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Scar is the villain of this story, but Favreau doesn’t seem to realize whose side his film is on. Or maybe the problem with Scar, whose army of hyenas is embossed with a light gloss of #MAGA deplorability, is a bit more abstract: He represents a predatory new power who doesn’t respect tradition, prefers quick profits over long-term sustainability, and desecrates the delicate balance of life that has preserved the pride (and something proud about it) for generations. John Oliver was born to play an anxious hornbill, while Ejiofor is a fine Scar, though his reluctance to sing cuts the character off at the knees. Alfre Woodward is barely given a chance to register as the voice of Simba’s mother, Sarabi, which is all the more apparent when the mighty James Earl Jones shows up to reprise his iconic role as Mufasa - every line still feels like a heavenly roar. Favreau has likened the process of making this film to restoring an architectural landmark, but at the end of the day, he’s merely gentrified it.Įleven-year-old JD McCrary, who voices the young Simba, has a beautiful singing voice that saves “I Just Can’t Wait to Be King” from the pure tedium of watching two lion cubs walk against a desolate background, but his puffed up take on the lion cub turns the precocious cub into an entitled little hairball the character is deeply annoying, and you just can’t wait for him to grow the hell up.īeyond that, the casting is solid, even if the actors themselves are underused. Julie Taymor’s award-winning Broadway adaptation is so transportive because it celebrates its artifice, not in spite of it.
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Favreau’s movie fails to grapple with how the unreality of the studio’s lush 2D artwork unlocked kids’ imagination and made it so much fun to suspend disbelief the digital wizardry denies our minds the permission they need to dream. On a conceptual level, “The Lion King” betrays the power of the hand-drawn artwork that once put the wonder into Disney animation from its earliest features. Watching them come to blows against a realistic-but-dull background suggests that Favreau was so busy trying to figure out if he could, that he never stopped to consider if he should. Simba used to be a sleek upstart whose regal heritage was tempered by youthful insecurity now he’s just a lion who sounds like Donald Glover. Scar used to be a Shakespearian villain brimming with catty rage and closeted frustration now, he’s just a lion who sounds like Chiwetel Ejiofor. Most often, the animation is just bland in a way that saps the characters of their personalities. (Don’t ask how Zazu the hornbill can speak the Queen’s English even though his beak only moves up and down.) Other times, the animals are constrained by the boundaries of verisimilitude forget the original’s Busby Berkeley-like choreography of “I Just Can’t Wait to be King” or the unbridled expressionism of “Hakuna Matata,” because all these hyper-realistic animals can do is walk around their drab environments and fall over each other. Sometimes, the graphics look so good that your brain struggles to make sense of why they don’t look better (Pride Rock, we learn, is located deep inside the uncanny valley).
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'House of the Dragon': Everything You Need to Know About HBO's Upcoming Series
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New Movies: Release Calendar for May 13, Plus Where to Watch the Latest Filmsīest True Crime Shows on Amazon Prime, Hulu, HBO Max 'Firestarter' Review: Zac Efron Can't Ignite a Stephen King Adaptation Totally Devoid of Heat
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Unlike the rest of the Disney’s latest rehashes, “The Lion King” isn’t live-action: Favreau, who previously inched towards this same technological asymptote with his playful update of “The Jungle Book” in 2016, has made a fully animated film working overtime to disguise itself as an episode of “Planet Earth.” This zombified digital clone of the studio’s first original cartoon feature is the Disney equivalent of Gus Van Sant’s “Psycho.” But “The Lion King” isn’t an echo, it’s a stain. With the possible exception of 2015’s “Cinderella,” which was touched with just enough magic to feel like a new wrinkle on an old fairy tale, all of Disney’s live-action rehashes have been faint echoes of their animated predecessors.
Instead, this soulless chimera of a film comes off as little more than a glorified tech demo from a greedy conglomerate - a well-rendered but creatively bankrupt self-portrait of a movie studio eating its own tail. Unfolding like the world’s longest and least convincing deepfake, Jon Favreau’s (almost) photorealistic remake of “ The Lion King” is meant to represent the next step in Disney’s circle of life.
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