Technically speaking, TheLionKing is a marvel. But having entered the photorealistic realm, the mood has changed from the original. BilgeEbiri writes
possesses all the immersive detail and tactile immediacy of an unusually good nature documentary. It transports us. We can practically feel the fur on these animals, and we want to duck away from their thundering heels as the camera breathlessly rushes us through trembling grass and craggy ravines. It’s hard to imagine that this has all been created in a studio, and that almost none of it is real.
’s mood too has changed. Suddenly, that iconic opening scene, with all the animals gathering to bow before the newborn lion cub Simba, held up like some sort of scepter of absolute power, doesn’t feel triumphant or moving, as it did in its fantastical, animated setting. It feels queasily authoritarian. But of course, the filmmakers recognize that.
As the grown-up Simba, Donald Glover stays too above the fray. He’s ordinarily a fine actor, but here we sense a distance between his character and his voice. It reminded me of how Disney’s actual nature docs, the Disneynature series, willfor the creatures onscreen, just to keep things interesting. As Nala, Beyoncé suffers a similar fate. The talking lion might look realistic, but when we hear her dialogue, all we see is Beyoncé in a recording booth, reading lines.
While numbers like “Be Prepared” and Pumbaa and Timon’s gaseous rendition of “Hakuna Matata” retain their charm, the songs too are uneven in this new. Glover and Beyoncé’s duet of “Can You Feel the Love Tonight” is, as a piece of audio, utterly glorious, and yet it has little impact onscreen , because neither Simba nor Nala has come through as an engaging character.
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