THE LION KING (2019)

July 16, 2019

 Greetings again from the darkness. If you have come here to read yet another take on how this next-gen remake of a beloved film doesn’t bring anything new to the story, you’ve come to the wrong place. I love cinema as an art form, and when analyzing a movie, I typically look for the good and enjoyable, rather than focusing on every element I might be able to criticize … never forgetting that the on screen presentation is the culmination of work performed by many dedicated people so that I might sit back in a comfy seat within the confines of an air-conditioned theatre and be entertained for a couple of hours. And entertained I was.

It only takes a few moments for the awe to set in. The look is at times so realistic that kids may actually believe animals can talk. More than once the fur of an animal or the splash of the river reminded of a National Geographic program with ultra-High Definition photography. So let’s clear up something right now. This has been labeled as a “live action” remake of the animated classic from 1994. You should know, even if your eyes tell you otherwise, that there is nothing “live” in the film. Instead, everything you see on screen is computer-animated/generated. No, the lions and elephants aren’t real and neither are the trees or distant mountains. The look of the film is as revolutionary as when the first TOY STORY stunned us in 1995. We had never seen animation like that then, and we’ve never before seen computer effects like this. What is familiar are two early songs, “The Circle of Life” and “I Just Can’t Wait to be King”.

Of course, neo-realism can be admired only as a technical achievement when we are discussing a movie in which lions talk and warthogs sing. So while we marvel at the technical achievement, let’s not lose sight of the story … what made the original so popular and beloved 25 years ago. Although it’s approximately a half-hour longer than the original, this one is exceedingly close to a scene-for-scene remake. Only minor tweaks will be noticed, mostly in the demeanor of Scar and the banter between Pumbaa and Timon – each actually improving on the first film. What remains is the coming-of-age story that will now touch many new hearts and minds.

Kids will be immediately entranced with the cubs, Simba and Nala, voiced by JD McCrary and Shahadi Wright Joseph (the daughter in Jordan Peele’s US), and with Zazu (voiced by John Oliver), the goofy and comical bird tasked with keeping an eye on the two adventurous youngsters as they get themselves into trouble. James Earl Jones (now 88 years old) reprises his iconic voice role as the wise Mufasa, and Alfre Woodard voices Sarabi, the pride’s leading female. Chiwetel Ejiofor is excellent as the bitter Shakespearian villain Scar, but I couldn’t help but wish Jeremy Irons had returned for this interpretation of the jealous and power-hungry brother of Mufasa.

The energy level jumps once Simba meets Pumbaa the warthog and Timba the meerkat. Seth Rogen and Billy Eichner take the comedy routine to a new place, and we can only assume much of their banter is off-script. Kids may not get every joke, but they are sure to respond to this odd couple. Donald Glover and Beyonce voice the grown Simba and Nala, and both are outstanding – especially with their singing (no surprise there). Nala’s role is expanded a bit … as expected when you cast Queen Bey. Her original song “Spirit” is included but it’s her duet with Glover on “Can You Feel the Love Tonight?” that is a real musical standout.

Director Jon Favreau has been in the chair for such hits as IRON MAN 2 (2010), IRON MAN (2008), and ELF (2003), and he was also behind Disney’s live-action remake of THE JUNGLE BOOK (2016). The writing credits belong to Jeff Nathansan (CATCH ME IF YOU CAN, 2002) for the screenplay, Oscar winner Brenda Chapman (BRAVE, 2012) for the story, and Irene Mecchi, Jonathan Roberts, and Linda Woolverton for the characters. The latter three were among the 28 writers credited for the 1994 version. Also back is composer Hans Zimmer, who won an Oscar for his 1994 score, and songwriters Elton John and Tim Rice, also Oscar winners for their 1994 song, “Can You Feel the Love Tonight?”.

