Aladdin (2019)

The latest of Disney's live-action remakes of their classic animated films, this film tries to live up to the success of the 1992 original. And, in my opinion, it does a reasonable job.

I won't go into great detail on the plot, because I have already reviewed the animated version. But basically, Aladdin (Mena Massoud) is a young street kid having to steal on a daily basis just to get by.

One morning, he meets Princess Jasmine (Naomi Scott), who is in disguise, so he doesn't realise who she is. But the two of them connect on an emotional level, but due to their difference in status, it doesn't seem as though they can be together.

But Aladdin, desperate to see her again, breaks into the palace, where he is apprehended by Jafar (Marwan Kenzari), chief vizier to the Sultan (Navia Negahban). Jafar has his eyes on him, because he needs a common thief to go into the so-called Cave of Wonders and retrieve for him an oil lamp: a lamp he believes contains a genie who will help make his dreams come true, mainly his dream to become Sultan himself.

Aladdin ventures into the cave, but doesn't make it out again (at least at first). Finding the lamp for himself, he rubs it and releases a genie (Will Smith), who then gives Aladdin three wishes.

That ought to do for plot description. I'm sure most people reading this know the original film, so I'm just going to move onto the actual review.

Directed by Guy Ritchie, this version actually stands quite well as a film in its own right. Yes, the plot is almost identical to the original, and all the songs from the original are in this version, too. But there are some significant enough differences as well.

The music - by Alan Menken - is also of course the same, at least as far as the songs go. There is one additional song that was not in the original, but more on that later. All the new lyrics - both for the new song and some varied lyrics from the original lyrics by Howard Ashman and Tim Rice - are written by powerhouse duo Benj Pasek and Justin Paul (seriously, I am so in love with both of these guys; everything they write is absolutely sensational as far as I'm concerned).

There are also a couple of story/plot elements that are different, but I won't go into too much detail on those, as I don't want to spoil anything for you. The character of Jasmine is quite different in this version too; rather than being quite a passive character as she was in the animated film, she has her own strong desires and ideas, and is not afraid to voice them. She comes off as a very independent woman who knows what she wants, and what she deserves, and how to get both of them.

This is where that new song comes into play. The original film never had a strong, solo song for Jasmine to sing. But as the character here is that little bit different, this was something that needed to be incorporated: the so-called 'I Want' type of song that features in every musical. The song in question is titled 'Speechless', and is actually one of the best songs in the film; it is certainly the best performance of a song, with newcomer Naomi Scott being an incredible singer.

The entire cast are fabulous, actually. Naomi Scott - mentioned above - is by far the strongest character in this film. Mena Massoud as Aladdin also does a reasonable job with his portrayal, and Will Smith does what few people thought he could: bringing the genie - originally played by Robin Williams - to life in a way that pays great respect to Williams and his memory, but also makes the character his own in a wonderful way.

I must say, though, I didn't care much for Kenzari's Jafar. And I'm not just saying that because Jonathan Freeman - who voiced the character in the animated film - is amazing. Kenzari doesn't really bring any emotion to the role at all. He certainly doesn't bring any menace or threat which, for those who know the characters from the original, the character of Jafar needs in order to be any kind of decent antagonist to our band of heroes.

But the thing that makes this film the most different from the original is the sheer visual spectacle that it is. The large-scale musical numbers are absolutely gorgeous, thanks to production designer Gemma Jackson, costume designer Michael Wilkinson and, most of all, choreographer Leah Hill. These numbers feel even bigger and grander when performed by real people than they ever did in animated form.

All in all, the film is a wonderfully nostalgic journey back to the spectacle of the original animated film. The ending does tend to drag on a little, but overall, the film was incredibly enjoyable. I would certainly recommend it to fans of the original, there is enough about this film that is different, but also enough that is the same that you will enjoy it just as much.

9 out of 10.

(Note: You can read my review of the 1992 animated version here).

La La Land (2016)

A fantastic musical in the style of the classic Hollywood movie musicals, this film almost won Best Picture at the Academy Awards (remember that?)

Sebastian (Ryan Gosling) and Mia (Emma Stone) seem destined to be together. At least, one would think so, as they keep running into each other randomly over several months.

First on the highway, as Mia is distracted, running lines to herself on the way to an audition, and Sebastian is the frustrated driver behind her who just wants her to pay attention to the moving traffic.

Then Mia walks in on the moment Sebastian is fired from his job playing incidental music in a restaurant, after his boss Bill (J. K. Simmons) is furious that Sebastian hasn't adhered to the strict easy-listening set list, but instead has been playing his own free jazz.

