Despite A Noticeably Tame Guy Ritchie, 'Aladdin' Offers More Than Your Typical Disney Remake [Review]

Disney‘s plan is well-known, and to many, mercenary: remake and reimagine every animated classic in the vault and, hopefully, make as close to a billion dollars as possible for each one. The beloved “Aladdin,” which featured the enchanting, adored and electric performance of the late Robin Williams, is something else, however and to many, rather sacred. Trepidation might be high for fans, but the reality is, nothing is sacrosanct to the shareholders and the mega-monopoly House of Mouse. So, the show must go on. Disney’s latest re-creation comes from director Guy Ritchie (“The Man From U.N.C.L.E.,” “The Sherlock Holmes” series), stars Will Smith as the loveable blue genie, in lieu of the dearly-departed comic genius and one that was ridiculed the world-over, when first revealed to the globe (to be fair, Smith took it the mocking with good humor).

Fears are quickly quelled though. Alan Menken‘s illustrious and regal score is captivating and while it does take a minute to adjust to Will Smith singing, it’s hard to resist the feeling of being transported to a whole new world, the second the orchestra swells into the classic “Arabian Nights” tune. “Aladdin” is a film that’s sometimes too cartoony and broad, but also still undeniably entertaining and charming in spots.

“Aladdin” follows the script closely: Aladdin (Mena Massoud), a charming thief falls in love with Jasmine (Naomi Scott), the princess of Agrabah. In an effort to win her affection, Aladdin strikes a deal with the nefarious Jafar (Marwan Kenzari), the Grand Vizier, to retrieve a magical lamp which is home to the powerful Genie (Will Smith). After awakening the Genie, Aladdin and his new friend band together to thwart Jafar’s evil plan and marry the princess (just like the original).

Curiously though, save for a handful of slow-motion shots and the occasional kinetic whip pan, “Aladdin” is mostly devoid of the signature style-isms one would come to expect from its director, Ritchie, which begs the question, why hire a director known for his flair and style in the first place? But taming Ritchie’s wild impulses actually works here. By placing the focus more on the world building, characters and their relationships rather than ham-fisting a hyper-stylized aesthetic into the mix, “Aladdin” benefits in the long run. Despite a lack of his signature style “Aladdin” isn’t devoid of style or identity, as one of the adaptation’s greatest attributes is its ability to remain familiar, while taking creative detours to strike out and create its own voice.

Extravagant world building and attention to lavish details are certainly Ritchie’s strengths. The city of Agrabah comes alive as this living breathing global haven. Gemma Jackson (production designer on “Game of Thrones“), perfectly blends regional authenticity with vibrant fairy tale colors to create a remarkably distinct, tangible, and realistic world. A sense of Agrabah’s place on the world stage and a bit of the global politics of the time are offered, too.

Instead of a devilishly maniacal sorcerer, Jafar is given far more texture than in the animated film, as he looks to exploit Agrabah’s strength for personal gain.

The character of Jasmine fares well and the spectacular Scott (the real hero of the film) is terrific. Reinvented for the modern era. Jasmine is given a powerful, topical, and rich character arc fighting to be heard, challenging the outdated laws and traditions of her country, and proving her strength, compassion, intellect, and capability as a leader (all of it comes to a head in the show-stopping “Speechless” musical number).

When it comes to Aladdin and Genie, the dynamic between the two is brought to the forefront allowing for a true friendship to form and blossom. Audiences will get a better sense of the brotherly comradery between the two characters lending to some sweet, comical, and sincere moments. Similar to Scott, Massoud will become the Aladdin for a new generation, and while at times his performance can feel a bit stiff, he overall succeeds in channeling the charisma, charm, and likeability of the beloved hero. The two love interests have such natural chemistry together and when allotted the proper amount of time, form a believable romance.

Robin Williams’ larger than life personality looms large and Smith can’t possibly compete. In a few musical numbers, the actor feels, honestly, out of his depth (“Prince Ali,” for example). However, when the film veers away from note-for-note adaptation of the animated original, that’s when Smith is able to work his magic and charm. Smith’s Genie take is more wingman as he channels that infectious “Hitch” energy to help Aladdin with his relationship troubles. This decision allows Smith to stay in the pocket, playing in a comfortable sandbox while never being forced to imitate Robin Williams. Truthfully, this can be said for the film as a whole.

“Aladdin” is at its best when it ventures out to form its own interpretation and while not all of the choices necessarily work, it is refreshing to see Ritchie and the ensemble attempt a genuine reimagining. Arguably more so than the previous live-action remakes, “Aladdin” feels fresh, distinct, and modern as it aspires to be more than a simple shot for shot retelling – something that shouldn’t go unnoticed despite its shortcomings. Sure, the execution can be a bit cartoony at times, some of the musical numbers feel a bit too “Broadway,” and they certainly could’ve used more dynamic and creative camera work, but this reimagining is ultimately a magic carpet ride you won’t mind experiencing. [B]