--- title: "The Lion King" year: 1994 kind: "film" canonical: "https://film.one/film/the-lion-king" fi1m_id: "the-lion-king" imdb_id: "tt0110357" tmdb_id: 8587 wikidata_id: "Q36479" fi1m_score: 84 critics_score: 71 critics_reviews: 14 published: "2026-09-13" updated: "2026-09-18T08:37:56.869776+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The Lion King (1994) Directed by Roger Allers, Rob Minkoff · 1h 29m · MPA G · Animation, Family, Drama ## Identity The Lion King - **Canonical:** https://film.one/film/the-lion-king - **Type:** Film - **Fi1m ID:** the-lion-king - **IMDb ID:** tt0110357 - **TMDB ID:** 8587 - **Wikidata ID:** Q36479 - **Same entity:** https://www.imdb.com/title/tt0110357/, https://www.themoviedb.org/movie/8587, https://www.wikidata.org/wiki/Q36479 **Fi1m score: 84** · Critics 71 from 14 reviews *In a sentence:* Jeremy Irons sounds thoroughly inconvenienced by the existence of everyone else > *The Lion King* earns its grandeur through expressive animation and a voice cast that gives the family drama weight. Its lessons can be overbearing, but the wit and feeling make this an easy recommendation. ## Synopsis Simba is at the centre of an animated family drama about growing up, loss and responsibility. Jonathan Taylor Thomas voices him as a youngster, with Matthew Broderick taking over the role as he grows older. James Earl Jones voices Mufasa, Jeremy Irons is Scar, and Moira Kelly plays Nala. Nathan Lane and Ernie Sabella provide the voices of Timon and Pumbaa, while Rowan Atkinson plays Zazu. Comic encounters accompany a story in which Simba has to consider his place in the world, what belonging means and what is expected of him. ## Review Roger Allers and Rob Minkoff ask a fair amount of a family audience in *The Lion King*: attention to loss, a willingness to think about responsibility, and some patience with being told what matters. It is a fine animated drama, funny enough to survive its habit of explaining the lesson. The seriousness gives the story weight, even when the film grows pleased with its own wisdom. There is enough warmth in the performances to make the family relationships matter. The hand-drawn animation does much of the persuading. Chris Sanders’s production design gives the scenery depth and scale, so the animals belong to places that seem to extend beyond the immediate needs of a scene. That helps the film’s grand manner feel appropriate, and there is pleasure in looking even when the storytelling becomes predictable. Allers and Minkoff allow the scenery to hold our attention without needing a joke to justify every pause. Jeremy Irons supplies a useful corrective to the solemnity as Scar. His clipped, disdainful delivery makes the character funny without making him harmless, and gives us someone worth listening to when the film is spelling out its moral distinctions. We laughed at his impatience with everybody else; the amusement comes from how little effort Irons appears willing to expend on them. James Earl Jones’s Mufasa has the warmth and authority the drama needs, without sounding as though every line has been prepared for a public address. The screenplay, credited to Jonathan Roberts, Irene Mecchi and Linda Woolverton, is less relaxed about telling us what to think. Its insistence on duty sometimes makes the existing order sound beyond question, and the film could afford more curiosity about who benefits from it. That matters in a story asking children to think seriously about responsibility. Yet the writing remains clear enough for the family drama to hold our attention, and the jokes usually interrupt the instruction before it becomes oppressive. Nathan Lane’s Timon and Ernie Sabella’s Pumbaa help considerably. Their comic performances give the film some welcome untidiness, while Jonathan Taylor Thomas and Matthew Broderick make Simba an accessible centre despite having less entertaining material than Irons. Editor Ivan Bilancio keeps the changes between comedy and solemn drama brisk, with little sense of the story waiting for its next attraction. The pace is a virtue at 89 minutes, although some of the quieter feeling