aladdin 2019 movie reviews

In a self-aware moment from the new live-action “Aladdin,” a character holds up a sketch of three other characters. The sketch is a line drawing done in the style of the hit 1992 animated “Aladdin,” the basis of the movie you’re watching. It’s simple, fun, and direct, more concerned with being delightful than with looking “real.” The remake—directed by Guy Ritchie , with Will Smith taking over for the late Robin Williams in the role of The Genie—flips those priorities. That’s not to say that it’s never fun, because it sometimes is—just that it’s more often lumbering, patchy, meandering, and generally bereft of inspiration. It’s a dancing elephant of a movie. It has a few decent moves, but you’d never call it light on its feet.

Written by John August (“ Big Fish ”) and rewritten by Ritchie, with music and songs by Alan Menken (and the late Howard Ashman ) plus a couple of original tunes intended to qualify the film for Best Original Song Oscars, the film is unfortunately a perfect illustration of an observation by Josh Raby , summing up this era of both Disney features and computer animation: “Using CGI to turn expressive animated films into photoreal reboots feels like using a magic wand to make a toaster.”

This “Aladdin” is still the funny-sentimental-inspirational story of a poor “street rat” who comes into possession of a magic lamp and a magic carpet, summons a big blue genie, and embarks on a scheme to win the heart of a princess and stop an evil vizier from stealing the kingdom away from the heroine’s dad. There are at least two potentially good and somewhat original takes struggling get out of this remake and assert themselves. One is the story of how the genie bonds with Aladdin ( Mena Massoud ) and tries to secure his own freedom without breaking any genie/master rules. The other is about the princess, Jasmine ( Naomi Scott ), who’s not merely a spirited feminist who enjoys disguising herself as a peasant and hanging with the commoners, but seems ready to agitate for representative democracy if nudged in the right direction. Neither of these is permitted to seize the spotlight for very long, though. And that’s a shame, because some of the most compelling (though not top-grossing) “live action” remakes of animated films to come out of the Disney studios recently have been ones that jumped off from slightly less beloved titles (like “ The Jungle Book ,” “Pete’s Dragon,” and “ Maleficent ,” which retells “Sleeping Beauty” from the witch’s point of view) and created works that felt more like companion pieces, even subversions, than remakes.

This sticks to the beaten path so slavishly that when it departs from it, it’s as if the entire movie had momentarily escaped from bondage, like the genie from his lamp. Will Smith is the only big star in the cast, so it was probably inevitable that he’d be awarded the framing device (he’s a mariner telling the story of Aladdin to his two young children). When he isn’t being asked to re-enact most of the really good lines, jokes and situations from the 1992 version—which is probably 70% of his screentime—he puts his own stamp on the role.

But the opportunities are scarce, so when Smith does depart from the sacred text—mainly during emotional moments, and dialogue-dependent comedy scenes where Ritchie gets to show off his knack for smart-alecky banter—the moments don’t accumulate into a distinctive performance. They just sort of hang there, feeling disconnected from the movie’s reason for existing, which is to draw people into theaters with the promise of seeing the same thing they already knew they loved, but slightly different.

Smith’s co-stars run into the same problem. Massoud has a deadpan comic energy that shines whenever he’s not required to simply re-enact his animated counterpart’s iconic moments. Ditto Naomi Scott as Princess Jasmine, who has a fierce dignity and can’t help it that her big original number—“ Speechless ,” a song about the silencing of women by the patriarchy, written by two men, “ La La Land ” and “Dear Evan Hansen” composers Pasek & Paul—feels wedged into the movie like a doorstop. (The motivation for the song, though, is much more organic, and might’ve felt sincere and powerful rather than opportunistic had the movie built to it, or better yet, centered the story on her.) Marwan Kenzari ’s performance as the treacherous vizier Jafar departs most strikingly from the original film. Kenzari tries to create something closer to an antihero than a traditional bad guy, and although it’s ultimately more of a riff or a vibe than a strong characterization (the writing lets him down, as it does every character), he’s genuinely scary in the second half. Little kids will be terrified of him.

From the opening “Arabian Nights” number to “Friend Like Me,” “A Whole New World” and beyond, most of the major sequences are the same, although there are a few fresh twists scattered throughout, particularly during the last half-hour. This “Aladdin” is two hours and eight minutes long, 37 minutes longer than the original. This is also part of a trend in theatrical films: perhaps the increasingly long average runtimes of special-effects driven blockbusters are a response to complaints that tickets are too expensive, which is actually a way of saying that real wages haven’t risen substantially since the early 1970s: a longer movie = “getting more for your money” and thus justifies taking the kids, maybe even buying something at the concession stand.

The filmmaking is disappointingly pedestrian: some long tracking shots stitched together with CGI, some “dangerous” chase scenes augmented by CGI, some musical numbers with ostriches and elephants and monkeys and camels, etc, all CGI, and Smith’s genie whooshing around the frame, his broad and CGI-augmented torso and shoulders swiveling and bobbing and weaving while trailing a curiously cheap-looking trail of sparkles. There were early reports that the film was going to address charges of xenophobia and racism leveled against the original, but there’s not too much evidence that the filmmakers were really troubling themselves with it.

It’s quite possible that nobody seeing this film will feel that anything has gone missing. The audience I saw it with at a sneak preview seemed to mildly enjoy it, though it’s impossible to know in such circumstances if it was really the movie winning them over or the fact that the tickets were free. Aside from a few jokey buddy-comedy exchanges between Aladdin and the Genie, most of the bits that seem to work best are imported from the original.

As is often the case with the recent Disney remakes, this one seems to adhere to the same misconception that affects the rest of the film industry, particularly where science fiction adventures, superhero narratives, and fairy tales are concerned: that if it’s animated, i.e. a “cartoon,” it’s somehow not a “real movie,” and thus not worthy of the automatic respect bestowed upon the most expensive and heavily promoted motion pictures, and not as validating to the people who’ve paid to see it. All of which is also strange, considering how CGI-dependent these sorts of movies are, even when they’re trying to make the mountains and buildings and tigers and parakeets made of ones and zeroes look as “real” as possible. “Aladdin” is no more realistic, ultimately, than “ Star Wars — Episode I: The Phantom Menace ,” which came out 20 years earlier and has comparably sketchy computer imagery.

This, apparently, is where both audiences and the filmmakers who serve them want the movie industry to go. Toasters, as far as the eye can see.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor-at-Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

Alan Tudyk as Iago
Navid Negahban as The Sultan
Billy Magnussen as Prince Anders
Naomi Scott as Jasmine
Nasim Pedrad as Dalia
Will Smith as Genie
Marwan Kenzari as Jafar
Mena Massoud as Aladdin
Frank Welker as Abu (voice) / The Cave of Wonders (voice)
Alan Menken

Cinematographer

Alan Stewart
Guy Ritchie
John August
James Herbert

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Aladdin (2019)

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‘aladdin’: film review.

Will Smith plays the Genie in 'Aladdin,' Disney's live-action remake of its 1992 animated classic.

By Frank Scheck

Frank Scheck

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Disney has certainly covered all the bases with the live-action remake of its 1992 animated classic. Decades ago, this film musical probably would have featured white actors like Tab Hunter and Natalie Wood wearing heavy dark makeup. That approach obviously wouldn’t go over well these days, so the ensemble in this version, directed by Guy Ritchie, features lead performers of Egyptian, South Asian, Dutch-Tunisian, Iranian and African American descent. The combination of diverse casting and female empowerment themes results in a perfectly politically correct Aladdin for these times. The only thing that seems to have been left out is the magic, which is a bit of a problem considering that one of the main characters is a genie.

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‘Aladdin’ Review: This Is Not What You Wished For

A threadbare magic-carpet ride to nowhere special, with Will Smith as a blue genie.

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By A.O. Scott

“Aladdin,” the 1992 cartoon feature with Robin Williams as a garrulous blue genie , may not be the best movie from Disney’s second golden age of animation, but like the others it has durable charms and memorable songs. “ Aladdin ,” the new live-action re-whatever with a blue Will Smith popping out of the lamp, may not be the worst product of the current era of legacy intellectual property exploitation (it’s likely that the worst is yet to come), but like most of the others it invites a simple question: Why?

The answer — spoiler alert: “money” — may not surprise you. I know it’s pointless to complain about Disney’s drive to wring every last dollar from its various brands. You might as well complain about the animal sidekicks (and I will). But the movie itself, while not entirely terrible — a lot of craft has been purchased, and even a little art — is pointless in a particularly aggressive way.

[Read an interview with Mena Massoud , who plays Aladdin.]

The studio’s earlier cash-grab strategy was to protect the classic status of its “A” material through managed scarcity and lavish reissuing. Each new micro-generation of viewers could be initiated into fandom with a bit of ceremony: Here was an old thing that was being passed on to you in a shiny new package, a polished heirloom in the form of a special VHS or DVD edition or a limited run in theaters. What had belonged to your parents and grandparents could also be yours, whether it was “Snow White” or “The Little Mermaid.” (Not anymore with “Song of the South,” though.)

There were problems with this approach, including the preservation of tropes and images that came to seem old-fashioned, and not necessarily in a good way. The patriarchal princess stories. The cultural and racial stereotypes. That kind of thing. But Disney, long committed to doing well by meaning well, has synergized evolving social attitudes with advancing digital technology to concoct a series of updates.

None of these have surpassed the original, but that might be too much to ask. I can’t think of one — not “The Jungle Book”; not “Mary Poppins Returns”; not the recent, somber “Dumbo”; certainly not this “Aladdin” — that seems able to stand alone in the popular imagination. They are weird and grotesque hybrids, belonging to no particular era, style or creative sensibility, like dishes at a chain restaurant that fuse disparate food trends to produce flavors alien to every known earthly cuisine.

