Movie Review: ‘Mufasa: The Lion King’

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Review by James Lindorf

It is a great time to be a kid! Schools are wrapping up for winter break, and we are just days away from the start of most major holidays. While next week is geared toward adult audiences with the openings of “Nosferatu,” “Babygirl,” and “A Complete Unknown,” this week is all about the kids. There are two major studio releases that are sure to fill theaters, along with one minor release for a beloved British series.

The first major release is Disney’s “Mufasa: The Lion King,” premiering everywhere on December 20th, which is expected to dominate the box office. The Lion King franchise has been immensely successful, with the original 1994 animated film grossing over $900 million. The story has since led to a sequel, a sidequel, an award-winning stage musical, a “live-action” remake, and now a prequel.

In “Mufasa: The Lion King,” Rafiki (voiced by John Kani) narrates how an orphaned cub grows to become the king of the Pride Lands. Young Mufasa (Aaron Pierre), lost and alone, befriends Taka (Kelvin Harrison Jr.), the royal heir, and his mother, Eshe (Thandiwe Newton). When their home is threatened by Kiros (Mads Mikkelsen), it initiates an expansive journey for a diverse group of characters searching for their destinies. Directed by Barry Jenkins (of “Moonlight” fame), the film features an impressive voice cast that includes Tiffany Boone, Lennie James, Anika Noni Rose, Keith David, Seth Rogen, Billy Eichner, Donald Glover, Blue Ivy Carter, and Beyoncé Knowles-Carter, with songs by Lin-Manuel Miranda.

On the positive side, the film is visually stunning. The animals and various environments they traverse—from drought-ravaged plains to snowy mountain tops and lush Pride Lands—are all beautifully constructed. However, some moments verge on AI-generated imagery during extreme Go-Pro-style close-ups and slow-motion scenes, but they are thankfully few and far between. The only other drawback is that the lion mouths move a little too much like human mouths, a holdover from the 2019 remake. I expect an Oscar nomination for visual effects in their future.

Another positive is the outstanding voice acting. With the exception of Rogen and Eichner, most actors immerse themselves in their roles, delivering authentic performances. Strangely enough, the characters speak with British accents early on, but it dissipates as the characters age. I wonder if this might have been an homage to Jeremy Irons, the original Scar actor. While that would be a nice emotional choice, it can distract the audience, making it difficult to clearly understand Taka’s name, which sounds like “Tucker,” and viewers are left wondering why he sings about wanting a “bruva.”

Beyond the trivialities of an accent and a few differently rendered scenes, the film has some significant shortcomings. Taka’s character development feels abrupt, with his downfall lacking proper foreshadowing. The film leans heavily on imagery from the original as a sign of tension between the brothers instead of developing their relationship. When the breaking point occurs, it feels insignificant, leaving viewers puzzled about how it leads to such a monumental betrayal.

The most glaring fault, however, is the music. The original “Lion King” features some of Disney’s most iconic songs, whereas “Mufasa: The Lion King” includes one of the weakest soundtracks in Disney history. Each song feels uninspired, both musically and lyrically. “Bye Bye,” in particular, stands out as a poor fit for the character Kiros, who is portrayed as subtle yet brutal, making him sing something so cutesy feels out of place. The film might have benefitted from being a straightforward drama instead of a musical, allowing for a more well-developed story.

Ultimately, “Mufasa: The Lion King” is more disappointing than outright bad. It’s clear how it could have been a fantastic film if Jenkins had been given a stronger script from Jeff Nathanson, a writer known for inconsistency, and if it didnt have Miranda’s weakest work to date. Nevertheless, there is still fun to be had, and the children in my audience seemed to enjoy it, resulting in a rating of 2.5 out of 5.

Release Date (Theaters): Dec 20, 2024, Wide
Genre: Kids & Family, Adventure, Drama, Animation
Rating: PG (Peril|Action/Violence|Some Thematic Elements)
Director: Barry Jenkins
Producer: Adele Romanski, Mark Ceryak
Screenwriter: Jeff Nathanson
Distributor: Walt Disney Pictures
Production Co: Walt Disney Pictures, Fairview Entertainment
Runtime: 2h 0m