Disney continues to download all the artillery of old and new properties that it has at hand, we've been watching how the cinemas of all around the globe have been being filled with CGI nostalgy, from Dumbo to The Lion King, The Jungle Book and now The Lady and The Tramp, and who knows what we will see in the future, but now we're gonna talk about a beautiful classic that had everyone with high expectations from the beginning, Aladdin.
It's evident that Disney sees in its animated classics a way to propose live-action rewrites that introduce the younger generations to those stories and that in the process make mountains (real mountains) of money.
For this year the bet was three big names for everyone who's had any childhood, Dumbo, Aladdin and The Lion King, and now it is the turn of the second, a tape that stumbles exactly in the same way as the live-action remakes that preceded it, that is, from the perspective of a remake and a film that subsists by itself, re-tells the well known story with little sparks of modernism, feminism and a viewpoint more realistic in the representation of some things like, for instance, Jazmin's outfit.
Aladdin (Mena Massoud) is again a young guy who makes a living stealing in the streets of Agrabah (a fictional Arabian city) in the company of his monkey Abu, a very funny partner in crime that results well designed and real-looking, it's incredible how far the CGI has come these days, watch now the movie to see it with your own eyes.
When the malevolent Jafar (Marwan Kenzari, that's maybe the least likable character in the movie in terms of representation, in comparison with his original version this one doesn't get to be AS evil and likable as the iconic villain that he is) uses it to find a wonderful lamp, the young man meets the Genie (Will Smith) who inhabits it.
With the three wishes he has at his disposal, Aladdin will cross paths with Princess Jasmine (Naomi Scott) and try to stop the events that Jafar prepares to assume the absolute power of Agrabah. From a comparative perspective, this remake is abysmally inferior to the animated tape from which it derives.
From an objective perspective, we are facing another flat film by Guy Ritchie, a filmmaker who was previously linked to brilliant proposals - inhabited by characters with long tongues and cretinism attitudes - but which since he arrived in the Hollywood blockbuster leagues simply did not He has managed to deliver a single worthwhile job.
It may happen that Ritchie is unable to work with high budgets and that his thing is to focus on characters and not large sequences because it is easy to see Aladdin and detect that behind it there is a director who does not necessarily know what he is doing.
Beyond any attachment with the 1992 film, the film must be observed and valued on its own merit, and that is why it is possible to conclude that it is rugged from any angle. It is a film that wants to be hilarious, discursive and exciting, and that in none of those sections manages to stand out.
The musical numbers and the climax are saveable aspects, but in reality, they are of less impact compared to the failures that occur in succession.
However you will certainly find an impressive live-action representation of the original story in 2019's Aladdin, it's not that the movie is straight away a disappointment, but with having expectations this high behind it, it's sad to say that it does not live up to them. Watch it now to get your own conclusions.