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Aladdin (2019) Review

A ROUGH IN THE DIAMOND

In 1992, Disney released its 31 st animated feature film titled Aladdin , which was based on the Arabian folktales from One Thousand- and One Nights short story collection, and explored a whimsical tale of adventure, enchantments, and love within its cartoon presentation. Directed by Ron Clements and John Musker, the film, which starred the voice of Scott Weinger, Linda Larkin, Jonathan Freeman, Gilbert Gottfried, and Robin Williams, follows the tale of Aladdin, an Arabian street urchin, who finds a magic lamp containing a genie. In order to hide the lamp from the Grand vizier, he disguises himself as a wealthy prince, and tries to impress the Sultan and his daughter. With dazzling animation, a compelling story, solid voice talents (especially highlighted in Williams performance as Genie), and that classic Disney signature of its musical songs, Aladdin was met with positive reviews from critics and moviegoers alike when it was released back in November 1992 by garnishing over roughly $500 million at the worldwide box office and became the highest grossing animated feature film of all time; holding that position for nearly two before Disney’s 1994 The Lion King took that title. The film was even nominated at both the Academy Awards and Golden Globes that year, winning for Best Original Score and Best Song (i.e. A Whole New World) at both award ceremonies respectfully. Give the success of the film, Disney expanded upon the characters and setting of Aladdin into various spin-off projects, including two sequels ( Return of Jafar and Aladdin and the King of Thieves ), an episodic cartoon TV series of the same name, and a Broadway show. Now, roughly twenty-seven years since the 1992 was released, Walt Disney Studios and director Guy Ritchie present the latest endeavor from Disney’s reimagining their classic animated features with the 2019 live-action remake Aladdin . Is this live-action adaptation of the Disney classic a cinematic “diamond in the rough” or is it time that Disney puts aside the idea of revisiting its timeless treasures?

In the city of Agrabah, Aladdin (Mena Massoud), a street rat without a home and spends his days as a thief, taking from the rich and sharing with the poor. Without notice, Aladdin’s life gets turned upside; beginning the unexpected entanglement of a disguised Princess Jasmine (Naomi Scott), who wants to know more about life outside her family’s kingdom, spending her days within the care of her father, The Sultan (Navid Negahban), her handmaiden Dalia (Nasim Pedrad), and her pet tiger, Rajah. While they do eventually part ways, Aladdin falls in love with Jasmine, but The Sultan’s wicked advisor, Jafar (Marwan Kenzari), has other plans, using the street rat as his “diamond in the rough” to find a magical lamp in the Cave of Wonders. Discovering the treasure, Aladdin releases the Genie (Will Smith), who offers the boy three wishes as well as helping hand of advice in the ways of life, love, and women. With the potential to try and win the hand of Jasmine’s affection, Aladdin uses one of his wishes to become a prince, arriving in Agrabah as Prince Ali. However, Jafar finds something quite odd about Jasmine’s new suitor, searching for ways to expose the princely figure and reclaim the power of the magic lamp for himself.

THE GOOD / THE BAD

As I mentioned in my cinematic flashback review for Disney original 1992 animated feature, Aladdin delivered on being an instant classic. Of course, the time of its released (during Disney’s Renaissance era of animated movies) also played a strong importance in the ultimate shaping of the film’s likeability; focusing heavily on the style of animation, storytelling motifs (i.e. a “rags to riches” fairy tale nuance), princesses, talking animal sidekicks, and big / catchy musical numbers. Thus, the 31 st animated feature from Disney (and the 4 th release during this “Renaissance” period) proved to effective by making its mark on both the industry of Hollywood an on the animated tapestry of Disney’s legacy. Much like what I said in review for 1992’s Aladdin , the movie is definitely a favorite of mine. I just watched recently (two priors seeing this new 2019 iteration) and the film still holds up in being a great cartoon feature…. even though it’s almost twenty-seven years old. The animation is still holds up (although I wasn’t too keen on the usage of CGI….but that’s just me), the songs I loved like “A Whole New World” and “Friend Like Me”, and some great voice talents behind the character, especially Robin Williams as Genie, who really made the character his own and truly made Aladdin that much more special…and I think that everyone can agree with that. I could go on my personal taste / reflections about this movie, but much of what I’ve thought about I wrote in my cinematic flashback review for the film (be sure to check it out). In the end, 1992’s Aladdin proved to his memorable endeavor and is clearly that the “like so many things, it is not what is outside, but what is inside that counts”.

This brings me back to talking about Aladdin , the 2019 live-action adaptation from Disney. Given the current trend of Disney revisiting its animated motion picture classic for live-action endeavors, it seemed clear that the “House of Mouse” would eventually get around to Aladdin and the wonderous tale he shares with the beautiful Princess Jasmine and the all-powerful Genie. I do remember hearing some talk about the movie a few years back with the announcement of director Guy Ritchie and the first photos of the film’s cast. Then the film’s various movie trailers and sneak peeks were released and shed more light on the movie, especially the pre-release “buzz” about actor / musician Will Smith being casted as Genie. Like some people out there, I wasn’t too convinced that Smith would make a good Genie, especially since Williams’s truly made the character his own. Still, even though I had some skepticism about the film, I still looked forward to seeing this 2019 version of Aladdin ; hoping that expectations for it would be satisfied and not disappointing one. So, I went to go see the day it got released (Friday) before heading to work on the Memorial Day weekend. What did I think of it? Well, it was just an okay movie. Despite having a dazzling “visual” feast for the eyes within its presentation, Aladdin settles for a “greatest hits” of the 1992’s animated, undercooking a lot of the plot points and gets muddled within its story and characters. The movie isn’t exactly a letdown and plenty to like about it, but there’s definitely many parts of the film that were either underwhelming and / or a misfire with its execution.

Aladdin is directed by Guy Ritchie, whose previous directorial works include such films like Sherlock Holmes (and its sequel… Sherlock Holmes: Game of Shadows ), The Man from U.N.C.L.E , and King Arthur : Legend of the Sword . I’ll admit (and I think that many will agree) that Ritchie is somewhat of a “dark horse” / odd-choice to helm such a project endeavor in bringing the classic 1992 animated feature of Aladdin to the live-action realm. Still, Ritchie’s valiant efforts are heavily presented in making his iteration of a live-action endeavor for Disney’s Aladdin is pretty admirable, making the feature fun and energetic throughout the its runtime. Given the fact that 1992’s Aladdin is chock full of lighthearted nuances and comedic charm (wrapping the guise of a fairy tale narrative with Disney’s signature style aspects), Ritchie plays up to those notions within his live-action version, keeping Aladdin very much a kid-friendly affair that’s quite easily to follow with a straight-forward narrative that has all the classic storytelling elements from the original Disney tale. Because of this, Aladdin works in making sure that the film hits all the right moments (story beats), with Richie making the movie fun and entertaining. In addition to directing, Ritchie also pays “double duty” on Aladdin by having a hand in shaping the movie’s script / screenplay, with John August co-writing it with him. While a lot of the classic story is still there, Ritchie / August script expands on several new avenues in Aladdin’s narrative, especially in the character of Princess Jasmine, who does plenty more to do in this live-action version than in the original animated feature.

What’s is the absolute best that I personally love about Aladdin’s visual presentation is in the costume designs and attires that all the various characters (whether major, minor, or background characters). To say that all the costumes in 2019’s Aladdin are absolute breathtakingly color is truly a bit of a understatement as each costume piece is detailed rendering in such vibrant, colorful, and fantastical designs that are wrapped in Middle-Eastern / Indian styles of clothing traditions. Thus, the costume designs by Michael Wilkinson are something that should be highly praised in the clothing attire for Aladdin’s cast of characters. All the other filmmaking technical categories, including production designs by Gemma Jackson and set decorations by Tina Jones, Claire Nia Richards, and Luke Townshend present quality work / efforts in its visibly seeing in how Aladdin’s presentation is displayed.

In addition, the film’s score is once again composed by Alan Menken, who did the scoring for the original 1992 feature, and continues to play an instrumental component in the likeability of the feature. Menken’s score for this 2019 version offers up plenty of melodies from the original animated movie and definitely feels like a compliment to the 1992 cartoon picture; harmonizing to the two features within its musical motifs and scores. Speaking of music, 2019’s Aladdin does showcase all the original film’s musical numbers, presenting each one with a sense of dazzling vibrancy and jubilation energy of which made the quite memorable way back in 1992. Songs like “Agrabah Nights”, “A Whole New World”, and “Prince Ali” are all well-presented in the lyrical tones and visual appeal, so it all works out in the live-action translation. What does work the best for this 2019 iteration of Disney’s Aladdin is in the song “Friend Like Me”, which almost duplicates completely the imaginative / energetic presentation to the original song. The only one that doesn’t quite work is in the film’s second song “One Step Ahead”. It’s a bit of a misfire and doesn’t have the same fun and energetic tone / charm as the Disney classic was able to achieve. Maybe that’s because of the film’s heavy emphasis on chasing action scenes through the streets Agrabah or maybe because of the song solely relies on Massoud’s singing talents (more on that below), but “One Step Ahead” seems a bit weak. However, what does this 2019’s version offers up is a new original song that definitely is a crowd please. The song, which is titled “Speechless”, was made for the character of Jasmine to sing (presenting insight into her character’s frustration) is definitely a sort of rallying battle cry for her plight in the movie and definitely is empowering for character. In addition, the song was written by Pasek & Paul (Benji Pasek and Justin Paul), the duo songwriters behind the various songs from La La Land and The Greatest Showman , so you definitely know that the lyrics of “Speechless” are gonna be powerful and… well rather good. Thus, this new original song is definitely a win for the movie.

Unfortunately, Aladdin does have some missteps within its theatrical proceedings and cinematic execution, which makes the film not quite exactly a “whole new world” for this live-action reimagining. How so? Well, the original 1992 cartoon movie was truly spectacular and definitely a timeless classic in its narrative. Thus, the translation of that memorable 1992 tale to the 2019 live-action realm gets muddled in its presentation. To be sure, the story that many of us out there know (and love) from the original Disney film is still very much there, but the script handling of it all and even some directorial execution decisions from Ritchie is what causes the film to falter. For those who don’t know, the Disney’s 1992 Aladdin was 90 minutes (i.e. an hour and half) long and was able to tell a lot within that timeframe (both in laughs, drama, and songs). The 2019’s Aladdin is 128 minutes long (i.e. two hours and eight minutes), so that’s an additionally 38 minutes added. However, the longer runtime for this live-action remake doesn’t work or rather only works sometimes as Richie sacrifices certain scenes and sequences in favor of new plot lines roots. This most apparent in the feature’s first act, which seems rather rushed in introducing us (the viewer) to this cinematic world and the character therein. To me, it all just feels slightly disjointed as the film struggles to create momentum within the feature’s main cast of characters. This is also even prevalent in the movie’s final third act, where the climatic battle against Jafar takes place. It just feels underwhelming and rushed and disappointingly lackluster to a certain degree.

