![]() ![]() The result? The fine digital craftsmanship of our new era, replete with all the vices it entails: nostalgic reenactments of scenes we’ve seen before colorless voice acting by name-brand performers, the likes of Beyoncé and Donald Glover (who play adult Nala and Simba, respectively) and a color-drained visual palette befitting an early aughts movie about war in the Middle East. More than one person in your life is going to liken the photorealistic look of this movie to that of a video game cut scene - those scripted interstitial sequences that make video games feel more movie-like. All is well all is the same.īut in the words of that wise old mandrill Rafiki: Look harder. And so, again, we have Simba: hero, taunted by hyenas, blamed for the death of his father Mufasa, driven off of Pride Rock by that nefarious, hang-dog uncle Scar. Disney isn’t stupid this is a company that knows why we’re here, or thinks it does. That iconic opening-the anointing of Simba as the future king of the pride, borne skyward by a mystical mandrill named Rafiki as the animal kingdom bows in reverence-is unchanged. The plot beats are almost completely unrevised, as are many of the visual sequences. In the new Lion King, helmed by Jon Favreau and out in theaters July 19, much is the same. Animals: they’re just like us, when we draw them. Their eyebrows arch to and fro with emotion: panic, anger, a slick sense of satisfaction, a devious sense of scheming. In The Lion King-Disney’s 1994 animated original-a pride of lions, led by the king Mufasa, perform a series of extraordinary behaviors. ![]()
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