The Little Mermaid
If the animated The Little Mermaid didn’t exist, Rob Marshall’s version would almost certainly be met with the level of adoration that its predecessor enjoyed in 1989.
Easily one of the better Disney live-action remakes, the latest of these blatant cash-grabs and nostalgia-milkers nevertheless suffers from redundancy, and yet the visual upgrades and a refreshingly diverse cast make it a worthwhile rehash.
Despite three new songs (plus scattered updated lyrics of old favorites) by Lin-Manuel Miranda, and the inherent differences of not being an animated film, this is the same Little Mermaid that viewers know and love. The bulk of these Disney retreads are comparably faithful, keeping the narrative and songs intact, just spruced up with famous faces/voices and cutting-edge special effects that render its animals impressively photo-real.
But while the story of mermaid Ariel (Halle Bailey, Grown-ish) going ashore to woo human prince Eric (Jonah Hauer-King, A Dog’s Way Home) endures, its anthropomorphic creatures are rooted in vocal performances rather than facial expressions, resulting in a welcome lack of dead-eyed animals that sunk The Jungle Book and The Lion King.
Leading the charge on the voice side, an unidentifiable but nevertheless well-cast Daveed Diggs delivers a host of familiar jokes as majordomo crab Sebastian, whose bobbing eyes prove plenty emotive. Playing his friendly foil, Awkwafina is a riot as scatterbrained seabird Scuttle, whose role is significantly expanded in the name of dimwitted humor, while a miscast Jacob Tremblay is essentially (and understandably) a non-factor as the barely-there Flounder.
Amid underwater special effects on par with — if not superior than — Black Panther: Wakanda Forever, these aquatic animals mesh well with the film’s human cast, led by the bubbly Bailey; an expertly cast Javier Bardem as Ariel’s domineering father, King Triton; and Melissa McCarthy, not in bull-in-china-shop mode, and therefore borderline great as Triton’s banished, diabolical sister Ursula.
With minimal distractions on the filmmaking and performance fronts — a minor miracle after the likes of Lady in the Tramp and Pinocchio — the now-classic songs by Alan Menken and Howard Ashman fully shine. Clearly aware of the material’s rich history and its importance to Gen X & Y parents bringing their own children to theaters, Marshall and his team more often than not rise to the occasion and deliver memorable sequences that balance homage and creativity.
Soundtrack standout “Under the Sea” is dressed to the gills in colorful CGI, making a convincing argument that life truly is better down where it’s wetter — despite Sebastian’s band-centric lyrics not receiving much literal visual accompaniment. Elsewhere, the sinister “Poor Unfortunate Souls” lets McCarthy show off her thus far underused singing talents, and “Kiss the Girl” honors the lagoon scene’s romantic vibes, adding a few fun comedic touches.
As for those new songs, Eric’s “I Want” number, “Wild Uncharted Waters,” is pretty hokey, visually unappealing, and only there to give the film’s generally likable co-lead a solo. But Ariel’s internally spoken/sung “For the First Time” as she discovers land life sparkles as Bailey takes that world in with wide-eyed wonder, and the Hamilton-esque “The Scuttlebutt” is a treat for fans of Miranda’s hip-hop ways and adds another impressive layer to Diggs’ and Awkwafina’s already charming performances.
However, besides those new wrinkles, all of the above — and arguably more — is available in fresher, more effective forms in the animated original.
Grade: B. Rated PG. Now playing at AMC River Hills 10, Carolina Cinemark, Grail Moviehouse, and Regal Biltmore Grande.
(Photo: Walt Disney Pictures)