But it is after they meet again at a party in the hills that they finally get to talking. Both of them are trying to break in to their respective industries, but neither seems to be having any luck.

They strike up a friendship, which leads to a relationship, as they both support each other in their dream careers: Sebastian, as he starts performing with old friend Keith (John Legend) on a tour around the country; and Mia, as she finally tries to venture out on her own and write and perform a one-woman show.

The screenplay, by director Damien Chazelle, is quite good. The characters are very well written, and clearly defined, with realistic goals and conflicts. The story - a romance at its heart - is also a tragedy, as the paths of dreams and reality seldom meet.

The songs, with music by Justin Hurwitz (who also wrote the score) and lyrics by Benj Pasek and Justin Paul, are certainly not your standard musical-type songs. Each song is perfectly suited to the character(s) who sing it, with a big number to open the film (this song is amazing, but more amazing is the choreography of all those background performers), slower jazz songs for Sebastian to sing, and somewhere-in-the-middle for Mia.

The choreography throughout is sensational, and in fact in my opinion eclipses the songs themselves.

But where this film truly shines is in the production design (by David Wasco) and costume design (by Mary Zophres). Both of these elements add so much to the feel of the film. Wasco's design of the sets, filled with vibrant colour, matches perfectly to the stunning costumes, particularly throughout the first half of the film.

The cinematography by Linus Sandgren serves these two elements well also, as we get to see these stunning sets and costumes through the eyes of a constantly-moving camera (at least it feels like it is always moving; it may be stationary from time to time but the action of the scene places you right in the centre anyway).

The cast are all fantastic too, especially Emma Stone, who won an Academy Award for her hard work. Gosling is also quite good, and boy, can he dance!

One can't help but feel nostalgic while watching this, as there is so much respect paid by all involved for the old movie musicals of yesteryear, and the film - while being set in the modern day - feels very much like one of these classics. I will happily watch this film over and over; it's just so beautiful.

8 1/2 out of 10.

The Greatest Showman (2017)

A slightly fictionalised account of the life of circus pioneer P. T. Barnum, with songs by Benj Pasek and Justin Paul (creators of the Broadway show Dear Evan Hansen), this film will delight audiences young and old. 

It certainly delighted me; I saw this 3 times in the cinema, and have rewatched it several times on Blu-ray now as well. 

P. T. Barnum (Hugh Jackman) and his wife (Michelle Williams) are trying to give their daughters (Austyn Johnson and Cameron Seely) a better life than what he had growing up. To that end, Barnum opens a show featuring so-called 'freaks', attractions he believes will draw the paying crowds, anxious to catch a glimpse of things they wouldn't otherwise experience. 

He enlists the assistance of playwright Phillip Carlyle (Zac Efron) as an additional backer, and puts on his show to audiences nightly. 

It isn't long before the draw of the crowds and the possibility of even more exciting shows and performers sees Barnum neglecting his family in order to pursue his dreams, despite the fact it is for his family's sake he is pursuing them in the first place. 

I will leave the rest of the plot for you to discover for yourself; it really is something to behold. 

The songs in this film are incredible; Pasek and Paul have such an incredible ability to write songs that will stay with you long after the credits roll, both lyrically and musically. Knowing a bit about composition as I do, I can say they are fans of interesting and unique intervallic leaps. 

However, by the end of the film, we have heard some of the tunes reprised several times, and some of the lyrics sung through a few too many repeats. I don't think it's particularly noticeable necessarily, because there are plenty of other things taking your attention. 

For one, the choreography (by Shannon Holtzapffel) is genius, and the cinematography (Seamus McGarvey) is also fabulous. The film overall is such an amazing visual and musical spectacle, and these two departments help to cover a 'multitude of sins' as the phrase goes. 

Look out too for a marvellous performance by Zendaya as Carlyle's love interest, in a time when interracial relationships were severely frowned upon. Her acrobatic and vocal ability, as well as her acting talents, are truly a wonder to behold. 

All the young cast in this film are fabulous as well, and can truly hold their own beside the momentous abilities of the many leads. 

I realise there has been a fair amount of criticism regarding some of the glossing over of some of Barnum's more negative history, but really, that's not what this film is all about, and of course there are people who will complain about anything just to have something to complain about. 

All things considered, I thought this film was wonderful, and would thoroughly recommend it to anyone who enjoys the escapism of a good musical. 

9 out of 10.