The beloved 1994 version didn’t win the Oscar for Best Animated Feature film because the award didn’t exist until 2002; however, it did spawn the 1997 Broadway smash musical. This more realistic version is rightly rated PG rather than G, as some of the scenes are likely to be a bit intense for younger viewers. And it’s important to remember that this version is meant to bring Simba’s story to a whole new generation – it’s not meant to replace the 1994 version for those who were kids when it came out so many years ago. The story and characters, while familiar to those age 30 and up, will be a whole new viewing experience for today’s kids. So while we may prefer the 1994 animated version, kids today will likely be enthralled by this updated look. And we all better get used to it, because Disney has 18 more “live action” remakes in the works (some of which will actually be “live” action).

watch the trailer:


BEAUTY AND THE BEAST (2017)

March 14, 2017

 Greetings again from the darkness. An entire generation still enjoys their childhood animated movie memories thanks to Disney’s The Little Mermaid (1989), Beauty and the Beast (1991) and The Lion King (1994). We are now a quarter-century later and Disney is looking to re-create the magic (and hopefully cash in) with Live Action versions of all three …as it did with Cinderella (2015) and last year’s The Jungle Book (sensing a trend?). Up now is director Bill Condon’s mixture of live action, CGI and music for Beauty and the Beast.

The 18th century story (1740) by Gabrielle-Suzanne Barbot de Villeneuve was re-written and shortened by Jeanne-Marie Leprince de Beaumont after Barbot’s death. Director Jean Cocteau’s 1946 French film version looks to have been a key influence for this updated ‘Beast’, while the 2014 version with Vincent Cassel will probably now be rendered forgotten. Screenwriters Stephen Chbosky (The Perks of Being a Wallflower) and Evan Spiliotopoulos (The Huntsman: Winter’s War) team with Oscar winner Condon, whose musical movie resume includes Chicago and Dreamgirls, to inject some contemporary aspects to Belle’s personality, as well as a bit more backstory for quite a few characters … all while staying true to the 1991 version.

Emma Watson proves a nice choice for Belle as she has what it takes to be nice yet tough, while still being an oddball within her own community. Belle is a bookworm who dares to help other girls to read, while also being the brains behind her father’s (Kevin Kline) work. She realizes her neighbors view her as a curiosity – and there is even a song to prove it! Ms. Watson brings strength, independence, and courage to the role. These traits and others are on full display even before her first encounter with the beast.

Dan Stevens (“Downton Abbey”) is the beneficiary of an extended backstory for the Prince, which includes a large dance and musical production at the castle, leading to his being cursed for having no love in his heart. Most of the scenes with Beast utilize CGI for the face and head. This effect worked for me as I found the look fascinating and able to fulfill the necessary emotions, though the non-beast Prince would be considered the weakest link in this fairy tale chain.

Since the comparisons to the 1991 version are inevitable, and certainly a matter of personal opinion, Luke Evans made a wonderfully pompous Gaston, while Josh Gad was quite humorous as LeFou, Gaston’s loyal sidekick who is also the center of the misplaced controversy (not worthy of discussion here). The staff – both live versions and special effects – includes Ewan McGregor as Lumiere, Ian McKellan as Cogsworth, Emma Thompson as Mrs. Potts, Audra McDonald as Madame Garderobe, Stanley Tucci as Maestro Cadenza and Gugu Mbatha-Raw as Plumette. Each bring their own touch to the roles, with Ms. McDonald being a particular standout, and Ms. Thompson having the most thankless job as replacement for Angela Lansbury.

While I found this version quite enjoyable and well done, it’s a bit confusing why the decision was made to go so dark and foreboding. It’s not young kid friendly at all, and seems as if the target audience is millennials who were raised on the 1991 version. This was done at the expense of inviting a new generation to explore the story and characters. Parents should probably avoid taking any kids under age 10 or 11, and the film easily could have received a PG-13 rating.

8-time Oscar winner Alan Menken returns to score the film (he did the 1991 version as well), plus he wrote new songs with Tim Rice and there are some original lyrics by Howard Ashman. With only one viewing, it’s doubtful any of the new songs will be instant classics, but “Be Our Guest” is a definite crowd-pleaser (again).

Of course, it’s an impossible task to please everyone when you mess with the classics, but overall, it’s a nice twist for fans of the 1991 animated version. Likely a missed opportunity to bring new youngsters into the fantastical BATB world, it does show that the animated to live action transformation can be well done … and that’s a relief with The Lion King and The Little Mermaid on the way. Dear Disney – don’t mess ‘em up!

Be our guest … watch the trailer: