Fresh-Enough Prince: Live-action "Aladdin" doesn't hold lamp to predecessor but still makes a solid cover

Aladdin (2019)

128 min.

Release Date: May 24, 2019 (Wide)

Ron Clements and John Musker’s 1992 animated classic during the Disney Renaissance is the next film out of the vault to receive its own live-action rendering with “Aladdin,” a solidly rousing musical remake. It may not be a whole new story, careful not to stray too far away from the basic structure of its animated predecessor, but not without several fresh plot particulars and contemporary additions (for instance, more culturally sensitive corrections to the lyrics) to justify its own existence. There’s no reason for 2019’s “Aladdin” to improve upon its animated counterpart—it just can’t—and the director of “Lock, Stock and Two Smoking Barrels” wouldn’t sound like one’s first or even second choice to helm this Disney material with a light touch, but Guy Ritchie presents a shiny, grand cover version.

Aladdin (Mena Massoud) is a street urchin, pilfering to survive the streets of Agrabah with his monkey companion Abu. One day, he runs into Princess Jasmine (Naomi Scott), disguising herself as a handmaiden to mingle with her people in town. Jafar (Marwan Kenzari), the Sultan’s “trusted” advisor who performs evil sorcery with his serpent staff, enlists Aladdin as his “diamond in the rough” to enter the Cave of Wonders and steal a powerful lamp, while promising the young thief something in return to woo Jasmine. Aladdin is, of course, deceived, but he ends up conjuring up Genie (Will Smith), who coaches him on the proper wishes and how to win over the princess. 

As unnecessary as it might be, “Aladdin” is a four-quadrant entertainment with spectacle and just enough heart. Writer-director Guy Ritchie and co-writer John August (2012’s “Frankenweenie”) preserve everything that worked in the 1992 film, while also bringing a welcome update to Princess Jasmine. Behind the camera, Ritchie seems to have toned his stylistic indulgences way down, despite employing a few slo-mo flourishes and some jarringly jumpy movements, notably in a chase through the Agrabah marketplace during “One Jump Ahead.” The musical numbers are workmanlike, some of them feeling a jot less vibrant than they should be, namely “Prince Ali,” but out of all of Alan Menken’s songs brought to life, “A Whole New World” on a magic carpet ride is an enchanting standout, and Genie's "Friend Like Me" is energetic and imaginatively staged. There’s “Speechless,” a new song written for the film by Benj Pasek and Justin Paul (2016’s “La La Land” and 2017’s “The Greatest Showman”), and Naomi Scott knocks it out of the park, bringing a powerful, enough-is-enough fierceness. 

Relative newcomer Mena Massoud certainly looks the part and makes a magnetic Aladdin, even if he is only adequate as a singer. Naomi Scott (2017’s “Power Rangers”) radiates a stunning movie-star presence, and the script allows her Jasmine more to do by giving the character independence and a desire to become the next Sultan and bring peace to Agrabah. Without trying to duplicate the late Robin Williams’ energetic vocal performance or staying in his shadow, a blue-skinned, beefed-up Will Smith is his engaging, charismatic self and manages to make the Genie his own with hip-hop flair. Though his appearance stirred up such a hullabaloo, Smith is, in fact, one of the film’s highlights in context of the whole film. Nasim Pedrad (2014’s “Cooties”) is a hoot as Jasmine’s handmaiden Dalia, a new character not found in the animated film, and coming almost entirely out of a different movie, Billy Magnussen (2018’s “Game Night”) is still an offbeat delight as the handsome yet dimwitted Prince Anders who’s arranged to marry Jasmine. If there is an underwhelming player in the cast, it is Marwan Kenzari (2017’s “Murder on the Orient Express”) as Jafar, who’s suitably malicious but not always as fearsome as he should be. Altogether, “Aladdin” might not hold a lamp to the 1992 film, but it is a lively, sporadically charming entertainment that enhances certain areas without trying to perfect perfection.

Grade: B -