Movie review

Disney's Little Mermaid remake goes swimmingly despite new so-so songs

The biggest problem with the majority of the live-action updates to classic Disney animated films is that they haven’t been updates at all, choosing to merely regurgitate the moments audiences know and love from the original in a slightly repackaged form. That’s great for nostalgia, but if that’s all viewers wanted, they’d just go back and watch the original.

The Little Mermaid falls into much the same trap, although the filmmakers get at least a little credit for trying to offer something new. The story, of course, remains the same, as Ariel (Halle Bailey) has a fascination with everything above the surface of the ocean. Her rebellious nature, at odds with strict King Triton (Javier Bardem), leads her to spy on a ship with Prince Eric (Jonah Hauer-King) and his crew, putting her in position to save Eric when the ship crashes into rocks.

Now totally enamored of Eric, Ariel is convinced by the sea witch Ursula (Melissa McCarthy) to give up her voice for a chance to live on land and make Eric fall in love with her. Trouble is, despite the help of Sebastian the crab (Daveed Diggs), Flounder the fish (Jacob Tremblay), and Scuttle the seabird (Awkwafina), Ursula has no plans to let Ariel succeed fair and square.

Directed by Rob Marshall and written by David Magee, the film clocks in at nearly one hour longer than the original, going from 83 minutes to 135. They accomplish this feat with the addition of several songs, including ones “sung” by Ariel while she is without voice, a relatively clever way to get into her thoughts during that long stretch. There are also additional scenes that give Prince Eric more of a backstory, making him more than just a pretty face on which to hang all of Ariel’s hopes and dreams.

The new songs are hit-and-miss; Ariel’s “For the First Time” is a fanciful number that fits in nicely, but “Wild Uncharted Waters,” a solo song for Prince Eric, feels unnecessary, and the less said about “The Scuttlebutt,” a rap performed by Scuttle and written by Lin-Manuel Miranda, the better. What most people want to see are how the original songs are done, and they come off well for the most part. The actors’ voices are uniformly good and the staging is engaging.

Other changes seem half-hearted, at best. A vague environmental theme broached at the beginning is quickly dropped. The cast is very multicultural, but haphazardly so. The film is obviously set on and around a Caribbean island, making it natural for The Queen (Noma Dumezweni), Eric’s adopted mother, and other islanders to be Black. But giving Ariel “sisters from the seven seas,” allowing for mermaids of several different races and ethnicities, feels odd and forced, and a little creepy given that King Triton is supposed to be the father of all of them.

The fact that Bailey herself is Black, while great for representation, is neither here nor there in the context of the film. Bailey has a voice that is equal to everything she is asked to sing, and her silent acting is excellent in the middle portion of the film. McCarthy makes for a great Ursula, bringing both humor and pathos to the role. Hauer-King, who bears a similarity to Ryan Gosling, plays Eric in a more well-rounded manner.

The live-action version of The Little Mermaid, like almost all of the Disney remakes, never truly establishes itself as its own unique thing. Still, it’s a thoroughly pleasant watch with some nice performances, which clears the bar for success for this era of Disney history.

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The Little Mermaid opens in theaters on May 26.

Photo courtesy of Disney

Melissa McCarthy in The Little Mermaid.

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Movie Review

George Clooney and Brad Pitt together again in charming thriller Wolfs

Photo courtesy of Apple TV+

Brad Pitt and George Clooney in Wolfs.

Thanks to the Ocean’s trilogy, the duo of George Clooney and Brad Pitt has become iconic both on- and off-screen. After a 16-year break, they're together again, teaming up in the charming new Apple TV+ comedy thriller Wolfs.

The film, written and directed by Jon Watts, features both actors playing professional fixers with no names, people who excel in getting high-powered people out of sticky situations. They’re both called into action when the movie opens on Margaret (Amy Ryan), a district attorney, freaking out when a younger man (Austin Abrams) with whom she was having a one-night-stand has a seemingly-fatal accident in her hotel room.

Instead of being partners, though, the two men are competitors (i.e. each one is a lone wolf), requested by different people to clean up the same mess. Though antagonistic toward each other, the two initially have no problem completing the task at hand until a series of discoveries sends them on a mission around the city, one that has them utilizing their complete sets of skills.

Both actors are significantly grayer than they were in the Ocean’s trilogy (although Pitt oddly pairs a salt-and-pepper goatee with frosted tips in his hair), but their chemistry remains as fun as ever. For much of its running time, the film has the two sniping at each other, with both characters believing they are the better man for the job. The banter, and the sharp way in which the actors deliver it, is the best part of the movie.

The story of the film is more hit-and-miss, starting out strong and fading over time. Not knowing the two fixers’ names or who assigned them to do the job makes certain parts of the storytelling unknowable. The discoveries they make along the way expand both the scope of the film and the number of characters involved, making the plot even more complex than it needed to be.

Still, the film remains interesting because of the stylish way in which Watts shoots it, showcasing locations in New York that highlight both its glitz and griminess. He turns the movie into a sort of action thriller in the second half, and even if the details are sketchy, the individual scenes work well, usually because of the charm of Clooney and Pitt.

Both actors lean heavily into their established movie personas, with Clooney the smooth and suave (if occasionally befuddled) one, and Pitt the sexy, self-assured one. Their performances elevate the film as a whole and their fellow actors, even if Ryan, Abrams, and Poorna Jagannathan (in a brief but memorable role) are more than capable of standing on their own abilities.

Wolfs doesn’t reach the highs of, say, Ocean’s Eleven, but it’s a welcome reunion for Clooney and Pitt that only solidifies their status as a great movie pairing. The two of them working off one another remains a delight, even if the story they’re telling is not quite as compelling.

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Wolfs is now streaming on Apple TV+.

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Movie review

Disney's Little Mermaid remake goes swimmingly despite new so-so songs

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Movie Review

George Clooney and Brad Pitt together again in charming thriller Wolfs