Will Smith, Mena Massoud, Naomi Scott
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Where there should be wonder, there is CGI serving as the watered-down substitute. Where there should be frisson-creating music, there is feeble lip service to the music of the region. And where there should be a fun and exciting comedic presence with the Genie, we get Will Smith doing his best Kazaam impression.
Few films in recent memory have managed to maintain a level of potential audience scepticism like the remake to Disney’s Aladdin. With every new piece of marketing that became public, it somehow grew less and less appealing at every turn. And bear in mind that it started with the idea that Guy Ritchie should direct a musical, as if his collaborations with Madonna weren’t enough of a sign that he shouldn’t. This film could only go in one of two directions with that in mind: It could either be a pleasant surprise that sticks to the mostly-positive turn-out for Disney’s recent remakes, or it could be a trainwreck that ranks among Disney’s recent worst. Sadly, this is the latter.
More so than any of the other remakes thus far, this film is hurt the most by the transition from traditional animation to live-action. All of the personality and expressiveness and just plain fun of the original is sorely lacking here, managing to make a screen flooded with Bollywood colours feel drab and uninteresting. Where there should be wonder, there is CGI serving as the watered-down substitute. Where there should be frisson-creating music, there is feeble lip service to the music of the region. And where there should be a fun and exciting comedic presence with the Genie, we get Will Smith doing his best Kazaam impression.
In keeping with Disney’s M.O. of late, the intent behind this film is to fix something that was present in the original, in this case being the agency of characters that aren’t in the title. However, much like when Bill Condon attempted the same with Beauty And The Beast, raising supporting characters comes at the expense of others.
Naomi Scott as Jasmine has been given a more wilful presence, akin to someone who could foreseeably be the ruler of a kingdom, and Smith as the Genie has been more humanised and even given a love interest. But even with an extra 40 minutes in running time, Ritchie and co-writer John August (Frankenweenie) somehow weren’t able to juggle the character boosting without turning Mena Massoud’s Aladdin into a footnote. The attempts at juggling even result in a gaping plot hole, making the filmmakers look like they’re unable to count up to 3 accurately.
With everything being considerably toned-down, including the legendarily-energetic Genie who basically made the original into the classic it is today (and whose actor got screwed over by the House of Mouse in the process), there’s nothing here that makes this remake feel like it has a reason to be. Even the Beauty And The Beast remake, as misguided as it is, still has a stronger raison d’etre than this. The only reason this doesn’t turn out worse than B&TB is because this doesn’t actively hurt the original through sheer proximity to itself. Let’s just hope that Disney doesn’t try for a Return Of Jafar remake anytime in the near future; they’ve done enough damage to this IP already.