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Date: 6/20/2023
New to Theaters: “The Little Mermaid”
Disney reignites the live-action remake trend again with “The Little Mermaid.” To be honest, I’ve grown weary of writing about the onslaught of mindless retreads the House of Mouse continues to dish out. I can only make the same sanctimonious speech about how these films eschew originality for a safe and easy-to-sell product before it becomes tiresome for me to write and you to read.
In many ways, “The Little Mermaid” comes from the same mold as its remake predecessors.
Screenwriter David Magee repurposes the same narrative tenants without the same grace as the 1989 original. His adaptation is far more cumbersome, embracing an elongated and clumsy 135-minute runtime compared to the 89’s compact while still impactful 83-minute length. You would think the added time would allow for more nuanced depictions of the film’s reflections on cultural misunderstanding, but this film primarily finds itself treading water in that regard. If anything, the film’s meditations feel far less effective than they once were.
Instead, 2023’s “The Little Mermaid” utilizes its extra time to inject superfluous inclusions. Flatlining new songs stick out like a sore thumb compared to the resonant work of Alan Menken, including a Scuttlebutt rap song that finds Lin Manuel-Miranda sleepily regurgitating his songwriting shtick.
Complimentary characters, like Eric’s caretaker Grimsby, are awarded more screen time, although their impact on the narrative is not enriched because of it. In addition, several elements of this remake seemingly strive just to recapture the original’s charms in a competent fashion. None of Melissa McCarthy’s distinct talents are utilized in her adequate recreation of the wicked Ursula, while Jonah Hauer-King and Javier Bardem lack presence in their interpretations of Prince Eric and King Triton.
For all my misgivings, I still found myself charmed by “The Little Mermaid,” and it’s mostly a testament to star Halle Bailey. The gifted singer commands the screen in a star-making performance.
Her soaring vocals imbue vitality into each signature track; she opens with an earth-shattering interpretation of “Part of Your World” that instantly communicates the wistfulness and angst motivating Ariel in her journey. Bailey’s radiant charm and poised dramatic chops consistently breathe new purpose into the material, with the actress’ sheer ability carrying much of the uneven film on her shoulders. I also credit co-star Daveed Diggs, who delivers a fresh Caribbean take on King Triton’s loyal sidekick, Sebastian, for finding a new perspective within familiar confines.
The stewardship of “Chicago” and “Into the Woods” director Rob Marshall is another feather in the film’s cap. Marshall’s vast experience coordinating showstopping musical numbers is felt throughout; his smooth camerawork and keen eye for expressive framing often unburden the aching emotions behind each musical number. Going into the film, I was concerned from pre-release marketing materials that the visuals would look too dim, particularly with its seemingly dreary underwater sections. Fortunately, Marshall and his creative team establish lavish production values that effectively mask some of the film’s occasionally questionable CGI.
2023’s “The Little Mermaid” is an acceptable yet entirely rudimentary reboot. While the film falls into the Disney formula trap, it does so with panache and an adequate understanding of what made its source material work so well in the first place.
Also New to Theaters: “Transformers: Rise of the Beasts”
Optimus Prime, Bumblebee and the Autobots join forces with an ancient transformer team from a bygone era in “Transformers: Rise of the Beast.”
I don’t blame anyone who has lost track of the shlock perpetrated by the Transformers franchise. After the series made a promising live-action debut in 2007, the Transformers have since featured in four sequels that range from bad to downright abysmal, along with a somewhat decent prequel, 2018’s “Bumblebee.” There really is no narrative thread to follow between these features; the brand’s sole purpose on the big screen is to deliver bombastic setpieces that lean into the colorful carnage emanating from robots that transform into vehicles.
“Rise of the Beasts” marks a holistic reset for transformers following a five-year dormancy period. Former franchise stalwarts Mark Wahlberg, Shia LaBeouf and director Michael Bay are long gone. Instead, “Beasts” highlights a fresh blend of emerging industry talents. This change of pace helps deliver a competent crowd-pleaser that eventually loses itself in the beige modern blockbusters formula.
When the Transformers are front and center, “Rise of the Beasts” showcases a surprisingly faithful rendition of the 1980s television series. Sure, the story is utter nonsense — it’s your typical chase for some undefinable plot MacGuffin with an elaborate sci-fi name. That said, the inherent dopiness is part of the brand’s charm. The Transformers act like they are taking the stage in a world-class play, spewing plot jargon dialogue with an infectious blend of gravitas and sincerity. In addition, the new characters, such as the animal robot hybrids, the Maximals, inject a fresh pulse into the series as contentious companions to the Transformers.
It helps that the voice-over performers showcase dynamic talent. Peter Cullen remains ubiquitous as Optimus Prime; his trademark cadence and weighty delivery capture the presence of the team’s matter-of-fact leader. New stars Michelle Yeoh, Ron Pearlman and Pete Davidson also leave their mark throughout. Davidson is especially a scene-stealer, imbuing his slacker comedic charm in the role of Mirage.
When it’s time for the human characters to take center stage, Rise of the Beasts transforms into a dull retread. New stars Anthony Ramos and Dominique Fishback are extraordinary talents in the right roles, but the duo is given little to work with here. Ramos is stuck playing the generic plucky protagonist as Noah Diaz, an ex-marine trying to provide for his ill brother in a world that constantly ignores his existence. The character encompasses every leading man cliche under the sun, with Ramos rarely receiving an opportunity to imprint his magnetism into the role. Fishback is even more underserved by the wayward material. The screenwriting team of Joby Harold, Darnell Metayer and Josh Peters abandon the actress in a lifeless role. She is awarded no personality to highlight onscreen as ancient history expert Elena Wallace, instead only existing to regurgitate meaningless exposition to the viewer. I understand that a transformers film is not the place to go for textured characters, but the humans here will leave fans dozing off until the transformers return to the screen.
As a piece of summer escapism, “Rise of the Beasts” delivers a mixed bag. I appreciate the steadiness director Steven Caple Jr. displays in his direction; the action scenes are smooth and legible, unlike the bombastic mayhem indicative of former series director Michael Bay. The grand setpieces here feature sparks of skilled choreography and inventive camera works. Still, the action largely leaves something to be desired. While Bay’s chaotic sensibilities were often maddening, they at least defined an arresting stylistic personality for the franchise. Caple Jr.’s competence behind the camera often renders vanilla results. Several of his setpieces highlight loud explosions and clashing combat without the tension or creative energy needed to bring these sequences to life.
Capped off with an obligatory attempt at generating interest for a sequel, “Transformers: Rise of the Beasts” is a remarkably unremarkable summer offering. The film unfortunately fumbles its glimmers of light-hearted fun by including a heaping of cliched contrivances and bland, studio-mandated directives.