When Disney handed director Jon Favreau the CGI animated redo of their animated classic, The Jungle Book, the result was a surprisingly entertaining and cinematically intoxicating work that was something of a triumph. That film’s success led Disney to begin a barrage of live-action or CGI animated updates of some of their classic works. Films such as Beauty and the Beast, Cinderella, Lady and the Tramp, and more were hurried into production and filled movie theaters with the dawn of every new year. Their artistic successes would vary, as the “too much of a good thing” rule proved it could even apply to the nearly unshakeable House of Mouse, but with big box office receipts, they kept on coming. After the financial success of Jon Favreau’s 2019 redo, The Lion KIng, now comes the origin tale no one needed, as director Barry Jenkins takes the reins for Mufasa: The Lion King. 

The experience of watching a modern photorealistic Disney prequel is exactly what one would expect. The visuals are truly stunning and there is always something to see. James Laxton’s cinematography is truly stunning. Combined with Mark Friedberg’s superb production design and the incredible work from the animators (who shoot in the same “live-action” CGI style of Favreau’s 2019 remake), Laxton paints beautiful pictures of the lands of Africa. The yellow sun burns hot over the plains, the blue waters are both calm and raging, and the majesty of the animals who inhabit this world are brought to life through the skill of Jenkins and his chosen team.

For the animation, the team studied wildlife documentaries and observed the movements of real lions. The goal was to successfully capture every muscle structure to render their characters as lifelike as possible. Many of the animators would perform the movements for motion capture; their work later transferred into the digital representations. The result is near perfect, as the animals seem to fully exist in the wilds of the film’s digitized Africa. 

Visually, Mufasa: The Lion King is something to behold. After the presents are opened and the family heads out to the theater, IMAX is the way to go. It is both Jeff Nathanson’s clunky screenplay and the instantly forgettable songs from Lin-Manuel Miranda that become the thorns in the picture’s paw. 

As Mufasa opens it makes its first mistake. The audience hears the commanding voice of James Earl Jones reciting a piece of his famous speech from the 1994 original. After his words fade, the film dedicates itself to the recently deceased actor. While the tribute received cheers from members of the screening (and does stir one’s heart), it serves as an unfortunate reminder of the magic that made the animated The Lion King such a lasting treasure. By the end of Jenkins’ film, the enduring legacy of wonder found in that Disney classic is nowhere to be found. 

Mufasa opens with a storm approaching the kingdom. Nala (Beyoncé Knowles-Carter, picking up a quick paycheck) is preparing to give birth. Simba (Donald Glover) must go to her and charges Pumbaa (Seth Rogan) and Timon (Billy Eichner) with the care of his daughter, Kiara (Blue Ivy Carter). It was heartbreaking to experience these two beloved characters become the source of annoyance. Every moment Timon and Pumbaa are on screen is an excruciating experience. Nathan Lane and Ernie Sebella are very much alive and working. It is an insult to fans and to their legendary performances that they were not asked to return.

The whole opening setup is sloppily handled and too muddled for the kiddies. As we learn, it is all an excuse for wise old Rafiki (John Kani) to tell Kiara the story of her grandfather, Mufasa. Thus, the film truly begins.

The young Mufasa (Braelyn Rankins voicing the young version, Aaron Pierre as the older) was separated from his parents in a terrible flood. The cub was rescued by another young lion; a prince named Taka (voiced by Theo Somolu as a cub and later, Kevin Harrison Jr.), a young one so in need of a brother that he works to get Mufasa a place in his family. Taka’s father, King Obasi (Lennie James), cares not for “strays” and wants to eat him. The matriarch of the pride, Eshe (Thandiwe Newton) takes care of Mufasa and assures his safety. Over time, Mufasa and Taka become brothers, not of blood but in the heart. 

As the years go by, Mufasa and Taka have many adventures, but as the two are now older, they realize the evil that endangers their kingdom and their homelands. The vicious Kiros (Mads Mikkelsen in a chilling turn) and his subservient pride of white lions are set to kill all kings and take over the lands. As Mufasa and Taka take to the plains in search of the former’s perceived mythical homeland, they are joined by more lost souls. 

The younger version of Rifiki (voiced by Kagiso Lediga) becomes their makeshift guide, as he too is thrust from his home due to his fellow monkeys thinking he is some kind of sorcerer. With her annoyingly unfunny red-billed bird Zazu (a grating Preston Nyman) in tow, lioness Sarabi (Tiffany Boone) joins the two adventurers. Taka takes a liking to her, but along the way, he proves himself to have no courage; in battle nor love. Of course, Sarabi and Mufasa fall for one another and Taka takes it as a betrayal. So begins his path to becoming a villain.

Natahnson’s choice to have the crux of Scar’s dark future be over the affections of a woman is a cop out. Enough of The Lion King’s lore has already been needlessly adjusted. To resort to something so adult and inherently “Noir” and Shakespearean is a serious wrong turn. This isn’t supposed to be a Disney version of Double Indemnity, nor should it be a CGI lion version of Othello. A problem with many modern so-called kid’s movies is that filmmakers try too hard to insert the realities of the world. Disney films and children’s stories have their fables already intact and they surround them with stories of magic and wonder. Mufasa’s screenplay is too dark for the young ones. Today’s world is forcing our children to grow up too soon and too fast. Disney movies should provide an escape. 

Perhaps the most disappointing amongst the myriad of let downs are the songs from Lin-Manmuel Miranda. Each and every one of them is pedestrian at best and instantly forgettable at worst. The bouncy “I Always Wanted a Brother” might get a minuscule pass, but the others have no punch to them. By the end of every musical moment, it feels as if Miranda was going through the motions. If the composer’s heart was truly in it, the songs show no evidence. 

Dave Metzger’s score is a full-bodied orchestral treat, but even it is relying too heavily on previously composed themes from Hans Zimmer. 

Barry Jenkins has made a name for himself directing films that are rich in character. Both his Oscar-winning Moonlight and his unjustly ignored follow up, If Beale Street Could Talk, were stunning works that put strong emphasis on the intricacies of the characters who inhabited the text. The director does the same here, as the audience will experience the myriads of emotion that sweep over Mufasa and all who come into his orbit. Unfortunately, there is nothing much new or interesting to be found about these characters. The screenplay falls short of grasping the love, heartbreak, and humor found in the 1994 classic. 

In both screenplay and execution, Mufasa’s design relies too heavily on the audience’s memories of that superior work to enhance the lackluster events happening on screen. Nostalgia can take an audience only so far. This film doesn’t make it. 

Mufasa: The Lion King

Written by Jeffery Natahnson

Directed by Barry Jenkins

Starring Aaron Pierre, Kelvin Harrison Jr. , Mads Mikkelsen, Blue Ivy Carter, John Kani, Billy Eichner, Seth Rogen, Thandiwe Newton, Lennie James, Tiffany Boone, Preston Nyman, Anika Noni Rose, Keith David, Donald Glover, Beyonce Knowles-Carter

PG, 120 Minutes, Walt Disney Pictures