USA TODAY International Edition
New ‘Lion King’ still has powerful roar
Review: Film is visually stunning, sounds great while sticking to script
For anyone truly worried that Disney’s new redo of “The Lion King” will disappoint, well, hakuna matata and all that.
The Circle of Life has never looked so good: Director Jon Favreau’s visually wowing update (★★★☆ ; rated PG; in theaters nationwide July 19) stuns the senses with photorealistic animals and an immersive African landscape, all courtesy of game-changing, incredible visual effects. (Even the grubs are computer-generated, and pretty cute.)
As for the rest of it? This “Lion King” is akin to a revival of an iconic Broadway musical, with an all-star cast and a few welcome improvements but lacking a certain magic and originality.
Unlike fellow Disney revamps such as “Maleficent” and this year’s “Dumbo,” Favreau’s film sticks extremely close to the 1994 animated classic – while not a pointless, painfully familiar effort like, say, Gus Van Sant’s “Psycho” remake, it’s not markedly different, either. That shot everyone knows of the crazy-adorable baby Simba being hoisted above Pride Rock is here, obviously, and as a youngster, the cub (voiced by JD McCrary) is groomed to rule one day by his dad King Mufasa (a returning James Earl Jones).
Tragedy strikes when Mufasa saves Simba from a stampede and is then killed by his evil brother Scar (Chiwetel Ejiofor), who takes the throne for his own. But before that, Scar essentially banishes Simba, and the kid grows up living a nomadic life with snarky meerkat Timon (Billy Eichner) and jolly warthog Pumbaa (Seth Rogen). Childhood best friend Nala (Beyoncé) runs into older Simba (Donald Glover), and sparks fly – yes, you can feel the love tonight – before the inevitable lion-on-lion tussle with his villainous relative.
What’s remarkable is the whole thing looks like a well-done nature documentary. The eye-popping visuals Favreau used three years ago for “The Jungle Book” seem obsolete compared with what he unleashes here. The attention to detail is exquisite, from Timon’s jittery hands and random scratching fits to the water droplets hanging off the whiskers of wise mandrill Rafiki (John Kani) during a torrential rainstorm.
It only gets strange when those realistic animals start singing, though
you’re less weirded out by the time hippos and antelopes are seen crooning “The Lion Sleeps Tonight.”
The new “Lion King” also is a lot funnier thanks to a contemporary sense of humor in Jeff Nathanson’s screenplay and the scene-stealing comic relief of Timon and Pumbaa. The teaming of Rogen and Eichner, whose maniacal shtick is amazingly hilarious even as a furry critter, are reason alone why this revamp should exist. The musical stars of the cast aren’t too shabby, either: Glover riffs playfully in songs and balances his usual cool with gravitas, and Beyoncé brings all the necessary fire as Nala, a lion willing to do anything to protect her pride.
The soundtrack remains top-notch, too, with the new Beyoncé-powered song “Spirit” added in a fist-pumping sequence for Simba and Nala, plus the new Elton John tune “Never Too Late” (with an African choir) waiting for you during the credits.
Was “The Lion King” really in need of a souped-up version? Nope. The original holds up exceedingly well and honestly has the edge in overall charm. Favreau at least loves and respects the story enough to do it justice, as well as lean into the core themes.
The interconnectedness of us all – the Circle of Life, if you will – isn’t just talked about but felt in new ways. That mangy Scar, with his freaky jowls and Ejiofor’s vicious vocals, is the new poster boy for brutality. And the moment when Simba tearfully snuggles up next to his fallen father will ruin you all over again, even more so than 25 years ago, because of how immersive Favreau’s world and characters are.
This “Lion King” does an OK job roaring to life for a new generation and looking spectacular along the way. The OG, however, will always be the real mane attraction.