Whether audiences want them or not, the Disney live-action remake machine continues to churn out new versions of beloved animated classics without showing any signs of slowing down anytime soon.
The films we’ve gotten in recent years have been hit or miss. Sure, you’ll find a few creatively successful projects like 2015’s “Cinderella” and 2016’s “The Jungle Book.” But those well-received efforts are mixed in with head-scratchers like 2020’s “Mulan” and 2022’s “Pinocchio” that are liable to make anyone yearn for the days before we had the technology to bring these characters to anything resembling life.
One of the most highly anticipated — and dreaded — of these reimaginings is “The Little Mermaid” adaptation that hit theaters Friday. The original 1989 musical about a young mermaid intent on experiencing all the human world has to offer is largely seen as the beginning of Disney’s 1990s animation renaissance. Many may find the mere idea of repackaging such an important story in any form to be blasphemous.
Luckily for fans everywhere, this “Little Mermaid” is a mostly joyful romp containing just enough of its predecessor’s heart, fun new material and some killer eye-acting from star Halle Bailey. There are a few leaks in this cinematic vessel, but good luck not being swept up in its soaring musical moments and timeless tale of star-crossed love.
Bailey plays Ariel, the titular little mermaid who yearns to learn everything about life on dry land. Her father, King Triton (Javier Bardem), is desperate to convince his daughter to not let her curiosity get the best of her. That’s easier said than done, though, especially after Ariel becomes the obsession of Prince Eric (Jonah Hauer-King) after she saves him from certain death following a shipwreck.
At her lowest moment, Ariel strikes a deal with Ursula the sea witch (Melissa McCarthy): Trade her voice for a pair of legs and an opportunity to woo the prince. Loyal animal sidekicks Sebastian the crab (voice of Daveed Diggs), Scuttle the seagull (Awkwafina) and Flounder the ... flounder (Jacob Tremblay) have three days to help Ariel win Eric’s heart. If they fail, Ursula will have all the leverage she needs to gain the immense power she has always coveted.
A live-action “Little Mermaid” was always destined to live and die by its CGI and digital backgrounds. Those who didn’t enjoy the over-reliance on photorealistic animals in Jon Favreau’s 2019 “Lion King” remake will probably appreciate the more cartoonish approach to Sebastian and Scuttle’s designs. Flounder, though, looks a little too expressionless as he speaks in Tremblay’s adolescent octaves.
Its undersea vistas are immaculately constructed, and the sea creatures populating them all move around naturally enough while blending in seamlessly with their surroundings. There are some distractingly wonky special effects during the film’s final confrontation with Ursula, but nothing else should inspire viewers to dwell too long on some of the film’s inherent artificiality.
Shout outs are also in order for the location scouts who found and secured the insanely gorgeous Italian island of Sardinia that reportedly served as a primary filming location for the coastal kingdom ruled by Eric’s mother, Queen Selina (Noma Dumezweni). Ariel and Eric couldn’t have asked for a more picturesque backdrop for their burgeoning romance.
Director Rob Marshall’s experiences helming nautical set pieces while making 2011’s “Pirates of the Caribbean: On Stranger Tides” and choreographing musical routines featuring real performers and animated characters for 2018’s “Mary Poppins Returns” are on fully display in “The Little Mermaid.” His rendition of “Under the Sea” is a showstopper that comes admirably close to capturing the original animated sequence’s magic.
Though pacing is rarely an issue, it’s worth mentioning that this “Little Mermaid” is almost an hour longer than the 1989 film. It uses that 135-minute run time to flesh out Eric’s motivations and his time getting to know Ariel. They each get a new song, both of which are cute but forgettable. In terms of the music written specifically for this film, the standout is a hip hop-inspired duet involving Sebastian and Scuttle called “The Scuttlebutt.”
Cinematographer Dion Beebe, left, director and Pittsburgh native Rob Marshall, and producer John DeLuca on the set of Disney's live-action adaptation of "The Little Mermaid."
Much was made of Bailey’s casting as Ariel, mostly for reasons that have nothing to do with her abilities as an actor and singer. She possesses one heck of a voice, which she displays most prominently and impressively during “Part of Your World.” Ariel is mute for a decent chunk of the film, and Bailey nailed the tall task of having to convey her character’s thoughts and feelings using only her face and body language.
Hauer-King is suitably charming as Eric and does a solid job transitioning from bemusement at Ariel’s literal fish-out-of-water behavior to legitimate infatuation. Diggs’ take on Sebastian accentuates both the poor crustacean’s incredulity at having to babysit Ariel and his dedication to getting her home safely. Awkwafina’s Scuttle vocals may be an acquired taste, but it sure sounds like she had a great time playing that bird-brained gossip.
McCarthy and Bardem’s performances are fine in a vacuum, but it sometimes feels like they’re in a different movie than everyone else. McCarthy does the requisite amount of vamping as Ursula, though it’s a bit over the top even for a Disney villain. Bardem certainly looks the part of a sea king and displays genuine affection for his daughters. However, he seems a tad too subdued for all the zaniness going on around him.
Despite a few notable warts, “The Little Mermaid” manages to justify its own existence thanks to Bailey’s strong work as Ariel, some technical wizardry and Marshall’s musical acumen. This “Little Mermaid” is now part of our world, and no one should have any qualms about making it part of theirs as well.
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‘‘THE LITTLE MERMAID’
Running time: 2:15
MPAA rating: PG (for action/peril and some scary images)
Where to watch: in theaters now
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