could use more time. Hans Zimmer’s score is the craft contribution we find hardest to accept without reservation. It presses the film’s seriousness when the animation and voices have already made the point, and can make a simple feeling seem unnecessarily ceremonial. The grandeur is part of what Allers and Minkoff are attempting, so a modest accompaniment would hardly suit it. Even so, the performers could be trusted to carry more of those moments without such emphatic musical assistance. Family animation need not avoid difficult feelings, and *The Lion King* gives children something substantial to consider alongside the comedy. Its certainty about correct behaviour limits it, but the care in the animation and the humour in the performances keep it from becoming a sermon. Be prepared for questions afterwards, including a few the film thinks it has already settled. *Fi1m score 84, published 13 September 2026.* ## What the critics say Most critics admire the film, and the praise gathers around the same things. The hand-drawn animation comes first: the wildebeest stampede and the opening sequence are named repeatedly as the moments that justify the scale. The voice cast is rated highly, Jeremy Irons’s Scar above all, and the Elton John and Tim Rice songs are credited with driving the story. Several reviewers note how seriously the film treats loss and responsibility for a children’s picture, and count that a strength. The spread is wide: there is no middle ground, only admirers and a small group who dislike it outright. The New Yorker finds the father’s death manipulative and the harmonious view of nature unconvincing; The Independent reads it as a reactionary cheer for the status quo; Sight and Sound finds it saccharine and portentous beside earlier Disney. Even supporters concede a predictable, product-like feel and some thematic obviousness, and Time Out is unmoved by the soundtrack. Timon is the one thing nearly everyone enjoys. ## Straight answers **Is The Lion King worth watching?** *The Lion King* is worth watching for families who want an animated drama with real weight, and we scored it 84. Jeremy Irons's Scar and the comedy of Timon and Pumbaa carry it past a screenplay fond of explaining its own lesson. Expect questions from children afterwards, some of which the film thinks it has already answered. **How long is The Lion King, and what is it rated?** *The Lion King* runs 1h 29m and is rated G by the MPA in the US. It is an animation and family film. **Where can I watch The Lion King in the US?** *The Lion King* is streaming on Disney+ in the US, and it is also available to rent from Apple TV from $3.99. Availability is checked daily; the links above go straight to each service. **How does The Lion King compare to The Jungle Book?** *The Lion King* is the graver film and [*The Jungle Book*](https://film.one/film/the-jungle-book) the looser one, with friendship given more room than duty. The 1994 film has deeper scenery, a stronger villain in Jeremy Irons and more to say about loss and responsibility, though it lectures more. For children who want to be amused rather than instructed, the earlier film is the easier evening. **What should I watch after The Lion King?** After *The Lion King*, try [*The Jungle Book*](https://film.one/film/the-jungle-book) (1967, Fi1m 80): Looser animal comedy, with friendship given more room than duty. Then [*The Iron Giant*](https://film.one/film/the-iron-giant) (1999, Fi1m 88): Another family animation that takes children’s capacity for difficult feelings seriously; and [*My Neighbour Totoro*](https://film.one/film/my-neighbor-totoro) (1988, Fi1m 89): A gentler account of childhood uncertainty, with room to wander. ### Reviews we read (14) - **RogerEbert.com**, Roger Ebert (90/100, inferred): The film is a superbly drawn animated feature that is surprisingly solemn, dealing with real issues like loss and responsibility in a way that prepares children for life's lessons. It balances fantasy with jungle realities while delivering strong performances, especially the villain Scar, and memorable