Additionally, while the movie tries to expand upon certain ideas in order to flesh out certain character builds (more so than the 1992 movie did), several of them fall flat. This is most apparent in the character of Jafar as Ritchie / August’s script tries to delve into the mind of The Sultan’s wicked royal vizier in showcasing “why” he’s evil. Unfortunately, beyond the vague notion of tired of being “second best”, the script doesn’t really do much to flesh him out. In addition, the movie keeps on hinting about Jafar wanting to invade Jasmine’s mother’s kingdom, but the story never explains why Jafar wants to attack that particular kingdom? It just seems like that idea was left on the cutting room floor. Personally, the characterization of Jafar was better handled (and better written) in the Disney animated feature than in this 2019 live-action version. Also, the other two areas that are expanded upon in Jasmine and Genie, while quite compelling and are quite favorable addition, seem to distract away from the actually plot of Aladdin storyline. What do I mean? Well, there are several sequences (most involving Jasmine’s personal storyline) that don’t have the character of Aladdin in that scene….and for great length periods. Thus, the new expansion storyline for James, while palpable and justly so updates the character, gets away from itself as Ritchie seems more interested in Jasmine than Aladdin, who (again) is suppose to be the main character of the movie.

The cast in Aladdin is a diverse one, with a mixture of recognizable / unknowns that make up the feature’s various characters (both major and minor ones). However, some of them shine better than others, with some being underwhelming in their performances Of course, who actually shines the best (and brightest) of the entire film is (much like the original 1992 movie) is the character of Genie, who is played musician / actor Will Smith. Of course, the casting of Will Smith, known for his musical talents (back when he was during his “Fresh Prince” days) as well as his acting roles in Men in Black , I am Legend , and Bad Boys , in the role of Aladdin’s Genie was definitely a point of discussion, criticism, and speculation, especially since the late actor Robin Williams made the character truly iconic in the original animated film What made Williams’s performance as Genie so timelessly fun is the way the comedian actor infused his energetic sense of style and humor in the role as well as his wildly fun idea of riffing / mimicking of famous celebrities. Luckily, Smith doesn’t do that in this version of Aladdin , making Genie more of his own with likeable charm and screen presence. Of course, the character of Genie is still very much a “larger-than-life” character with a multi-façade charismatic personality as Smith’s theatrical bravado and swagger is felt very much within his performance in the movie, which makes the character quite endearing and easy likeable. Plus, given musical background talents, Smith’s singing parts are rather really good, especially in “Friend Like Me” and “Prince Ali”. In the end, the likeability of Smith’s Genie depends on your personal likeability of Will Smith in general. Some might like him, some might not, but I personally liked him in the role and definitely made the character the best part of the story…. much like what Williams did in the 1992 version.

Behind Smith’s Genie is actress Naomi Scott, who plays the role of the Princess Jasmine, Aladdin’s love interest and the princess of Agrabah. Scott, known for her roles in The 33 , Terra Nova , and Power Rangers , is simply terrific in the role, playing Jasmine with a sense of regal confidence as well as hopeful and determined young female rather than a stereotypical princess archetype. Of course, 1992’s character build for Jasmine was also quite good (with actress Linda Larkin providing the voice), but 2019’s Aladdin sees the Princess of Agrabah’s storyline expanded upon and updating her involvement in the narrative, which (again) makes for compelling roundness to her character arc, with Scott playing up the role in great fashion in a way that makes her quite easy to root for throughout the movie. As mentioned above, the film’s new original song “Speechless” is quite an impactful song for the character of Jasmine and Scott definitely proves that her vocal pipes are truly great and definitely owns the song from start to finish. Plus, her parts in “A Whole New World” are equally impressive as well. In the end, Scott’s Jasmine definitely works in the film’s favor and definitely acts and looks part (and that’s a really good thing).

In a very similar fashion, Kenzari, known for his roles in Ben-Hur , What Happened to Monday , and Murder on the Orient Express , is straight up miscast from the very start. Of course, I’m not discrediting Kenzari’s acting talents, but he clearly is not the best actor to be play Jafar, a character made wickedly fun and downright evil (definitely one of the better Disney villains) by Jonathan Freeman in the original Aladdin film as well as several spin-off projects. Much like Massoud, Kenzari definitely looks the part of Jafar, but isn’t exactly an evil villain for this classic story and ends up just as a meekly adversary for the film’s main characters. As said above, Ritchie / August’s script tries to lay the ground as to why Jafar is evil, but the result is quite flimsy, with Kenzari trying his best to make the character work with what material he’s given. Unfortunately, what’s given and what he shapes with it isn’t exactly the best and just ends up being the absolute worst thing about this 2019’s Aladdin ; making the character of Jafar more a cartoonish caricature than the actually cartoon iteration.

In a more supporting is the character of The Sultan, the ruler of Agrabah and Princess Jasmine’s father, who is played by actor Navid Negahban ( Homeland and 12 Strong ). While the character of the Sultan was made for a slightly more “comical relief” in the original animated feature, this particular film makes the character a little bit more mature; acting a bit more wise and noble ruler. Thus, the change in character is perfectly fine with Negahban fitting the bill quite masterfully in his physical appearance and somewhat gruff-sounding voice. With the movie following the original animated film as a blueprint, 2019’s Aladdin does make room for a one or two new additions to the already established list of characters. The one that clearly stands out is in the character of Dalia, Princess Jasmine’s personal handmaiden. Played by actress Nasim Pedrad ( Saturday Night Live and Despicable Me 2 ), Dalia is, more or less, a side character, but offers a sort of “breath of fresh air” to the very familiar tale and does offer a little bit more humor to the film as well as in Genie’s minor expansion narrative. Thus, the character works and is a welcomed addition.

Rounding out the cast are several minor characters, including actor Robby Haynes ( Dirk Gently and A Thousand Kisses Deep ) as the captain of the city guard, Razoul, and actor Billy Magnussen ( Into the Woods and Game Night ) as Prince Anders, a new character for the film as a princely suitor from the kingdom of Skånland for Jasmine. While Hayne’s Razoul is perfectly fine (as a minor character), I kind of was expecting Magnussen’s Prince Anders to play a large part, especially since the media / internet made a such a big deal about the casting announcement of him. As a side-note, actor Alan Tuxy ( Firefly and Rogue One: A Star Wars Story ) provides the voice for Iago, Jafar’s scarlet macaw companion (marking the first time that comedian actor Gilbert Gottfried didn’t voice the character), and famed voice actor Frank Welker, who provided the voiceover work for 1992’s Aladdin (i.e. Abu, Rajah, and the Cave of Wonders), provides the voicework for the Cave of Wonders in this new version.

FINAL THOUGHTS

It’s time that I told you the story of Aladdin, the princess, and the lamp in the movie Aladdin . Director Guy Ritchie’s latest feature sees the reimagine of Disney’s 1992 classic for a new live-action storytelling medium; bringing a certain visual pomp and circumstance to the film’s proceedings. Unfortunately, while the movie is impressive in its colorful presentation, it’s still catchy musical numbers, and a surpassingly great performance with Smith’s Genie and Scott’s Jasmine, the film does stumble in translating the narrative’s story beats with a rushed “greatest hits” flow and an underwhelming misfire representation within the characters of the story’s hero and villain (i.e. Aladdin and Jafar). To me, I thought that this was movie was somewhere between okay and good. Much like 2019’s Dumbo , it held my interest and was quite entertaining, but I wasn’t completely “wowed” by this live-action treatment at one of my personal favorite Disney animated classics. In truth, I still prefer the 1992 animated version versus the 2019 one (and I think that many will agree with that). Thus, my recommendation for the movie is a solid “iffy-choice” as it will undoubtedly have mixed thoughts, views, and opinions amongst moviegoers out there. It’s still fun and entertaining, but not quite as fun and entertaining as its original film was. In truth, Aladdin , despite the positives that actually do work, falls to being one of the weaker entries in Disney’s live-action cinematic endeavors; proving once again not every Disney classic needs to be revisited and translated into a new theatrical form. In the end, the character of Aladdin is to be considered a “diamond in the rough”, but this 2019 live-action version acts more like a “rough in the diamond”.

Also, a personal side note, Aladdin is my 425th movie review since I’ve started blogging. It’s another personal milestone for me and for Jason’s Movie Blog. Anyway…thank you to my readers, followers, and fellow bloggers. I couldn’t have done it without you!!!

3.3 Out of 5 (Iffy-Choice)

Released on: may 24th, 2019, reviewed on: may 26th, 2019.

Aladdin is 128 minutes and is rated PG for some action / peril

Aladdin (2019) Movie Review: Disney's Live-Action Adaptation Is Much Better Than Its Trailers

First Released May 24, 2019 released

Aladdin is in theaters on May 24.

By Chris E. Hayner on May 27, 2019 at 4:59PM PDT

It can be debated whether live-action--or CGI/live-action hybrid--adaptations of Disney's animated classics are needed. The Lion King, Beauty and the Beast, The Jungle Book, and the rest of the studio's library of iconic cartoon films typically stand the test of time. They're inevitable at this point, though, thanks to the money they earn at the box office. Given that, though, they should at least be good, right? That's the mindset I had before screening the studio's latest adaptation, Aladdin, fully expecting to hate it.

The trailers for Aladdin have not been kind, making it look like a pale imitation of a nearly 30-year-old film. Thankfully, though, the picture they paint isn't accurate. Aladdin is, by and large, a good movie. If you love the original, it does more than enough to tickle your nostalgia bone, while adding more depth to the characters and giving some of them a bit of a modern spin.

