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Movie review: The Little Mermaid live-action remake fails to entice viewers to dive in

Movie review: The Little Mermaid live-action remake fails to entice viewers to dive in

 


The Little Mermaid has finally reached dry land and frankly fell like a fish out of water.

Released May 26, the live-action remake of the 1989 animated film The Little Mermaid takes viewers from the surf to the lawn as Hans Christian Andersen’s 1837 fairy tale gets a second dose of Disney treatment. With strong entertainment value potential, the film attempts to dazzle but fails to deliver a piece of cinema that justifies its $250 million budget. Stellar voices and a handful of outstanding acting performances make up for the viewing experience somewhat, but ultimately don’t give viewers a compelling reason to dive under the sea.

The root of the problem lies in Disney’s frenzied mania for live-action remakes. Over the past decade, the Hollywood giant has churned out remakes at breakneck speeds off an assembly line. While most of the films received a lukewarm response from audiences and critics alike, it seems Disney’s focus on box office revenue is reason enough to warrant another boring remake.

Since the movie is a remake, it’s set to expect not only to live up to its predecessor, but to stand on its own. Unfortunately, The Little Mermaid is barely able to fill in either. Its shaky foundation is partly due to the live-action transformation, which blatantly dramatizes the narrative, but is also a consequence of shoddy musical numbers and characterization.

[Related: Second Take: Disney loses its magic with overly nostalgic sequels and remakes]

Perhaps the main problem with the remake is its crude dramatization through dark and dark color grading., as well as CGI blatantly employed. For example, in Ariels (Halle Bailey’s) nostalgia song, Part of Your World, the lighting is so murky the mermaid might as well be swimming in polluted waters. As far as CGI choices go, the sinking that Ariel saves Prince Eric (Jonah Hauer-King) from is extremely turbulent and could have been lifted from live footage of a Category 5 hurricane. , the story’s playful dazzle is muzzled and results in an ominous tone closer to a nautical saga than a fairy tale.

With the magic of the film snuffed out, it’s only fitting that Ariel’s fishing buddy, Flounder (Jacob Tremblay), gets sidelined with a few lines of speech. This unfortunate creative choice could be due to the film crews’ recognition of the unsettling hyperrealism of anthropomorphic fish, or the possibility that Flounders’ character development was sacrificed in favor of Prince Erics. If so, the trade-off is worth it, as Prince Eric proves to be more than a pretty face thanks to his meticulous collection of artifacts and a commendable performance by Hauer-King that underscores the princes’ vulnerability. .

More impressive is the chemistry between newcomers Bailey and Hauer-King, which turns out to be a pleasant surprise. Even on land when Ariel is unable to speak, the pair are able to create a compelling mutual attraction based solely on furtive glances and body language. The crème de la crème is the Kiss the Girl song sequence, as Bailey nails Ariel’s shy innocence with her big doe eyes, while Hauer-Kings’ nostalgic gaze never wavers as the two drift off to floating on a shimmering lake of ambient lights.

[Related: Film review: ‘Overstuffed’ plot eclipses pitch-perfect performances in ‘Beau is Afraid’]

Not all musical numbers are a hit, as the addition of three new songs to the remake, written by Lin-Manuel Miranda, proves to be a controversial choice. Some, like For the First Time, function as a clever way to omnisciently communicate Ariel’s thoughts when she’s unable to speak. Others, however, like Scuttle (Awkwafina) and Sebastians’ (Daveed Diggs) song The Scuttlebutt, are rather dimensionless and seem like more of an irritable nuisance.

Through all the sonic chaos, Bailey’s crystal-clear voice shines through as she subtly applies her own pop edge to the soundtrack, while remaining genuinely true to Ariel’s endearing vocals. Completed by a commendable voice and acting performance from Melissa McCarthy as Ursula, the duo are able to make up for Javier Bardem’s mediocre Tritone and lift the film music from the depths. Other sound extras, such as the swish of fins in the water, are fervently amplified with the Dolby Theater sound system.

Ultimately, while The Little Mermaid remake tries to assert itself as more than small, it only makes a small splash. Disney’s decision to crank out a beat-by-beat remake, rather than taking a chance to expand on overlooked plot points, seems more redundant than groundbreaking. Ultimately, the film offers adequate entertainment value, but struggles to establish a wow factor that can break a rut of rudderless remakes.

It may finally be time for Disney to glean some knowledge from Sebastian and bury the live-action Under the Sea remakes.

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