Ever since the loudly criticized teaser trailer for Aladdin came out in October, the live-action remake seemed to be one of Disney’s most unwanted re-imaginings since our Mouse Overlord began this live-action run with 2014’s Maleficent. Will Smith’s Genie looked weird (and who could EVER fill Robin Williams’ shoes?). Jafar’s voice was too high pitched. Aladdin and Jasmine weren’t casted correctly. Guy Ritchie’s frenetic style couldn’t be a good fit. Fans didn’t want the film, and Simba’s huge shadow looming just a bit over a month after didn't help. That is until you are 10 minutes into the film and all of the childhood delights come flooding back into memory.
Aladdin stays fairly true the rags-to-riches story we loved as children (unless you didn’t) and gives it an update for modern times. Guy Ritchie was able to capture the charm of the original through dazzlingly colorful sets, a blend of sensational musical numbers with subtle vocal refrains, and stunning (though at times noticeable) visual effects. Unlike the bombardment we received in King Arthur, Ritchie put understated hints of his frenzied flair in action scenes and musical numbers to breathe new life into Aladdin (Mena Massoud), Jasmine (Naomi Scott), and the Genie’s story. Scott and Massoud’s rendition of “A Whole New World” and Smith’s remix of “Friend Like Me” both garnered audience applause for their respective ability to pay homage to the originals while respectfully altering their sounds.
The casts refreshingly find themselves in their characters to blend old and new together seamlessly. Mena Massoud is captivating as the young street thief and his banter with Jasmine, Abu, and especially Genie, were truly fun to watch. If given the opportunity, Massoud has the charisma to carry a future franchise. Naomi Scott uses a mixture of power and elegance to take one of the more inspiring 90s Disney Princess and somehow further uplift Jasmine to higher inspirational heights. Her rendition of the new song “Speechless” is sure to be an anthem for young girls for years to come. The furthest departure from the cartoon is Marwan Kenzari’s Jafar. Instead of the older, despotic vizier, we get a younger foil to Massoud’s Aladdin. Kenzari brings a desperation to leave his street-life behind not seen in the cartoon version. Both iterations are power hungry, but Kenzari’s anguish to no longer be a slave to “his place” brings more depth to an otherwise formulaic villain beholden to its 90s beginnings.
No one was more beholden to the past than Will Smith. Luckily, he did not fall into the trap of trying to emulate a Genie that could not (and should not) live up to Robin Williams. He is a comedy icon in his own right. He understood it should be all him and it’s all smiles whenever he is on screen. He took the character to new places, bringing a West Philly Genie to the big screen.
Aladdin is a nostalgic dream that works on all levels. It keeps the spirit of the original while adding new age nuance that keeps it from being a beat by beat copy. The music is karaoke worthy. The cast is lovable. The action adds to the excitement, and Will Smith carries a huge weight with a cool confidence (which, really, is all you wanted to know). I am giving Aladdin 8.5/10 Robin Williams Genie impersonations.