All of your favorite songs are there, a lot of the jokes remain, and the cast does more than their fair share of singing and dancing, along with acting. What's more, Director Guy Ritchie (King Arthur: Legend of the Sword) has recreated several visuals from the animated film in a way that makes them even more breathtaking in live-action. The Cave of Wonders, as seen in the trailers, is incredibly designed, as is the kingdom of Agrabah.

Of course, the biggest worry from the trailers was Genie, who was originally voiced by Robin Williams in the animated film. Will Smith plays the character in the live-action Aladdin, and what was shown of him in the trailers wasn't great. The CGI was hit-and-miss, and he didn't seem to spend much time in the character's signature blue form. It just didn't seem right.

However, you'll be happy to know that Smith's take on the character works. He's not trying to capture the essence of Robin Williams in playing Genie, but instead relies on his comedic sensibilities--something we don't see nearly enough from the former Fresh Prince of Bel Air. He also delivers big on song numbers "Friend Like Me" and "Prince Ali." And if you're worried about it, Genie also spends a lot of the movie with blue skin.

The only real knock against Smith is how much bigger his character is than anyone else in the film--physically and charismatically. Then again, that's the same problem the Aladdin animated film had with Williams' take, so it's not a bad problem to have.

Still, the cast of Aladdin is mostly well-suited for their roles. Mena Massoud is easy to love as the homeless thief Aladdin, and the friendships he forges with Genie and the magic carpet--as well as his relationship with pet monkey Abu--are fun to see develop. Naomi Scott, meanwhile, elevates the role of Jasmine beyond standard Disney princess fare--and the chemistry Scott and Massoud share makes the love story between Aladdin and Jasmine work well.

Jasmine's story features the most important changes to the Aladdin story. In this adaptation, she has a sense of ambition and wants to follow in her father's footsteps to lead her people and become the next Sultan of Agrabah, even if tradition doesn't allow it.

When it comes to Disney remaking its movies, it's these changes that make the new adaptations a useful tool. While 1992's animated Aladdin featured a Jasmine who was eager to reject the idea of an arranged marriage to find a new sultan, the new film exploring the princess's own ambition to lead her people is a wonderful change to make.

The new movie also gives her a female confidante in handmaiden Dalia, played hilariously by Saturday Night Live's Nasim Pedrad. It's a small addition, but an important one given that in the animated film Jasmine's only real friend before Aladdin was a tiger. Pedrad brings a good dose of humor to the film and has great chemistry with Smith's Genie.

The rest of the cast is good enough for the roles they were cast to play. Marwan Kenzari is plenty nefarious as Jafar, though not nearly as charismatic as his animated counterpart. Navid Negahban's Sultan doesn't have much to do in the movie--much like the cartoon--but the bond he shares with Jasmine is a powerful one.

As good as a lot of this movie is, Aladdin is not without its faults. Everything leading up to the Genie's arrival--save for Massoud's performance of "One Jump Ahead" as he and Jasmine flee from guards in the marketplace--is pretty slow. Meanwhile, the climax of the film is a CGI-heavy affair that borders on Michael Bay levels of visual gibberish. It's not bad CGI, so much as there's so much happening at once that it's hard to distinguish any one thing.

There are also a couple of moments throughout the movie that carry the sort of visual tricks Guy Ritchie likes to use in his movies. Keep an eye on how the film is sped up at various points in the "One Jump Ahead" sequence. These sort of things worked for me, though I could see how they'd stick out like a sore thumb for others.

There's also a musical problem. Speechless, a new Jasmine song written by duo Pasek and Paul and sung by Scott, fits the movie's take on the character. What's more, it's a good song. The way it's utilized in the film, though, feels incredibly out of place. This section of the movie could easily be clipped out and used as a music video, and the film would be better for it.

That all said, Aladdin is good. It's not perfect, but it's a big, extravagant musical that's filled with fun performances, bright colors, and some exciting moments. Will Smith's turn as Genie isn't better than what Robin Williams brought to the character, but it's different enough that it stands on its own merit. And, if you're into this sort of thing--and you should be--Smith has a new rap over the end credits that is themed to the movie.

Leave Blank
Will Smith's Genie is very funny, even when he's not blue
The songs you love sound great
Jasmine's story has been changed to give her more ambition
Massoud and Scott's chemistry is very charming
Nasim Pedrad's Dalia is a great new addition to the tale
The beginning is slow
The climax has too much CGI
New songs are integrated clumsily

About the Author

Chris E. Hayner

@ChrisHayner

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DVD & Streaming

Aladdin (2019)

Action/Adventure , Drama , Kids , Sci-Fi/Fantasy

Content Caution

In Theaters

May 24, 2019
Will Smith as Genie; Mena Massoud as Aladdin; Naomi Scott as Jasmine; Marwan Kenzari as Jafar; Navid Negahban as Sultan; Nasim Pedrad as Dalia

Home Release Date

September 10, 2019
Guy Ritchie

Distributor

Walt Disney Studios Motion Pictures

Movie Review

What would you do with three wishes granted by a genie?

That’s a pretty big question, especially for a guy like Aladdin. He’s never had anything. After losing his parents as a boy, he’s had only his wits and his pickpocket skills to call his own. Well, that and a little monkey sidekick named Abu. But trust me, having a monkey as your only parental authority (as Aladdin wryly observes) is no picnic.

So when Aladdin gets his hands on a magic lamp and finds that it’s inhabited by a huge blue genie that will give him almost anything he wants, he has to think about things a bit.

I mean, he could wish to be wealthy beyond measure. He could have castles and servants. He could be incredibly powerful. But even the genie himself warns that drinking from that cup is never fulfilling. “There’s never enough,” the wispy blue giant says as he puffs forth from the lamp’s spout. And Aladdin can see the wisdom in that.

What he wants more than anything is the love of a princess. You see, Aladdin had serendipitously met the Sultan’s beautiful daughter, Jasmine, quite by accident in the city marketplace. He was there seeking a little sustenance for the day. Princess Jasmine was there in disguise, seeking insight into the people of her kingdom. But what they both found was a little unexpected romance: A smile. A laugh. A moment together with no boundaries of class.

Of course, a meager thief can’t hope to woo the daughter of a sultan, no matter how charming he may be. And the genie warns that there are certain things—such as causing someone to fall in love or raising the dead—that are outside the purview of even his great big cosmic powers.

But there may yet be a way. Aladdin just needs to be careful about his choices, about how he uses the potent magic wishes that the genie bestows.

But his plan faces one major obstacle: Jafar, the wicked vizier to the Sultan. He’s the power-hungry sorcerer who sent Aladdin crawling into a cave seeking out the magic lamp in the first place. If Jafar got his hands on the lamp, well, there’s no telling what horrible things that man might do.

So Aladdin must be wise . He must consider carefully.

What would you do with three wishes?

Positive Elements

The film makes it clear that seeking solely after wealth and power can be—in fact, almost always will be—a destructive path to take. (And those ends are, of course, the very things Jafar yearns for with all of his wicked heart.) Such self-serving pursuits are defined as a trap that will keep a person ensnared in them, endlessly seeking after more and more.

On the other hand, being wise and caring for others is a fulfilling endeavor, the movie tells us. Jasmine, for instance, repeats her mother’s belief that, as royalty, “We can only be as happy as our least happy subject.” She dresses up in disguise and hands out food to hungry children in the streets. And that’s the sort of thing that motivates her to someday follow in her father’s footsteps as sultan: not for the sake of power but to make wise and compassionate choices on behalf of those she would rule.

After being told to stay quiet and keep her opinions to herself, Jasmine pushes back with a song called “Speechless” that declares why she won’t be silent about what she believes. But it’s not so much a song about claiming power as it is a tune focused on using one’s influence to do the right thing , to serve others and do right by them.

Aladdin, for his part, is described as a “diamond in the rough.” Despite his difficult circumstances (and his sense that he must steal to survive), Aladdin is ultimately shown to be a person of real character, too. He’s forced to face his fears of telling Jasmine the truth about who he really is after posing (with Genie’s help) as a wealthy prince. As he’s caught up in that deceptive masquerade, Genie points out that his lies will increasingly box him in: “ The more you gain by pretending, the less you actually gonna have ,” Aladdin’s blue friend earnestly tells him.

[ Spoiler Warning ] Ultimately, several people make selfless, sacrificial choices. And Genie gets his wish to become a normal human, which enables him to marry and raise a family after being trapped in a lamp for thousands of years.

Spiritual Elements

Obviously, a huge part of the action here revolves around a magical genie and the idea that this spiritual being, who’s held captive in a lamp, springs forth with nearly unlimited power when he’s summoned by someone rubbing it. In fact, Genie’s called the most powerful being in the universe a couple of times (with no reference to where or how God might fit into that understanding of things), though the ultimate source of his power is never identified.

We see Genie’s potent magical abilities manifested in a variety of broad, fantastical ways. He magically whips up vast displays of riches and power to temporarily make Aladdin appear to be a wealthy prince named Ali. He also transforms Abu the monkey into an elephant, as well as creating an entourage of dancing male and female servants.

However, the film makes it clear that even fanciful magical things of that sort come at a price. Genie is, by definition, captive to his lamp and at the compulsory service of whoever rubs it. He states that he’d readily give it all away in exchange for a normal life as a human man, with a wife and children. Genie also warns that nearly everyone who’s ever summoned him has put his magical power to work in destructive ways.

Illustrating this anti-magic perspective, the evil Jafar eventually gets his hands on the lamp and forces Genie to imbue him with even greater powers than he already has. We’ve already seen the Sultan’s sorcerer hypnotize and manipulate various characters with his magical, cobra-shaped staff; but Jafar’s powers are magnified massively once Genie grants his wish.

Jafar uses his powers to imprison and physically torment others. He also says that he can kill someone with his abilities whenever he feels like it. But, as so often happens in movies, the evil sorcerer’s appetite for ever-greater power eventually proves to be his undoing.

