Mufasa: The Lion King Review
The Disney train continues to chug along in 2024 despite many bumps along the way: Marvel took a ‘time out’ and focused on a reset of sorts, pushing Deadpool & Wolverine as their only big outing this year (another $1.3billion in the coffers suggests it was a wise choice) while fellow sequels Moana 2 and Inside Out 2 have proven even bigger sellers. On the flip side, there has been negativity towards some of the studio’s other outputs, whether continuing to return to some of their most popular films – Lilo & Stitch, Snow White – with the latter already surrounded in much controversy and criticism. So, surely, another Lion King film under the direction of Oscar winner and much-revered filmmaker Barry Jenkins would help bring stability to their somewhat flailing live-action remake stampede?
Told in flashbacks by Rafiki (John Kani) whilst Simba’s daughter Kiara (Blue Ivy Carter) listens in during a scary thunderstorm on Pride Rock, we hear the story of how Mufasa (Aaron Pierre) became King. Separated from his parents after a devastating flood, he seeks solace with another lion cub, Taka (Kelvin Harrison Jr.), and his mother Eshe (Thandiwe Newton) as his father Obasi (Lennie James) despises strays and those not of his pride. Mufasa begins to learn his power as a hunter and protector when a pack of white lions, led by Kiros (Mads Mikkelsen), descends upon them with one aim in mind. The throne. Fleeing, Mufasa and Taka soon find Sarabi (Tiffany Boone), a princess, and a younger Rafiki (Kagiso Lediga) who all seek the one thing – Milele, a place they hope will provide them, and the rest of the kingdom, with solace from those who oppose them.
Written once again by Jeff Nathanson, who scripted the first film as well as Catch Me If You Can and Young Woman and The Sea, Mufasa: The Lion King certainly tries to separate itself from its predecessor and break free of the shackles of franchise and expectations, but the majority of its most interesting plot points and themes get suffocated. A barrage of uninspired set-pieces, forgettable songs (even with the great Lin-Manuel Miranda onboard, you’ll be hard-pressed to remember any of them after you’ve left the cinema), and tiresome “live-action” effects that have lost their wow factor smother the life out of them. It’s made all the more frustrating when the story has lots to say: about power, men, society, humanity, and economic worries, all of which feels timely and knowing, and yet that supposed visual power stops anything from puncturing through its fake facades, albeit despite Jenkins’ best efforts.
The cast, led by Pierre and Harrison Jnr, on paper, seems like a slam dunk, doubly so when you re-add Billy Eichner (Timon), Seth Rogen (Pumbaa), and Kani to the mix, but even they struggle to make any real impact, being weighed down by their scattershot arcs and character traits – do we need to “humanise” villains all the time, now? In addition, in what is something of a puzzling piece of casting, British-born Pierre takes over from the late James Earl Jones but American-born Harrison Jnr is forced to don – and sing in – a terrible “ello guvnor”-style British accent, ignoring the more magisterial voices of Jeremy Irons and Chiwetel Ejiofor that came before him. He does his best to overcome the ridiculous obstacle in front of him – why shackle such a talent like this? – but it feels and sounds insanely off-putting throughout. And if you’re buying tickets for Beyonce’s appearance, don’t bother – it isn’t even a cameo. A fine summation of the film, really: all that talent, barely making an impact.
★★
In cinemas December 20th / Aaron Pierce, Kelvin Harrison Jnr, Blue Ivy Carter, Tiffany Boone, John Kani, Billy Eichner, Seth Rogen, Mads Mikkelsen, Donald Glover, Beyonce Knowles-Carter, Thandiwe Newton, Anika Noni Rose, Lennie James / Walt Disney Pictures / PG
Discover more from
Subscribe to get the latest posts sent to your email.
About the Author
