Tag Archives: 1.5/5

Aladdin

Disney’s endless parade of live-action remakes based on beloved animated classics continues with Aladdin, a pointless and tedious exercise in cynical corporate filmmaking. While one could argue that there’s still value in trying to “refresh” films like Cinderella and Dumbo that were released 70 years ago, the artistic merit behind bringing back movies that aren’t even 30 years old yet seems dubious at best. Even though this retread isn’t quite as bad as the abysmal Beauty and the Beast variant from 2017, it offers virtually no improvements from its predecessor and wastes most of its opportunities to branch off into new directions.

This “re-imagining” follows many of the same plot details of the 1992 original, in which the amiable “street rat” Aladdin (Mena Massoud) and his pet monkey Abu scrounge for food in the city of Agrabah. After sneaking away from the palace, Princess Jasmine (Naomi Scott) crosses paths with Aladdin and the two have an instance connection, despite the disparity between their social standings. Through deception by the treacherous aristocrat Jafar (Marwan Kenzari), Aladdin becomes trapped in a mystical cave, where he meets a magical Genie (Will Smith) who grants him three wishes.

The easiest way to sum up Aladdin would be to say that it feels like watching a version of the original that has been stripped of most of its charm and personality. It’s simply an odd experience to watch a film that quotes specific story beats or lines from an existing work but does so in the most lifeless and stilted way imaginable. If anything, this nagging sense of déjà vu made me appreciate the stellar voice work and vibrant animation style of the original even more by comparison. Perhaps Disney is going for a grounded or serious approach for this live-action iteration but the muted tone does no favors to the magical elements of the story.

With the exception of Naomi Scott, who does a fine job of conjuring both the grace and panache that make Jasmine a memorable heroine, none of the actors are able to access the defining aspects of their respective characters. Both Kenzari as Jafar and Navid Negahban as The Sultan are one-note and spectacularly miscast in roles that require some over-the-top flourishes to make their characters work well. Massoud strains hard to keep the ship afloat in the titular role but there just isn’t enough in his performance past his flashy smile to mirror the affability of his animated counterpart.

But perhaps it’s time to address the Genie in the room. Since footage of Will Smith as the singing and dancing jinn emerged months ago, many have lambasted the off-putting computer-generated work that sloppily rendered Smith’s face atop a smoky blue monstrosity. I won’t add to the sea of well-founded criticism that’s already been heaped upon it but would instead call out a more galling aspect tied to this Genie, which is that it relies too much on comedic callbacks derived from Robin Williams’ performance to get its point across. It’s obvious the heads at Disney don’t adhere to the axiom “if it ain’t broke, don’t fix it” and Aladdin is further proof that they aren’t likely to adopt it any time soon.

Score – 1.5/5

Coming to theaters this weekend:
Godzilla: King of Monsters, starring Millie Bobby Brown and Kyle Chandler, pits everybody’s favorite green lizard monster against other gargantuan foes like Mothra, Rodan, and King Ghidorah.
Rocketman, starring Taron Egerton and Jamie Bell, is another music biopic hot off the heels of recent Oscar winner Bohemian Rhapsody detailing the life and career of English rocker Elton John.
Ma, starring Octavia Spencer and Luke Evans, is the latest Blumhouse horror film that follows a group of teenagers after they accept an invitation to party at a lonely woman’s house but soon regret their decision.

Reprinted by permission of Whatzup

The Nun

Since the Conjuring series of films began with the first entry in 2013, the R-rated horror franchise has summoned supernatural scares that have translated to hundreds of millions of dollars at the box office. The Conjuring generated the spin-off Annabelle about a creepy possessed doll and The Conjuring 2 has now led to another spin-off called The Nun, spelling out the backstory for the Valak character that was introduced in that film. Like the rest of its companions in the Conjuring Universe, this film relies heavily on jump scares with jarring audio cues but it lacks an engaging story or any involving characters to make this prequel journey worth taking.

After a nun is found dead after apparently taking her own life outside a Romanian monastery, The Vatican tasks Father Burke (Demián Bichir) and novitiate Sister Irene (Taissa Farmiga) with investigating the incident. There, they meet “Frenchie” (Jonas Bloquet), the man who discovered the nun’s body while delivering supplies to the abbey, who aides them in their examination. As the trio spends more time on the premises, they begin to witness supernatural sightings and seem to be haunted continuously by evil spirits that tie back to a demonic entity known as Valak, who is usually held in check by constant prayer from the nuns but has seemingly grown more powerful.

The issues with The Nun start fairly early on, as the first scenes of the spooky Nun character set up the general pace and timbre of the rest of the scares and frankly, it’s nothing that we haven’t seen done better countless times before. It leans into religious iconography like upside-down crosses and ominous headstones in ways that scores of other horror films (The Exorcist series, for one) have all invoked in more creative ways. All of the visual clichés are firmly in place as well, like the close-up/pan to an empty area/pan back to close-up with scary figure behind main character sequence, but they’re brought down even further by a murky visual palette that makes for an especially drab viewing experience.

Some of these rote horror movie beats might be worth forgiving if there were other redeemable aspects to the film but the terribly thin script doesn’t allow for any sort of intrigue in the story or any interest for the characters. Even though this would seem to be an explanation of how the Valak creature came to be, the film gives very little in terms of details on the origins of this nefarious being and the answers that we’re given are perfunctory at best. It’s also extremely inconsistent about the actual powers of this spirit, who is shown early on to be powerful enough to bury someone alive in the blink of an eye but then is almost comically under-powered the rest of the film as it conjures up hands to grab at the protagonists.

The first two Conjuring films have been aided greatly by the effortless chemistry between leads Vera Farmiga and Patrick Wilson but this trio of actors, including Vera’s younger sister Taissa, doesn’t have the same kind of spark to make their characters engaging from the get-go. While they aren’t able to make much happen together on-screen, I’d hardly say it’s their fault as the three are saddled with shamefully underwritten roles that do them no justice. The Nun may have enough frights in it for fans of the series to find it worth watching but I have to imagine that most moviegoers won’t find nearly enough for the film to justify its existence outside of being another payday for Warner Bros in this lucrative franchise.

Score – 1.5/5

Coming to theaters this weekend:
The Predator, starring Boyd Holbrook and Trevante Rhodes, is the third sequel to the 1987 sci-fi action classic that pits a group of mercenaries against a town overrun by the titular creatures.
A Simple Favor, starring Anna Kendrick and Blake Lively, is a mystery-thriller that centers around a blogger who attempts to solve a missing persons case that involves her best friend.
White Boy Rick, starring Matthew McConaughey and Richie Merritt, tells the true story of Richard Wershe Jr., who is notorious for being the youngest FBI informant ever at age 14.

Reprinted by permission of Whatzup