Early on, Jafar takes Aladdin to a magical cave where the lamp resides. Jafar knows that only someone deemed to be a true “diamond in the rough” can enter the cave with any hope of coming out alive. While looking for the lamp in that cave, Aladdin comes across a flying magic carpet that’s trapped by a huge stone on top of it. Aladdin removes the stone and frees the carpet, earning its everlasting friendship and service.

Sexual & Romantic Content

Jasmine and some of the other women in the sultan’s court wear outfits that are a little low cut or midriff-baring. Jasmine and Aladdin kiss a few times.

Genie, obviously, is shirtless a good portion of the time here, though his blue hue somewhat distracts us from that fact. He’s also strongly attracted to Jasmine’s handmaiden. And when he masquerades as Aladdin’s servant in human form, the handmaiden returns his affection.

Violent Content

Guards run after Aladdin through the marketplace after he steals something (and after Jasmine takes something from someone and doesn’t seem to think that she needs to pay for it). Some sellers’ stalls are destroyed and the guards fall from a tall scaffold in the frantic, comical chase that ensues.

We hear that Aladdin lost his parents as a boy, and Jasmine talks of her mother being killed in the past; but the details of those deaths are never discussed.

Jafar puts Aladdin’s life as risk on several occasions. When that magical cave is crumbling and filling with molten lava, Jafar kicks Aladdin back into the chaos (though the hero is saved by his flying magic carpet). Jafar also ties the young man up later and pushes him off a tall tower into the ocean below. Aladdin nearly drowns before being rescued.

Jafar also sends someone else into the cave, the entrance to which looks like a huge lion with an open mouth. The mouth closes, and presumably Jafar’s lackey loses his life. It’s implied that there have been quite a few such failed “diamonds in the rough.”

Later, a magically enhanced Jafar causes several people to writhe in pain as he magically tortures them. He also causes Aladdin to puff out of existence and reappear in a frozen tundra, a teleportation trick he employs on several other enemies as well. Jafar transforms his parrot into a massive beast that claws at people and destroys some nearby structures. There are multiple thumping and sword-swinging scenes in the mix throughout the film as well.

Crude or Profane Language

Drug & alcohol content.

Genie magically whips up a martini for himself a couple of times.

Other Noteworthy Elements

Jafar and others make it very clear that Jasmine, as a woman, should be “seen but not heard.” ( The young woman pushes back against this mindset in song and in action.) Abu tends to steal anything of value that his little monkey eyes rest upon. Aladdin likewise steals fruit, but he says he only takes what he needs to survive. (And in one case, he gives food he’s stolen to a needy mother and her two children, perhaps an indication of the young man’s noble character even as he steals.)

Along with managing all its other many media interests, Disney has taken on the self-imposed task of remaking its classic animated fare into live-action flicks. And the results have been, shall we say, mixed . Some have soared, such as Cinderella . Others have flopped, such as the poorly executed Dumbo earlier this year.

With that in mind, people have been a bit worried about anyone messing with a beloved classic like Aladdin . After all, the original 1992 animated version—featuring Robin Williams’ rapid-fire genius, a fun Arabian Nights love story and an Academy Award-winning musical score—is right there at the top of nearly every family’s “favorites” list.

So, what can Mom, Dad and the kids expect from this 200 million dollar flesh-and-blood extravaganza?

Well, there are some abracadabra changes made in this live-action translation, but nothing too drastic. On the positive side, the story has been lightly tweaked in colorful and lively ways. The princess ingénue (played by Naomi Scott, who has the best singing voice in the cast) belts out a new female empowerment ballad. And actor/singer/comedian Will Smith probably fills Robin Williams’ unfillable shoes as well as anyone could. Oh, and some of the production numbers are impressively glittery and bombastically fun.

On the not-so-stellar side, the musical numbers can sometimes seem like they’re interrupting a scene rather than melodically driving it forward with an emotional flow. And this version’s 40 extra minutes of screen time can feel like … 40 extra minutes.

As for the film’s minor content issues, keep in mind that this is a fantasy featuring a foul villain, evil sorcery and loud, perilous dangers . And little tykes might find a few of those perilous scenes a bit scarier in a live-action film compared to the animated original. A few female outfits are a tad revealing as well.

All in all, though, Aladdin is certainly an entertaining effort. Like its predecessor, the new version of this story delivers solid moral messages about choosing truth, love and wisdom over the empty, deceptive promises of wealth and power.

No, this version of Aladdin isn’t “A Whole New World.” But that’s actually a good thing.

Like Aladdin, it can be confusing to know the right path for your family. Yet here at Focus on the Family’s Plugged In, we hope to be a friend walking this journey with you—and we don’t limit the helps to just three. A whole new world of insights include:

Perfect Isn’t the Point

Hidden Gems

Do the Next Right Thing

When Parenting Isn’t Perfect

After spending more than two decades touring, directing, writing and producing for Christian theater and radio (most recently for Adventures in Odyssey, which he still contributes to), Bob joined the Plugged In staff to help us focus more heavily on video games. He is also one of our primary movie reviewers.

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Aladdin Reviews

Although some plot points are added or changed up, the core of the story remains the same, offering them to a new audience in a film that feels like a modern interpretation rather than a pointless fix-up.

Full Review | Original Score: 3/5 | Jul 14, 2024

There’s a unique sense of visual speed Ritchie has a fantastic hold on, and while this is the least Guy Ritchie movie in his filmography, a lot of his signature beats are still alive and well, and they’re perfect for this particular remake.

Full Review | Original Score: 4/5 | Jul 9, 2024

The original Aladdin had many flaws, but it was [...] full of heart. And, while Guy Ritchie's live action movie might be a better film in terms of special effects, dance routines and perhaps even structure, "heart" is exactly what it doesn't have.

Full Review | Original Score: 2.5/5 | Nov 2, 2023

Guy Ritchie proves he’s a fantastic director, by delivering some beautiful one-take sequences, and exceptionally fun, well-choreographed musical numbers. Technically, the production and set design are astounding.

Full Review | Original Score: B+ | Jul 24, 2023

It plays like the most expensive Disney Channel Original Movie of all time; it’s not as cinematic as it is ready to stream.

Full Review | May 27, 2023

Overall, a decent attempt at remaking a treasured animated classic.

Full Review | Original Score: C+ | Mar 8, 2023

Aladdin works when it focuses on its characters. The world it builds is nice and lavish but without authentic depth. That combined with the lack of wonder and mystery keeps this from being as revolutionary as it would have liked to be.

Full Review | Original Score: 7.5/10 | Jan 17, 2023

…every element here is a pitiful downgrade on the original…

Full Review | Original Score: 2/5 | Dec 27, 2022

While Smith and Massoud do display some buddy chemistry, it’s Naomi Scott’s fierce performance as Jasmine that’s the real showstopper.

Full Review | Original Score: 3.5/5 | Aug 20, 2022

The characters of Ritchie's film feel like they're trying to replicate better performances than they could ever hope to achieve.

Full Review | Original Score: 1.5/4 | Mar 3, 2022

Aladdin does not try to reinvent the wheel, but it made sure it didnt break it. The film is a welcomed addition to the Disney live-action library.

Full Review | Original Score: 3/4 | Feb 18, 2022

Let me tell you: Will Smith is back.

Full Review | Sep 29, 2021

Aladdin is as fun as a magic carpet ride, so sit back and enjoy the unbelievable sights and indescribable feeling...

Full Review | Aug 13, 2021

A movie loaded with missed opportunities.

Full Review | Original Score: 2/5 | Mar 7, 2021

It's unlikely that the new Aladdin will be the cultural touchstone that the original was, but it has plenty of memorable moments that complement well the iconic ones many of us hold near and dear.

Full Review | Feb 18, 2021

Still, as cynical and pointless an operation as this remake cycle has often been, Aladdin is a bit livelier than the equivalent Beauty and the Beast.

Full Review | Original Score: B- | Feb 4, 2021

Despite the updates and the pomp Aladdin feels underwhelming by the time the end credits roll. The songs frequently interrupt the flow of the story, creating a stop-and-go feel that sucks some of the film's momentum away.

Full Review | Original Score: 2/5 | Jan 31, 2021

When the sand settles, Aladdin is more fun than needs fixing.

Full Review | Jan 29, 2021

The movie addresses the problematic aspects of the original to make it more modern and relatable.

Full Review | Jan 27, 2021

A fully computer-animated Abu is the first of many changes that furnish a hint of phoniness in a world that now demands a greater suspension of disbelief.

Full Review | Original Score: 5/10 | Dec 7, 2020

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Common Sense Says
Parents Say 88 Reviews
Kids Say 115 Reviews

Common Sense Media Review

Live-action remake has charming stars, intense moments.

Parents Need to Know

Why Age 8+?

Cave of Wonders is scary. When Abu breaks the rules, it crumbles and spews lava,

Flirting, hand-holding, dancing, a few kisses. Genie makes a double-meaning comm

Some insults: "street rat," "riffraff," "nothing," "scoundrel," "thief," etc. Mi

Nothing in film itself, but off camera Disney has endless merchandising tie-ins,

Genie has martinis on a couple of occasions. A pipe appears in the movie.

Any Positive Content?

It's important to look beneath the surface (social class, rank, etc.) to really

Aladdin is a thief but also helps others even less fortunate and cares about peo

Kids familiar with animated version will learn about adaptations and impact of l

Violence & Scariness

Cave of Wonders is scary. When Abu breaks the rules, it crumbles and spews lava, nearly killing Aladdin and Abu. Falls and perilous climbs/pursuits/flights. Jafar pushes a man to his death in a dark, creepy dungeon, later uses his powers to disappear people and torture the sultan. He also tries to kill Aladdin by pushing him, bound, into the water (it's a tense scene for a few moments while Aladdin is in danger of drowning). A giant bird chases the heroes, causing damage. Jafar is scary when he wields his full powers. Sultan's armed guards take hold of various people and chase/capture Aladdin. Genie is forced to make even dangerous wishes come true. Arguing. References to both Jasmine's mother and Aladdin's parents being dead. Carpet is damaged during an action scene, which could upset some young kids.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Flirting, hand-holding, dancing, a few kisses. Genie makes a double-meaning comment about "feeling a little thirsty" after staring at Jasmine's handmaiden, Dalia; Dalia calls Genie "incredibly attractive." Possible reference to someone as "hot" (hard to hear). A woman calls Aladdin "tasty" in a song lyric.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Some insults: "street rat," "riffraff," "nothing," "scoundrel," "thief," etc. Misogynist comments like Jasmine should "be seen and not heard," "be silent," "hurry up, woman," etc.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Nothing in film itself, but off camera Disney has endless merchandising tie-ins, from apparel and accessories to toys and games.