sequences. [Read](https://www.rogerebert.com/reviews/the-lion-king-1994) - **The Guardian** (90/100, inferred): The critic praises this 1994 Disney classic about a noble lion cub cheated of his kingdom, now gloriously presented on the giant Imax canvas as a cracking Christmas treat. The animation is simple and bold, the songs drive the story with terrific fervour, and there are superb moments of family treachery and poignancy. [Read](https://www.theguardian.com/culture/2002/dec/20/artsfeatures3) - **The Hollywood Reporter**, Duane Byrge (90/100, inferred): The critic calls the film a magnificent animated feature and certain blockbuster that will appeal across all age groups with its wise storyline, heart, humor and energy. Directors Roger Allers and Rob Minkoff are praised for crafting a multidimensional film whose crowning glories are the animators' majestic work. [Read](https://www.hollywoodreporter.com/news/general-news/lion-king-thrs-1994-review-2-906559/) - **Empire**, William Thomas (80/100, inferred): The critic praises the film's animation for its spectacle and dramatic impact, especially the wildebeest stampede, and highlights the strong voice performances and Elton John/Tim Rice soundtrack. [Read](https://www.empireonline.com/movies/reviews/lion-king-review/) - **Time Out**, Tom Huddleston (4/5): The re-release confirms the film's enduring appeal through its sharp script, satisfying story and peerless vocal performances, despite a weak pseudo-world-music soundtrack. Few 3D enhancements alter the experience for those who saw it originally. [Read](https://www.timeout.com/movies/the-lion-king-3d) - **Slant Magazine**, Rob Humanick (★★★): Spectacle often dominates meaning to reductive effect, with thematic obviousness and cultural insensitivity, yet the film remains inventive and beautiful with breathtaking scenery and rapturous imagery. It works best when closest to its Shakespearean and biblical inspirations but opts for distraction over genuine wisdom or pathos. [Read](https://www.slantmagazine.com/film/the-lion-king-5750/) - **The New York Times**, Janet Maslin (70/100, inferred): The Lion King is visually enchanting and contrived with spirited prettiness that no child will resist, placing it in the arc of neo-Disney classics. It has the feeling of a clever, predictable product that departs from the spontaneity of predecessors but succeeds as a spirited animal-loving entertainment. [Read](https://www.nytimes.com/1994/06/15/movies/review-film-the-hero-within-the-child-within.html) - **Sight and Sound** (30/100, inferred): The critic finds the film saccharine and pompously aspirational in its Shakespearean allegory and original story, with flashy computer effects undermining the usual Disney charm. Fun elements like Timon and Scar's voice work are overshadowed by portentousness, making it inferior to earlier Disney classics like The Jungle Book. [Read](http://old.bfi.org.uk/features/ultimatefilm/chart/details.php?ranking=94) - **The Independent** (30/100, inferred): The critic finds the film a reactionary cheer for the status quo that stigmatizes the underclass while offering an ecological gloss. Its visuals are stunning but the storytelling amounts to fast-food reactionary drivel. [Read](https://www.independent.co.uk/arts-entertainment/film-more-whimper-than-roar-the-lion-king-u-dir-rob-minkoff-us-minna-tannenbaum-12-dir-martine-dogowson-fr-funny-man-18-dir-simon-sprackling-uk-1441482.html) - **The New Yorker**, Terrence Rafferty (30/100, inferred): The film shamelessly manipulates children's emotions through the father's death and guilt, while presenting a bizarre, unconvincing vision of nature as a harmonious ecosystem where prey happily serve predators. The critic singles out the comic relief, particularly Nathan Lane's Timon, for providing the few moments of genuine joy amid the tonal whiplash. [Read](https://www.newyorker.com/magazine/1994/06/20/no-pussycat) - **Digital Spy**, Mayer Nissim (90/100, inferred): The 1994 film remains every bit as good as remembered, succeeding through its epic yet simple storytelling, strong vocal performances (especially Jeremy Irons as Scar), memorable Elton