Aladdin (2019) Assessment

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Aladdin (2019) Assessment

Aladdin (2019) Assessment

The centrepiece number of Disney’s Aladdin extols the wonders of discovering ‘A Entire New World’. But, even with a director so normally stylistically distinctive as Guy Ritchie, this (principally) live-action do-over feels very much the identical old world.

Not that we have been expecting speed-ramped naked-knuckle fights, geezers from Giza, or Princess Jasmine telling her ineffectual sultan dad to grow a pair. However, past a slick, single-take opening whiz across the metropolis of Agrabah and a Ritchie-esque recalibration of the villainous Jafar’s background (he co-writes with John August), you may’t detect the filmmaker’s hand behind the camera.


It’s Disney remake business as regular, this entry skimming closest to 2017’s Beauty And The Beast: broaden it but hold the identical story beats, the same set-items and the identical songs (aside from a fresh belter Alan Menken penned for Jasmine, which with all its Frozen-type emotive heft feels a bit misplaced here).

Possibly that’s all anybody wants from Disney’s second rub of the lamp. After all, it labored for Beauty. But it surely’s uniquely problematic in relation to the Genie. Arguably Disney’s greatest character, he elevated Aladdin ’92 by way of the star casting of Robin Williams, who was given free rein to riff and improvise, with that striking Al Hirschfeld-inspired animation constructed closely around his showstopping performance. Will Smith was by no means a loopy choice. He’s been known to stop a couple of shows himself. However to funnel his Big Willie Fashion into what is basically a rinse-and-repeat of Williams’ performance was the incorrect move.

There are just a few notable differences. This version performs to Smith’s seems to be, and offers the Genie a second-tier romance with Jasmine’s handmaiden Dalia, gamely played by Saturday Night Live’s Nasim Pedrad. Plus, when he’s in regular human kind, his pure charms vibe well with Mena Massoud’s Aladdin. This is especially true through the Prince Ali scenes, the place the pair collectively earn the film’s largest laughs with Aladdin’s inept makes an attempt to woo Jasmine, primarily by listing completely different types of jam. However Smith’s renditions of ‘Pal Like Me’ and ‘prince ali aladdin Ali’ really feel oddly strained and hole and, even worse, every moment he’s in blue CGI kind, it’s uncomfortable to watch. With a pressured smile and uncanny-valley eyes perched atop a overrated, wobbling torso with nothing but gas under the waist, it’s not an excellent search for Smith.

Thankfully, Massoud and former Pink Power Ranger Naomi Scott compensate with their straightforward chemistry, and Disney’s big-dollar manufacturing value gives the ‘toon model a luxurious studio-set make-over, from the palace’s gilt-trimmed opulence, to the bustling city streets, to Aladdin’s shabby-gorgeous tower-prime hideout. As a remake, then, it brings the ‘toon to vivid life, however where the unique left you craving more Genie action, this model weirdly makes you want he was in it less.