Storyline
Tarzan, having acclimated to life in London, is called back to his former home in the jungle to investigate the activities at a mining encampment.
Directors
Writers
Cast
Jim Broadbent, Djimon Hounsou, Christoph Waltz, Samuel L. Jackson, Alexander Skarsgård, Genevieve O'Reilly, Lasco Atkins, Simon Russell Beale, Bentley Kalu, Ben Chaplin, Hadley Fraser, Matt Cross, Mens-Sana Tamakloe, Margot Robbie, Madeleine Worrall, Mimi Ndiweni, Osy Ikhile, Ashley Byam, Antony Acheampong, Casper Crump, Yule Masiteng, Sidney Ralitsoele, Edward Apeagyei, Charles Babalola, William Wollen, Rory J. Saper, Paul Hamilton, Christopher Benjamin, Abi Adeyemi, Joy Isa, Alex Ferns, Liv Hansen, Alicia Woodhouse, Matt Townsend
Trailer
Reviews
80
The Legend of Tarzan isn't half-bad; actually, it's pretty good. Beautifully made and smartly set at the beginning of Belgian King Leopold II's rapacious colonization of the Congo in the 1880s, this is certainly the best live-action Tarzan film in many a decade (which, admittedly, isn't saying much) and offers a well-judged balance of vigorous action and engaging-enough drama.
75
You have to admire the sheer physical scope of this epic, even if there are no animals in it.
60
Skarsgård himself is fairly bland as Greystoke, delivering a po-faced Byronic spin on the character, all velvet coats and dreamy romantic stares at his belle while sitting barefooted in the boughs of trees. But at least the animals are memorable – best of all is a pack of scene-stopping silverback gorillas digitally created for the movie. This Tarzan isn’t quite the jungle VIP – but it’s got a little swing.
58
It’s nice that The Legend Of Tarzan isn’t a nakedly mercenary franchise play that presumes dozens of sequels to come. (It’s also not a low-rent Casper Van Dien vehicle.) But it sure could use some money-grubbing set pieces to tie the genial silliness together.
50
The result is a “Legend” that feels inoffensively modern, or at least less offensive than it could have been...But you can’t make a bold statement or exciting action picture when every frame is filled with fear — of offending someone, of upsetting animal rights activists, of giving the audience a Tarzan they won’t recognize, of failure.