Drinking, Drugs & Smoking

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Positive Messages

It's important to look beneath the surface (social class, rank, etc.) to really know who people are inside. Other positive messages include idea that women -- not just men -- can be powerful, inspiring leaders and that true connection and love transcend superficial differences. Promotes value of telling the truth, honor, friendship, thinking of others' needs, and the ability to break free from outdated traditions. Courage and integrity are themes.

Positive Role Models

Aladdin is a thief but also helps others even less fortunate and cares about people -- and the princess. He's clever, brave, kind. He gets caught up in advantages of wealth and power but ultimately remains true to himself, demonstrating integrity. Jasmine is intelligent, thoughtful, empathetic. She grows to love Aladdin for who he his, not his status. Genie, despite being a slave to his master, is full of good advice for Aladdin. He's helpful, outspoken and teaches Aladdin about friendship. Jafar is power hungry, manipulative but is clearly a villain. The sultan is a little less clueless here than he was in the original.

Educational Value

Kids familiar with animated version will learn about adaptations and impact of live-action stories vs. animated ones. They'll also learn about importance of being true to themselves and of women's worth as leaders.

Parents need to know that Aladdin is Disney's live-action adaptation of its own 1992 animated classic . As with previous remakes like Dumbo , Jungle Book , and Beauty and the Beast , there are lots of computer-generated special effects, including the quite scary Cave of Wonders and co-star Will Smith as the huge, comedic, blue-skinned Genie. The effects and the live-action factor make the scenes of peril and danger feel more intense than in the cartoon (although it's pretty tame for a Guy Ritchie -directed movie). There are chases, falls, and near deaths, as well as one confirmed fatality when villain Jafar pushes a man down a dark well. The cave crumbles and spews lava, a giant bird pursues the characters, guards are armed with weapons, and there are references to dead parents. Language is very mild, with just a few insults along the lines of "street rat"; characters flirt and kiss, and Genie tosses back a couple of martinis (a pipe also appears). Thanks to stars Mena Massoud (Aladdin) and Naomi Scott (Jasmine), this musical remake keeps the spirit of the original and adds a boost of female empowerment to messages about friendship, courage, integrity, and honesty. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Parent and Kid Reviews

Parents say (88)
Kids say (115)

Based on 88 parent reviews

Good movie but a few notable concerns

Very cool movie, what's the story.

ALADDIN is director Guy Ritchie 's live-action remake of Disney's classic 1992 animated musical about roguish street urchin Aladdin (Mena Massoud) and his adventures. On the bustling streets of Agrabah, Aladdin meets a beautiful young woman who says she's a royal handmaiden but is really the kingdom's reclusive Princess Jasmine (Naomi Scott). Meanwhile, the sultan's power-hungry vizier, Jafar (Marwan Kenzari), seeks someone worthy to enter the fabled Cave of Wonders to extract a special lamp that's hidden there. When Aladdin and his companion monkey, Abu, sneak into the palace grounds to find their new friend, Jafar arrests Aladdin, explains that the "handmaiden" is actually the princess, and commands the younger man to go after the lamp. What Jafar doesn't count on is Aladdin himself unleashing the lamp's power: a big blue genie ( Will Smith ) who's bound to grant him three wishes. With Genie's help, Aladdin transforms into "Prince Ali of Ababwa" to woo Princess Jasmine.

Is It Any Good?

Thanks to its appealing leads and a strong soundtrack, Disney's live-action remake is considerably better than expected, even if Smith's Genie isn't as memorable as Williams' original. With his crooked smile and earnest voice, Massoud is perfectly cast as Aladdin (although it feels like the hair department worked too hard to get that one piece of mussed fringe "just so"). He has a lovely chemistry with Scott's Jasmine, who's much more of a feminist here than in the animated version. Scott also proves to be a fine singer, although Jasmine's new original song "Speechless" feels slightly forced (especially if you know the classic soundtrack by heart). Aladdin and Jasmine's shared songs are well executed, and "A Whole New World" continues to pack an emotional punch. Kenzari is believably ruthless as the ambitious, evil Jafar, and SNL alum Nasim Pedrad is quite good as Dalia, the real -- and amusingly opinionated -- royal handmaiden who catches the genie's eye.

As for Smith, whose role has been widely criticized on social media, let's just say that he's much easier to handle in disguise as Prince Ali's human adviser, rather than as the slightly off-putting blue CGI Genie. And Smith is certainly funny, but his performance of the genie's signature song, "Friend Like Me," can't live up to Williams' kinetic, rapid-fire delivery. The movie's production values are high, but Ritchie isn't in his element directing a musical; he's no Rob Marshall. The action scenes are more his thing, and he even manages to include his special slow-motion shots in a few scenes. Bottom line? Despite the heavy Smith-focused promotion, Aladdin ultimately (and fittingly) belongs to rising stars Massoud and Scott.

Talk to Your Kids About ...

Families can talk about Aladdin 's potentially scary or violent parts. Is it scarier to see scenes in live action than in animation? Why? How much scary stuff can young kids handle?

How do the characters in Aladdin demonstrate courage and integrity ? Why are these important character strengths ?

Discuss the differences between this version and the original. For example, what do you think of Jasmine's new song? Or the lyrical changes to the original songs? Is there anything missing that you'd have liked to see?

What mistakes does Aladdin make throughout the story? What are the consequences for those mistakes? Does he redeem himself? Why is it important for kids to see consequences in movies?

How does Jasmine compare to other Disney princesses? Do you consider her a role model ?

Movie Details

In theaters : May 24, 2019
On DVD or streaming : September 10, 2019
Cast : Mena Massoud , Naomi Scott , Will Smith , Marwan Kenzari
Director : Guy Ritchie
Inclusion Information : Middle Eastern/North African actors, Female actors, Indian/South Asian actors, Black actors
Studio : Walt Disney Studios Motion Pictures
Genre : Family and Kids
Topics : Magic and Fantasy , Princesses, Fairies, Mermaids, and More , Fairy Tales , Friendship
Character Strengths : Courage , Integrity
Run time : 128 minutes
MPAA rating : PG
MPAA explanation : some action/peril
Last updated : September 10, 2024

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Movie Review: Aladdin (2019)

Aaron Leggo
Movie Reviews
--> August 7, 2019

Depending on your tolerance for redundancy, there’s a surprising amount of fun to be had in Disney’s Guy Ritchie-helmed Aladdin remake. That’s a far cry from the disaster this could have been and seemed destined to be at one point, considering a laundry list of potential issues ranging from the source material that casually mixes cultures to the looming specter of original scene-stealing star Robin Williams to the fact that Ritchie has a history of turning in violently macho duds (“ King Arthur: Legend of the Sword ” being the latest).

But Disney, the insatiable studio currently gobbling up its Hollywood competition, especially excels at asset management, so the pieces have been assembled here with a particular and inoffensive amount of care. Having already laid the groundwork for a boisterous, colorful musical fantasia with their famed 1992 “Aladdin” adaptation, Ritchie and his Disney overlords find themselves in the position of having to merely update some of the bricks built atop an already sturdy foundation.

It’s not an easy task, considering the gaping hole Williams’ death has left behind and the need to breathe flesh-and-blood life into previously celluloid animated characters, but it’s an easier task than starting from scratch or working from a deeply flawed original. Despite its issues, the 1992 “Aladdin” is an extremely entertaining romp kept buoyant by Williams’ astonishing hyperactivity and the wonderfully catchy songs that Alan Menken and Howard Ashman wrote.

This Aladdin is predictably familiar, with much of the same music, jokes, images, and conflicts, but with just enough tweaks in various nooks and crannies of the tale that there remains room to have fun with the task at hand. Known for his overly frenetic style, Ritchie brings a cartoonish energy to the adventure here and that helps bridge the gap between animation and live-action that previous Disney remake “ Beauty and the Beast ” awkwardly struggled with.

Musical sequences like the early “One Jump Ahead” effectively blur the lines between what is achievable with actual actors on sets and what can be accomplished with the elasticity of animation. This sequence, acting as an introduction to both Aladdin (Mena Massoud, “Ordinary Days”) and Princess Jasmine (Naomi Scott, “ Power Rangers ”), is an effortful homage complete with slow-motion, sped-up action, slick stunts, and splashes of color.

Ritchie is aided by having such a solid template to work from, but considering how awful a match of filmmaker and material this once appeared to be, the sequence operates as an immediate dispelling of any doubts. Peppy panache goes a long way to capturing the Disney spirit and Ritchie has pep in spades here.

He’s more than matched in that department by Will Smith (“ Suicide Squad ”), whose charm factor is cranked up to maximum levels and at its most potent when the actor is not saddled with dicey CGI to turn him into a humanoid poof of blue smoke. Smith wisely avoids aping Williams’ signature style while maintaining the Genie’s inherently enthusiastic and well-rounded entertainer vibe.

Having someone that is equally charming and likable to bounce his madcap energy off is an effective way of accentuating Smith’s performance and so he receives great support from Massoud, who captures both the wily spirit and wounded heart of the titular hero. Attempting to shine in the shadow of Smith’s mega star wattage should be a tall order for someone with only a few credits to their name, but Massoud makes it look easy by exuding a wealth of warm confidence.

Rounding out the trio of well-cast leads is Naomi Scott, who stuns as Jasmine with her exquisite poise and soaring voice. She expertly embodies the iconic Disney Princess, but adds additional weight by belting out a solo tune in which she sings of refusing to be silenced. This Jasmine also has higher aspirations than her cartoon counterpart. Instead of merely craving some fresh air outside the walls of her father’s palace, Scott’s version wishes to be sultan, a position she should be owed by birthright, but is denied due to her gender.

