Mufasa: The Lion King (2024)

This is a dazzling animated musical that matches photorealistic spectacle with hummable earworms and a mythic sense of story. Mads Mikkelsen delivers a magnificent villain and Lin-Manuel Miranda provides excellent songs.

The prequel is praised as a captivating children’s fable with worthwhile themes of empathy and breaking cycles, though it inherits flaws like discordant songs and comedy from its predecessor.

This Disney origin story is no Hakuna Matata but stands a class above the 2019 movie as a solid family adventure.

The critic calls it a noble effort lacking originality and a human touch, a rousing noble misstep where the filmmaker's signature is too light to make out. Main issues lie in the weak script and songs plus the inherent limits of the photoreal CGI form.

The critic finds it a flawed but fitfully powerful and absorbing CG prequel that gives the tale of brotherhood and betrayal currents of personality and style through visual detail and intimacy. Motivations for the central conflict feel slight and some comic distractions dilute the drama.

The film is a palatable and entertaining family story with hyper-realistic visuals and classical themes, though the songs fall flat and it may not inspire the same nostalgia as the original.

The critic sees it as an improvement over the prior remake—brighter and livelier—but still limited by photorealism and studio formulas, not the best showcase for Jenkins' talents.

The critic finds Barry Jenkins' verve only faintly shines through in this mildly entertaining origin story. It touches on found-family themes but feels bloodless and impersonal overall.

The critic sees Jenkins' most mainstream and impersonal work; the CG images impress with gripping moments in the second half as Mufasa embraces his destiny, but like too many origin stories it often rehashes what was once stirring about the material.

The film is deemed lifeless and bland despite impressive technology, a wasted opportunity lacking imagination, emotional depth, and cinematic experience.

The critic finds the prequel soulless and without good reason for existing despite clear effort; Jenkins assembles beautiful shots but the photoreal CGI remains cold and characterless while the songs are lacklustre.

The review criticizes the prequel for messy visuals and shaggy storytelling, calling it bland and busy despite Jenkins' involvement.

The critic calls the prequel unnecessary and a sign the franchise is running out of lives, faulting flat characters, repetitive backstories and a flawless protagonist. She singles out Lin-Manuel Miranda’s songs as terrific and the dynamic performance of the Taka/Scar character as the most compelling element.

The film is a punchy, heartfelt and ingenious drama with strong storytelling energy from its writer and director. It offers an origin myth for several characters but is let down by a forgettable musical score.

The critic finds the film strained between Jenkins' vision and corporate demands, with a confused narrative despite enterprising direction and strong voice work. Praises the intimate style and some chemistry but notes it chafes against the story.

The critic finds the photorealistic prequel pretty and occasionally diverting but ultimately wan, dull and overly familiar despite some sharp moments. She singles out the lush visuals and the occasional departure from Disney formula while noting the story's repetitive focus on royal destiny and weak comedy.

The prequel is largely hopeless and works hard to undermine what made the original great through a craven approach. New songs feel like off-brand substitutes and the exercise feels pointless.

The critic finds the origin story impressive, emotionally satisfying and thoughtful, praising how it deepens familiar characters and adds fresh context through Jenkins’ vision. He singles out the modest, heroic take on young Mufasa, the sibling dynamic and the ensemble songs while noting the technical animation achievements.

Barry Jenkins brings signature storytelling to a visually stunning and emotionally charged prequel that succeeds as an engaging addition offering fresh layers. It stands as a major course correction for Disney’s live-action slate with a powerful tale about the making of a king.

The critic finds it a pleasant surprise despite prequel issues, praising Jenkins' direction for bringing life and spirit, especially in visuals and character focus, but notes pacing problems from storytime framing and uneven balance between hero and villain arcs.

While an improvement over the 2019 remake with better facial expressions and some good songs, it suffers from horrid pacing, visual homogeneity, and feels ultimately useless as a prequel. The story rushes through details without pausing for grandeur.

The critic notes that while the relationship between Mufasa and Taka has potential, the photorealistic animation flattens emotions, songs are unmemorable, and the prequel feels like a DTV knockoff on the big screen due to being constrained by the original.

The critic finds the film a moderate visual improvement over the 2019 remake with solid performances, but criticizes the predictable and unengaging origin story and lack of memorability in the songs; it struggles to justify its existence.

Pete Hammond views the film as a rousing action-adventure buddy movie that emphasizes characters through closeups and romantic moments, high production values, and serviceable songs, though it prioritizes nonstop action over the regal magic of prior versions.

The review criticizes the lifeless CGI animation and how even talented director Barry Jenkins can't overcome the format's limitations, resulting in a dull prequel that wastes resources on unnecessary remakes.

The critic finds it a satisfying, enjoyable prequel that improves on the 2019 remake with more expressive characters, energetic camerawork, vibrant lighting, and serviceable songs, praising Jenkins for making it his own with genuine emotion.