Close-ups of its beady blue eyes are unsettling, though it was probably a good call to go blue over gold, which looks a bit demonic even in the cartoon. Awkwafina’s comedy charms can only go so far while looking like an actual seagull who might be after your chips at the beach. Speaking of Scuttle, the cute cartoons that stood in for Ariel’s seagull, crab and fish friends have been replaced with horrifyingly accurate depictions of said animals. Prince Eric’s (Jonah Hauer-King) makes sense, maybe even Ariel’s in-her-head anthem after she gives her voice to Melissa McCarthy’s Ursula, but did Scuttle really need a song, too? Miranda's new songs are odd, too, and don't seem to fit. It’s like gazing in on a roundtable of AI supermodels with fins.įor all its pizazz, everything about this “Little Mermaid” is just more muted. Worse, as we spend more time with them, following Ariel’s multicultural sisters as they gather around their father King Triton (Javier Bardem), it’s hard to shake a distinctly uncanny valley feeling. ![]() But the first mermaid that comes into focus doesn’t so much evoke wonder as it does a flashback of Ben Stiller’s merman in “Zoolander.” The technology is better, sure, but the result is about the same. Still, there’s excitement as the camera takes us underwater to give us our first glimpse of the mermaids - even after a somewhat ominous quote from Hans Christian Anderson that begins the movie (“But a mermaid has no tears, and therefore she suffers much more”). Combined with the wonderful songs and lyrics by Alan Menken and Howard Ashman, it’s not hard to understand why it helped fuel a Disney Animation renaissance.Īnyone who has gone through the recent Disney's live-action library would be right to approach “The Little Mermaid” with caution. ![]() There was, in the 1989 film, a sparkling awe to everything.
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