The move to expand Jasmine’s motivation heightens her arc by giving the character a more meaningful goal to aim for and further personalizing her journey even after Aladdin shows up ready to woo her. It’s that part of the story where Massoud and Scott especially shine. They share genuine chemistry that lends their romance a gentle air of authenticity.

Massoud and Scott are (so far and by far) the best romantic pair found in Disney’s growing live-action remake lineup and that goes a long way to conjuring some of that vital and vibrant fairytale magic. Strong casting in a familiar movie can really smooth the edges and make for a pleasant experience that avoids the otherwise perilous pitfalls of an unnecessary remake, so having Aladdin and Jasmine played by such lithe, likable performers solves a lot of the movie’s potential problems before the issues can take hold.

Ritchie has logged enough hours on blockbuster productions that the overly computer-assisted set pieces are acceptably executed and a dash of Bollywood influence during some song-and-dance numbers is appreciated for its visual verve. Musicality is such an important aspect of Disney’s animated classics that seeing the screen-to-screen adaptation achieved without losing that elegant element is sweetly satisfying.

In the end, once the trail of blue smoke has dissipated, the charming effect of this new Aladdin mainly goes with it. Redundancy doesn’t exactly inspire longevity and Disney doesn’t build these remakes to last. They’re merely grand refreshers in the company’s long line of iconic properties. But despite the studio’s transparent motives, Aladdin remains a showcase for three very talented performers who reinvent their characters with such charm that the callousness of Disney’s remake enterprise feels momentarily outmatched.

Tagged: desert , genie , prince , princess , remake , wish

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Disney’s live-action Aladdin is almost a charming rom-com — when it’s not a sluggish musical

Guy Ritchie’s remake thankfully overcomes most of its cultural baggage — but it loses the joy of its predecessor.

by Aja Romano

How do you solve a problem like Aladdin ? Disney’s questionable live-action remake of its acclaimed 1992 animated film, which finally hits theaters May 24, has been dogged by controversy and skepticism since before production even began. Director Guy Ritchie, known for action comedies but not musicals, seemed an unlikely choice to direct the story, especially given the tricky cultural nuances involved. Casting Will Smith as an infrequently blue genie also raised plenty of eyebrows.

But more crucially, the 1992 film Aladdin seemed a completely unsuitable candidate for Disney’s series of live-action remakes. There’s too much about the original film that’s lightning in a bottle, impossible to recreate.

The 1992 film’s 2D animated effects, at the time sophisticated and dazzling, are now largely passé. (2D animation is a dying style, and the computer effects that looked thrillingly state-of-the-art 27 years ago now look sadly dated.) Its reliance on Robin Williams’s genius improvisational skills led to its whip-smart, slightly manic screenplay, which was completely overhauled and frenetically rewritten under tight time constraints, not unlike the notorious crunch times that video game developers often push through today.

Then there’s the collaborative gifts of Disney’s musical auteurs, composer Alan Menken and lyricist Howard Ashman. Ashman originally pitched the film to Disney, but died during its development; Menken contributed the score to the new film but only one new song, with lyrics by songwriting duo Benj Pasek and Justin Paul .

2019’s Aladdin tries its best to regenerate that magic, and to its credit, it finds some success. It is frequently quite charming, largely thanks to the efforts of Mena Massoud, who captures Aladdin’s irrepressible charisma every second he’s onscreen. Much of the new story material written for the film works, and it’s enjoyable, if pedestrian, family fare.

But the terrible musical sequences, the lackluster CGI, and the strange creative and emotional restraint that permeates the film frequently flatten Disney’s original Aladdin into a cardboard version of itself.

The result is a film that’s divided into two entirely different entities. One is pretty cute: a pleasantly bland rom-com, with Massoud’s Aladdin and Naomi Scott’s Jasmine as adorable kids in love. The other is a really crappy musical, presided over by a disappointingly hamstrung Will Smith. These two halves never fully cohere.

This Aladdin remake had a lot to overcome, and it at least makes an effort

It’s important to acknowledge going into the Aladdin remake that, for all the 1992 film was a delightful, hilarious animated musical masterpiece, it was also dripping in Orientalism and harmful racist depictions of Arab culture.

In the original Aladdin , Jasmine is a repressed princess whose ultimate aim is to gain enough independence to marry for love rather than political expediency, which made her strikingly evolved for the time but seems hopelessly limiting now. Her father, the sultan, is a babbling, easily directed man-child. The citizens of Agrabah are frequently depicted as barbarous sword-wielders and sexualized belly dancers. The opening song, “Arabian Nights,” originally contained the ridiculously racist line “They cut off your ear if they don’t like your face / It’s barbaric, but hey, it’s home.”

So it’s easy to see why Disney executives might feel that Aladdin is worth updating, if only to overwrite many of its problematic elements. But this particular remake fumbled from the start. Advocacy groups like the Council on American-Islamic Relations were opposed to the film from its inception. Casting controversy threw further doubt on the whole project, as did a series of lifeless promotional photos and a recently released clip of a strangely sluggish musical performance from the film, featuring new genie Will Smith. None of this boded well for the film.

Still, Ritchie and his fellow screenwriter, frequent Tim Burton collaborator John August , put in a decent effort to gloss over the previous film’s most glaring faults. On paper, Ritchie’s Aladdin offers several modern improvements: The script is especially good to Jasmine, who’s no longer the only woman in the movie and now has long-term political ambitions. The genie, who reads as culturally Arab, has a personal life and dreams of his own beyond escaping the lamp. Aladdin and Jasmine bond over growing up parentless. Hot Jafar ( his official name , sorry, I don’t make the rules) doesn’t just want abstract power; he also wants to invade a few neighboring countries, because why not.

These changes are clearly meant to give Aladdin additional depth; in execution, however, many of these details seem like superficial inserts. The sultan’s palace seems to be an amalgam of Muslim and South Asian cultures, probably because Scott is of South Asian descent; her dance sequences are explicitly Bollywood-flavored. This could have been an interesting opportunity for an explicit exploration of the way these two cultures interact, but the film rarely goes deeper than, uh, giving Jasmine a feminist power ballad.

Aladdin ’s two halves never quite cohere into a compelling whole

Aladdin introduces Jasmine to a whole new world of petty thievery.

Throughout the first half hour or so of Aladdin , I started to think it might be able to pull out a win. The opening sequence, where we meet Aladdin as an impressively clean thief living on the streets of Agrabah, unfolds at a clip. While it can’t quite shake the vibe of a local community theater troupe hastily assembling on a soundstage, it’s still fun. We’re quickly introduced to the budding romance between Aladdin and a disguised Princess Jasmine, who bond over petty thievery and dead parents while zipping through streets and hopping across buildings as they evade capture by Agrabah street police. It’s the kind of colorful meet-cute that wouldn’t be out of place in a Netflix “summer of love” flick , and it worked for me. In fact, I would probably watch that rom-com multiple times and reblog a few Tumblr GIF sets of their love.

At nearly all other times, however, the film suffers from an inexplicable sluggishness. Ritchie’s recent filmography, dating from 2009’s Sherlock Holmes , has emphasized zany foreground antics cosseted by rich background details and strong pacing. But Aladdin frequently moves slowly, almost as if Ritchie has chosen to take the film on a leisurely stroll in direct contrast to its predecessor’s high speed. This holds true not just for the musical numbers, which all seem to have been slowed down in tempo and energy, but also the big action sequences between Hot Jafar and everyone else.

Watching the film, I frequently wondered, in fact, if Hot Jafar actor Marwan Kenzari were controlling the pace of the scenes through his refusal to turn his character into a campy , over-the-top villain. The original Jafar was the epitome of the noxious trope of the shrieking, fey, vaguely homophobic Disney villain ; Kenzari’s Jafar is quiet, straightforward, and almost affectless, except for occasional moments when he lets his thirst for power seep through. This is a satisfying reinterpretation of Jafar, but his emotional restraint seems to be contagious. There are entire scenes, particularly near the end, where characters who should be fighting tooth and nail for what they want instead stand still and calmly reflect on what they each want to do next. It’s largely inexplicable behavior, and speaks to just how overly staid Ritchie’s direction is.

Aladdin ’s CGI roundup: how well did the film do at capturing the visual magic of its predecessor?

CGI Abu (the monkey): Meh.

CGI Magic Carpet: Perfect! 10/10, would ride.

CGI visual backgrounds: Flat and unimpressive, particularly during the cave sequence and “A Whole New World.”

CGI Rajah (the tiger): Delightful! 10/10, would pet.

CGI Iago (the parrot): Disappointing, though more because the film mostly excised his wisecracking personality rather than because of how he looks.

CGI “Friend Like Me”: Abysmal on a scale that must be seen to understand.

But it’s the musical numbers in particular that seem completely deflated. It’s not just that they’re slow; it’s also that Smith’s voice doesn’t carry them like WIlliams’s did, and his lack of live stage experience really hurts him here — as does the lackluster CGI imagery overall, which makes his “phenomenal cosmic power” seem kinda drab. “Friend Like Me” especially seems uninspired visually and thematically, while “Prince Ali” has already been widely ridiculed on social media for its slow pacing and dearth of jubilance. The other songs also suffer from this weird malaise; “A Whole New World” passed by before I really even noticed it was happening.

Smith, moreover, seems to be blocked creatively in his role as Genie, who comes across as a thin character despite the extra layers of characterization given to him in the new script. To be fair, it’s hard to conceive of anyone who could step into a role this iconic, played so brilliantly by Williams, and not be intimidated out of all self-expression, but Smith also quite understandably seems to present his character as spiritually worn down by his enslavement. Far from being a genie who projects phenomenal cosmic power, Smith’s interpretation is occasionally socially awkward, and human above all else.

And that underscores the remake’s biggest single issue. Turning a blue cartoon into a flesh-and-blood human being imposes a sense of realism that the glib, fantastical storyline of Aladdin was never really meant to reckon with. The original “Aladdin” tale, after all, was most likely translated from a Syrian oral tradition relayed by an 18th-century French writer, who drenched his version in exoticism. The 1992 film, in turn, succeeded on the basis of its sheer disconnect from reality, which kept it fun and magical. The cartoon was divorced from its story’s real-life connections, something the live-action take can’t evade.

