A legendary fifteen-foot tall mountain gorilla named Joe is taken to an animal sanctuary in California by a zoologist and a young woman whom he grew up with. A poacher from the past returns to seek vengeance on him.
The baby gorilla left in her care grows up to become a hugely tall and broad specimen by the name of Joe, living in the mountains as a mostly unseen legend among people who live there. Along comes an eco-minded emissary from a California sanctuary, who talks the jungle girl into providing safe haven for Joe at the L.A. facility. The transition is not without discomfort, but everything is aggravated via a conspiracy of poachers to get Joe into their own greedy hands! Written by
Anthony Pereyra <firstname.lastname@example.org>
Like most films during the 1990's that features creature effects, Joe was created through the mixture of practical and digital effects. For the majority of the film, Joe was portrayed by creature suit performer (John Alexander), who wore a radio-controlled animatronic gorilla suit created by Special Make-up Effects Artist Rick Baker and his crew at Cinovation Studios. In order to achieve those scenes, Alexander would often act on miniature sets that were surrounded by bluescreen, in which visual effects house DreamQuest Images would composite him into footage that was shot beforehand. While in the beginning of the film, when Joe was an infant, he was performed by Verne Troyer. For certain scenes, the filmmakers used three full-sized animatronics (one in quadraped, one sitting down, and one in a dead position) also created by Baker's crew. For the scenes where the digital Joe was used, visual effects houses DreamQuest Images and Industrial Light, & Magic would work on different scenes, using the same model provided by Baker. Many of these performances were achieved by key-frame animation, but when the digital Joe was running and jumping, it was motion-capture data that they captured from an infant chimpanzee. See more »
Part of the film is set in California. In Los Angeles and at the carnival near the beach, there are police cars with their colored lights on. All the police cars are missing a steady red light in the front. By the California vehicle code, all emergency and law enforcement vehicles are required to have a steady red light facing forward. See more »
[Knocks Garth unconscious with his gun as he tries to leave]
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I was anxious to see this movie as I had seen the original in 1949 and I was not disappointed. This is one of those rare instances that a remake was okay. This originally was an RKO Radio Picture and the new updated RKO Pictures logo at the beginning was a great tribute. Also it was very fitting to have Terry Moore, the original star, and Ray Harryhausen, the man who made the special effects in the first one, to have a cameo. A lot of critics did not like this movie but my 3 grandchildren did. Why not have movie critics the same age as the targeted audience, such as having kid critics and women critics and senior citizen critics to give a real reaction of what they like and don't like.
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