Dethroned

Rating: 8/10 (21 July 2019)

GRADE: B
THIS FILM IS RECOMMENDED.
IN BRIEF: A visually well-made remake that entertains, even if this version doesn't compare to its wonderful original source.
JIM'S REVIEW: A remake is a remake is a remake. Call it what you will, give it any fancy name...a re-envisioning...a re-imagining...a re-boot, it's still second class goods all wrapped up in a new shiny package, desperate for your love and admiration. This pre-owned substitute wants to earn your respect, status, and money, but it rarely achieves its glory when compared to the original product. That adage holds true with The Lion King (2019).
But first, let us pay homage to The Lion King (1994), one of the best animated films ever made. This second version is already against the odds from the start. It's a monumental challenge to outdo perfection. Roger Allers' and Rob Minkoff's film was, and still is, a perfect blending of hand-drawn animation and strong narrative structure with a little experimentation into the early realm of CGI thrown in. That innovative animated film filled the screen with artistry, awe-inspiring visuals, and characters that created a deep emotional bond. The original was just that...original. It earned its seal of approval due to its imaginative and groundbreaking vision.
Twenty five years later, we now have The Lion King (2019). Lovingly remastered, this updated model is a class act, but it's not a classic as its predecessor. The computer generated imagery is masterfully done and the photo realism is incredible in its artistry. It replicates the original source with many of its iconic moments, minus some of the charm.
In case you are new to the plot: This is a coming-of-age tale of Simba, a lion cub on his circle of life journey. Along the way, he befriends Timon and Pumbaa, a meerkat and warthog, falls in love with Nala, a feisty lioness, and battles the evil Scar who wants to rule his kingdom.
This 2019 film is a highly entertaining venture with wonderful state-of-the-art computer animation. It is solidly directed by Jon Favreau who delivered a wonderful and improved remake of The Jungle Book some years back. The Lion King (2019) has a photo realistic look that one can commend for its craftsmanship and applaud all of the dedicated talent involved. The film certainly merited my admiration but this reviewer just could not feel the love tonight, or any day for that matter. This virtual reality approach to the film tended to distance this viewer rather than beguile him.
(An aside: I hesitate to call this a live action version since nearly every frame is computer generated. Nothing is real except the realness. The background scenes, handsomely photographed by Caleb Deschanel, are gorgeous in their saturated colors and lushness. The animated animals are walking and talking specimens of detailed textures, astonishing true-to-life figures designed to match their living peers in every way. Dear Moviegoers, you may have a decidedly different aesthetic view on this animation style than myself. I mostly favor the direct "old-fashioned" hand-drawn intimacy of pen to paper.)
Still, one cannot see this version without the nostalgic reminders of yesteryear. There is a commonality by tradition in the inherent animated art form itself. Characters emoted in their cartoon style and the result was a triumph of line and color. In the first film, their expressions are more accepting and genuine as they pranced around and sang the pop songs by Elton John and Tim Rice. This later CGI remake seems incongruous. The natural appears unnatural as they perform the same song-and dance duties. The artistic equivalent is vastly different on screen due to the change from hand-drawn medium to computer generated technology. At times, the overall effect is oddly disconcerting and, at other times, very gratifying.
The voice-over work ranges the gamut from okay to excellent. The more multi-cultural and politically correct cast includes Donald Glover (a nice addition), JD McCrary (fine as the young Simba), Seth Rogan and Billy Eichner (blending their comedic interactions seamlessly), Alfre Woodard, John Kani, John Oliver, Beyonce Knowles-Carter, and Chiwetel Ejofor (not as truly menacing in the vocal department, but a very close second to Jeremy Iron's original masterful emoting of the villainous Scar). James Earl Jones is wisely recruited to reprise his role as Simba's father, Mufasa. Oh, that glorious and unmistakable voice! (Also, welcome back to Hans Zimmer's notable instrumental music score.)
All in all, the film remains highly enjoyable family fare. The final revised product is a well-made diversion that should delight today's audiences. Perhaps a younger generation might embrace this remake and its modern advances in CGI with more fervor than this reviewer, especially if they have never seen the superior 1994 version. Most of Mr. Favreau's movie is a faithful retelling of the previously successful formula, almost shot-by-shot, and rarely does the film stray from its source. It is as if the powers that be did not want to tamper with the well-loved property or disappoint the film's built-in devoted fan base, and in doing so, tamp down the genuine ingenuity of its artisans to adapt or achieve a new fresh vision. With all the technical acuity on display, the needed creative spark that abounds in the original version is somehow lacking here.
Still, Mr. Favreau has given The Lion King (2019) the royal Disney treatment, although literally, its lineage is regrettably missing, which becomes its ultimate undoing. Yes, there is so very much to like in The Lion King (2019), but just not much to truly love.