The resolution of creating something updated out of something nostalgic reflects in the idea of what the abstract idea the original created. When it is an expansion, it can work to a point (think “Tron: Legacy”) or some slight distinction in between (think the remake of “Aladdin”). This is the structure that makes it palpable for the current audience.
The new “Lion King” works in the same ideal yet from a different point of view. The aspect of animation compounded in the original reflected in a certain color palette where not everything can be perfect. Edges were impressionistic and not personified human traits. Whereas some of the intentions of the human performers here can be perceived (specifically at times with Seth Rogen’s Pumba) in this retelling, many of the performances are simply in between because of the backdrop. There is nothing inherently wrong with the production of the film but it is a straight remake of the animated film but with photorealism. Director Jon Favreau showed his adeptness with “The Jungle Book” but again it was more of structured retelling on the Kipling story versus the more nuanced per se approach of Andy Serkis with “Mowgli” for Netflix. Granted the build of certain iconic imagery really comes to bear in certain sequences.
The stampede sequence is undeniably effective and emotional when needed and the lair of the hyenas plays much darker than the original. The assimilation of Simba into the vegetarian collective has a different connotation in a way than when the original came out mainly because of current social consciousness. The one tendency of the original is that it keyed to the times whereas the new telling in an ironic way seems like a throwback despite the very diverse casting.
While the themes are universal, there seems a lack of spontaneity in the performances which is the paradoxical approach of what is essentially a photorealistic animation film. Here it seems more about the fact of what they could achieve beyond the aspect of whether they should which keys into an irony (which is the “Jurassic Park” paradox). With this approach, there is not really a way to shake it up from the script. One of the only times it happens is quite stark. It happens in a shot where the camera is placed way behind Timon, Pumba and Simba while they are walking away into their jungle hangout, Rogen gets a zinger or two in because the face didn’t need to be tracked.
The one steadying influence is that of James Earl Jones as Mufasa while Scar even though menacing doesn’t have the inherent irony of Jeremy Irons’ performance in the original. The climactic fire sequence plays well but the vision again has been perceived before. While certain remakes may work in terms of how they are captured live action (as with the aforementioned “Aladdin), this new iteration of “The Lion King” is both an achievement and yet feels normal.
By Tim Wassberg
The texture of a superhero is the essence of decision making. The interesting progression of “Spiderman: Far From Home” operates in the realm of naivete. Having done interviews for the original Spiderman films from Sam Raimi but never really watching Andrew Garfield’s version, Tom Holland’s approach is one almost of innocent bewilderment which in turn gives him a sense of awe. One of the most affecting moments in an earlier “Avengers” film is when Holland looks at Robert Downey Jr. as Tony Stark as he is disappearing with a questioning line. But that establishes such a structure that perhaps earlier Spiderman films didn’t have: a connection to others and a larger world. This is likely what will fuel the Black Widow film with Scarlet Johannson since it will bring that essence of story and time to that film. Here the idiom that perpetrated the entire Sam Raimi film is pushed in the background but still rings clear: “with great power comes great responsibility. In trying not to give too much away, Tony Stark, not Iron Man, looms heavily over decisions here…and even perceptions. It is an interesting approach especially when decisions involve “Edith” and aspects of instinct and conscience.
The basic plot without giving too much away is that Peter Parker just wants to be a regular guy and go on a class trip to Europe to tell MJ (played by Zendaya) that he really likes her. While the banter between him and her and, by extension, his best friend and his perspective girlfriend for the trip works in a comic romantic comedy way, the stakes are not that thick, which is alright. The realization is that “Far From Home” nicely plays much lighter than, of course, the “Avengers” films which within their structure have a very dark core while still playing to mainstream structure. Here the threat is paradoxical in a way but one that is unexpected in one way but not in another. During an interview I did with Jake Gyllenhaal for “Stronger” a couple years back, he referenced that he always found it hard to play a superhero (and it seems he had been offered others) that weren’t real per se. That is why the progression here is an interesting exercise (which is all I can say). Any other discussions of heartbreak, destruction, expectation, subversion or transcendence will give away too much but the film does include all of these without becoming too, in a word, tragic. And that is a good thing. Especially when Jon Favreau can bring some fun comic relief without impacting or altering what the story is truly about.
By Tim Wassberg