It’s possible to imagine a new animated remake of Aladdin that confronts the Disney classic’s fraught past and manages to jettison much of its cultural baggage in a way that feels justified and transformative. Unfortunately, a live-action adaptation was never going to pull that off.

I’m left mourning the infectious, charming, no-baggage, original rom-com Disney could have given us instead.

Aladdin is in theaters on May 24.

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Aladdin (2019) Review

24 May 2019

Aladdin (2019)

The centrepiece number of Disney’s Aladdin extols the wonders of discovering ‘A Whole New World’. But, even with a director so usually stylistically distinctive as Guy Ritchie , this (mostly) live-action do-over feels very much the same old world.

Not that we were expecting speed-ramped bare-knuckle fights, geezers from Giza, or Princess Jasmine telling her ineffectual sultan dad to grow a pair. But, beyond a slick, single-take opening whiz around the city of Agrabah and a Ritchie-esque recalibration of the villainous Jafar’s background (he co-writes with John August), you can’t detect the filmmaker’s hand behind the camera.

It’s Disney remake business as usual, this entry skimming closest to 2017’s Beauty And The Beast : expand it but keep the same story beats, the same set-pieces and the same songs (aside from a fresh belter Alan Menken penned for Jasmine, which with all its Frozen -style emotive heft feels a bit misplaced here).

The original left you craving more Genie. This version weirdly makes you wish he was in it less.

Maybe that’s all anyone wants from Disney’s second rub of the lamp. After all, it worked for Beauty . But it’s uniquely problematic when it comes to the Genie. Arguably Disney’s greatest character, he elevated Aladdin ’92 through the star casting of Robin Williams , who was given free rein to riff and improvise, with that striking Al Hirschfeld-inspired animation built closely around his showstopping performance. Will Smith was by no means a crazy choice. He’s been known to stop a few shows himself. But to funnel his Big Willie Style into what is largely a rinse-and-repeat of Williams’ performance was the wrong move.

There are a few notable differences. This version plays to Smith’s looks, and gives the Genie a second-tier romance with Jasmine’s handmaiden Dalia, gamely played by Saturday Night Live ’s Nasim Pedrad. Plus, when he’s in regular human form, his natural charms vibe well with Mena Massoud ’s Aladdin. This is especially true during the Prince Ali scenes, where the pair together earn the film’s biggest laughs with Aladdin’s inept attempts to woo Jasmine, primarily by listing different types of jam. But Smith’s renditions of ‘Friend Like Me’ and ‘Prince Ali’ feel oddly strained and hollow and, even worse, every moment he’s in blue CGI form, it’s uncomfortable to watch. With a forced smile and uncanny-valley eyes perched atop a puffed up, wobbling torso with nothing but gas below the waist, it’s not a good look for Smith.

Thankfully, Massoud and former Pink Power Ranger Naomi Scott compensate with their easy chemistry, and Disney’s big-dollar production value gives the ‘toon version a luxurious studio-set make-over, from the palace’s gilt-trimmed opulence, to the bustling city streets, to Aladdin’s shabby-gorgeous tower-top hideout. As a remake, then, it brings the ‘toon to vivid life, but where the original left you craving more Genie action, this version weirdly makes you wish he was in it less.

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Naomi scott, mena massoud, marwan kenzari, navid negahban, billy magnussen, nasim pedrad, screenrant review, aladdin review: disney's remake finds the diamond in the rough.

Aladdin is a jubilant and energetic Disney retelling that mostly succeeds in updating the animated version, even if it never feels quite as magical.

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Aladdin movie review & film summary (2019)
In a self-aware moment from the new live-action "Aladdin," a character holds up a sketch of three other characters. The sketch is a line drawing done in the style of the hit 1992 animated "Aladdin," the basis of the movie you're watching. It's simple, fun, and direct, more concerned with being delightful than with looking "real.".
Aladdin
Jun 27, 2019 Full Review Wenlei Ma News.com.au Everything about Aladdin is big, and yet feels small at the same time. Its lavish production design and costuming also has the effect of looking more ...
Aladdin (2019)
Aladdin: Directed by Guy Ritchie. With Will Smith, Mena Massoud, Naomi Scott, Marwan Kenzari. Aladdin, a kind thief, woos Jasmine, the princess of Agrabah, with the help of Genie. When Jafar, the grand vizier, tries to usurp the king, Jasmine, Aladdin and Genie must stop him from succeeding.
Aladdin (2019)
A jewel in Disney's animated crown, Aladdin is a true delight. Exuberant, alive, and completely entertaining, the adventure-fantasy combines a raucous sense of humor, iconic performances, and classical songs into a joyful blast of cinematic color. Aladdin is a exhilarating piece of work perfectly brought to life.
'Aladdin': Film Review
Will Smith plays the Genie in 'Aladdin,' Disney's live-action remake of its 1992 animated classic. ... Movies; Movie Reviews 'Aladdin': Film Review ... 2019 6:00am Share on Facebook; Share on X;
Aladdin
The magical, the mystical, the mysterious -- all those powers that lurk within movies but are rarely tapped are unleashed in Disney's latest magnificent animation, Aladdin. Full Review | Dec 6, 2019
Aladdin
Aladdin - Metacritic. 2019. PG. Walt Disney Studios Motion Pictures. 2 h 8 m. Summary Aladdin is the exciting tale of the charming street rat Aladdin, the courageous and self-determined Princess Jasmine and the Genie who may be the key to their future. Adventure.
Aladdin critic reviews
Much of the new story material written for the film works, and it's enjoyable, if pedestrian, family fare. But the terrible musical sequences, the lackluster CGI, and the strange creative and emotional restraint that permeates the film frequently flatten Disney's original Aladdin into a cardboard version of itself.
'Aladdin' Review: This Is Not What You Wished For (Published 2019)
Aladdin (Mena Massoud) is a thief plying his trade in the marketplaces of the vaguely, vividly Middle Eastern fantasyland of Agrabah, where he meets and falls for Princess Jasmine (Naomi Scott ...
'Aladdin' Review: It's Actually A Really Good Movie
The CGI and the practical effects of the movie do and don't work at certain times during the film. There are points where Smith's Genie looks authentic when next to the actors and in certain ...
Aladdin (2019) Movie Review
3.5. Guy Ritchie directs the 2019 reimagining of the Walt Disney animated classic, Aladdin. This live-action variation stars Will Smith, Mena Massoud, and Naomi Scott. Although it features a slight variation on the original story and musical numbers, it's still rather true to the source material. Aladdin is a jubilant and energetic Disney ...
Aladdin (2019) Review
Directed by Ron Clements and John Musker, the film, which starred the voice of Scott Weinger, Linda Larkin, Jonathan Freeman, Gilbert Gottfried, and Robin Williams, follows the tale of Aladdin, an Arabian street urchin, who finds a magic lamp containing a genie. In order to hide the lamp from the Grand vizier, he disguises himself as a wealthy ...
Aladdin
Dec 6, 2019 Full Review Kenneth Turan Los Angeles Times Aladdin is a film of wonders. To see it is to be the smallest child, open-mouthed at the screen's sense of magic, as well as the most ...
Aladdin (2019) Movie Review: Disney's Live-Action Adaptation Is Much
The trailers for Aladdin have not been kind, making it look like a pale imitation of a nearly 30-year-old film. Thankfully, though, the picture they paint isn't accurate. Aladdin is, by and large ...
Aladdin (2019)
Aladdin just needs to be careful about his choices, about how he uses the potent magic wishes that the genie bestows. But his plan faces one major obstacle: Jafar, the wicked vizier to the Sultan. He's the power-hungry sorcerer who sent Aladdin crawling into a cave seeking out the magic lamp in the first place.
Aladdin
Aladdin works when it focuses on its characters. The world it builds is nice and lavish but without authentic depth. That combined with the lack of wonder and mystery keeps this from being as ...
Aladdin Movie Review
Our review: Parents say (88 ): Kids say (115 ): Thanks to its appealing leads and a strong soundtrack, Disney's live-action remake is considerably better than expected, even if Smith's Genie isn't as memorable as Williams' original. With his crooked smile and earnest voice, Massoud is perfectly cast as Aladdin (although it feels like the hair ...
Aladdin (2019)
Aladdin (2019) - Review Megathread. Review. Rotten Tomatoes: 60%, with 6.01 out of 10 Average and 97 Reviews Counted. Critics Consensus. Aladdin retells its classic source material's story with sufficient spectacle and skill, even if it never approaches the dazzling splendor of the animated original. Metacritic: 54 out of 100 based on 36 critic ...
Movie Review: Aladdin (2019)
They're merely grand refreshers in the company's long line of iconic properties. But despite the studio's transparent motives, Aladdin remains a showcase for three very talented performers who reinvent their characters with such charm that the callousness of Disney's remake enterprise feels momentarily outmatched. Critical Movie Critic ...
Review: Disney's live-action Aladdin is half charming, half dreadful
A 2019 fellow of the National Critics Institute, they're considered an authority on fandom, the internet, and the culture wars. How do you solve a problem like Aladdin ?
Aladdin (2019) Review
Aladdin (2019) Review. Gold-hearted "street rat" Aladdin (Mena Massoud) dreams of a better life. Cosseted princess Jasmine (Naomi Scott) dreams of freedom. And frustrated vizier Jafar (Marwan ...
Aladdin (2019) Movie Reviews
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Aladdin Summary, Trailer, Cast, and More
Guy Ritchie directs the 2019 reimagining of the Walt Disney animated classic, Aladdin. This live-action variation stars Will Smith, Mena Massoud, and Naomi Scott. Although it features a slight variation on the original story and musical numbers, it's still rather true to the source material.
ALADDIN
Get ready for the live-action adaptation of the studio's animated classic, in Irish cinemas May 2019!The "Aladdin" cast includes: Two-time Oscar® nominee Wil...

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