John/Tim Rice songs, and enduring hand-drawn animation that avoids looking dated. [Read](https://www.digitalspy.com/movies/a343876/the-lion-king-3d-review/) - **The Ringer**, Jake Kring-Schreifels (90/100, inferred): The piece celebrates the 1994 film as a landmark Disney achievement created by an underdog team of mostly inexperienced animators. It singles out the innovative hand-drawn animation techniques and epic scope, particularly the Circle of Life opening sequence, for making the story transportive and emotionally resonant. [Read](https://www.theringer.com/2019/07/19/movies/the-lion-king-original-animation-1994) - **Collider**, Andre Dellamorte (80/100, inferred): The critic calls the 1994 film the best of Disney's late-80s/90s run and a crowning achievement that reimagines classic stories in a fresh way. They single out its blend of beauty, pain, Shakespearean influences, and warm humor as particularly effective for children while noting a minor complaint about an overt Nazi comparison in Scar's rule. [Read](https://collider.com/the-lion-king-blu-ray-review/) - **Eye for Film**, Amber Wilkinson (80/100, inferred): The critic finds the 3D re-release of the 1994 animated classic a worthwhile update that enhances the viewing experience without losing any of the film's essential emotional and comedic elements. She singles out the immersive depth added to the hand-drawn animation, particularly from the opening frames, as the standout feature that makes viewers appreciate the visuals anew. [Read](https://www.eyeforfilm.co.uk/review/the-lion-king-3d-film-review-by-amber-wilkinson) ## Details - **Director:** Roger Allers, Rob Minkoff - **Director:** Roger Allers, Rob Minkoff - **Screenplay:** Linda Woolverton, Jonathan Roberts, Irene Mecchi - **Story:** Rick Maki, Burny Mattinson, Barry Johnson, Lorna Cook, Thom Enriquez, Andy Gaskill, Gary Trousdale, Jim Capobianco, Kevin Harkey, Jørgen Klubien, Chris Sanders, Tom Sito, Larry Leker, Joe Ranft, Ed Gombert, Francis Glebas, Mark Kausler - **Editor:** Ivan Bilancio - **Music:** Hans Zimmer - **Production design:** Chris Sanders - **Producer:** Don Hahn - **Cast:** Matthew Broderick as Simba (voice); Moira Kelly as Nala (voice); Jeremy Irons as Scar (voice); Nathan Lane as Timon (voice); Ernie Sabella as Pumbaa (voice); James Earl Jones as Mufasa (voice); Robert Guillaume as Rafiki (voice); Rowan Atkinson as Zazu (voice) - **Runtime:** 1h 29m - **Certificate (MPA):** G - **Release (the US):** 24 June 1994 - **Genres:** Animation, Family, Drama - **Also in:** [Golden Globe Best Musical or Comedy winners](https://film.one/collections/golden-globe-comedy.md) (Winner, 1994) - **Budget:** $45 million - **Box office:** $763 million - **Trailer:** https://www.youtube.com/watch?v=lFzVJEksoDY ## Where to watch in the US - Disney+: streaming, uhd - Apple TV: rent $3.99, hd - Amazon Prime Video: buy $9.99, uhd - Apple TV: buy $19.99, hd *Checked 2026-09-13.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, TR, US, ZA. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 1995: Best Original Score (won) - Kids' Choice Award for Favorite Movie 1995: Kids' Choice Award for Favorite Movie (won) - Annie Award for Best Animated Feature 1994: Annie Award for Best Animated Feature (won) ## If you liked this - *The Jungle Book* (1967), Fi1m 80: Looser animal comedy, with friendship given more room than duty. — [Fi1m page](https://film.one/film/the-jungle-book.md) - *The Iron Giant* (1999), Fi1m 88: Another family animation that takes children’s capacity for difficult feelings seriously. — [Fi1m page](https://film.one/film/the-iron-giant.md) - *My Neighbour Totoro* (1988), Fi1m 89: A gentler account of childhood uncertainty, with room to wander. — [Fi1m page](https://film.one/film/my-neighbor-totoro.md) - *The Secret Garden* (1993): Childhood loneliness and difficult family ties, handled with patience and warmth. - *Wolfwalkers* (2020), Fi1m 84: Expressive animation and a sharper argument about obedience, freedom and belonging. — [Fi1m page](https://film.one/film/wolfwalkers.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-lion-king