that he has romantic feelings for Lily. (And yes, they’ve already kissed each other at this point.) Apparently, no one told Frank that telling a potential lover that you want to die is not the way to romance someone.

Anyway, we all know that this “death wish” is a very manipulative part of the story just to create unnecessary drama. After all, why kill off the hero when there are potential “Jungle Cruise” sequels to be made? Do the filmmakers really think viewers are that stupid?

The chemistry between Johnson and Blunt isn’t convincing enough to make Frank and Lily look like they could be in a real long-lasting relationship. Sparring partners in arguments? Yes. But as romantic partners? No. “Jungle Cruise” tries very hard to make it look like Frank and Lily are a great couple. But after this trip is over, it’s hard to imagine that Frank and Lily would enjoy each other’s company and have a lot to talk about in their everyday lives.

In “Jungle Cruise,” Johnson and Blunt do versions of characters that they’ve already played in other movies. There’s nothing fresh or intriguing about their “Jungle Cruise” performances. Johnson just isn’t very good at portraying someone from an era that happened before he was born. The way he talks and his mannerisms are better suited for roles that take place in his contemporary time period.

Everything about “Jungle Cruise” (which is inspired by the Jungle Cruise theme park ride at Disneyland and Disney World) is supposed to be fun, original and adventurous. Instead, too much of it looks and sounds over-calculated and ripped off from other movies. (And the hackneyed “Jungle Cruise” musical score by James Newton Howard is overbearing at times.)

There’s a pivotal scene in “Jungle Cruise” where an entire jungle lights up in purple, but it looks like it was copied from a pivotal scene in Pixar’s 2017 Oscar-winning film “Coco.” Simply put: “Jungle Cruise” takes no bold or creative risks when it could have. “Jungle Cruise” is more like “Jungle Snooze.”

Walt Disney Pictures will release “Jungle Cruise” in U.S. cinemas and at a premium extra cost on Disney+ on July 30, 2021. 

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