Aladin rotten tomatoes5/29/2023 ![]() They run and jump and dance and sing and wear excruciatingly bright costumes, almost never memorably.Īladdin (Mena Massoud) is a thief plying his trade in the marketplaces of the vaguely, vividly Middle Eastern fantasyland of Agrabah, where he meets and falls for Princess Jasmine (Naomi Scott). The human beings occupying the frame alongside them look, with the partial exception of the genie, like people dressed up as Disney characters. The animal sidekicks - a mischievous monkey, a loyal tiger and a malignant parrot - are neither cute nor especially realistic. “Aladdin” is not a cartoon, but it takes place in cartoonlike spaces that trade the grace and flow of animation for the cold literalism of computer-generated imagery. What had belonged to your parents and grandparents could also be yours, whether it was “Snow White” or “The Little Mermaid.” (Not anymore with “Song of the South,” though.) Each new micro-generation of viewers could be initiated into fandom with a bit of ceremony: Here was an old thing that was being passed on to you in a shiny new package, a polished heirloom in the form of a special VHS or DVD edition or a limited run in theaters. The studio’s earlier cash-grab strategy was to protect the classic status of its “A” material through managed scarcity and lavish reissuing. But the movie itself, while not entirely terrible - a lot of craft has been purchased, and even a little art - is pointless in a particularly aggressive way. You might as well complain about the animal sidekicks (and I will). I know it’s pointless to complain about Disney’s drive to wring every last dollar from its various brands. The answer - spoiler alert: “money” - may not surprise you. “ Aladdin,” the new live-action re-whatever with a blue Will Smith popping out of the lamp, may not be the worst product of the current era of legacy intellectual property exploitation (it’s likely that the worst is yet to come), but like most of the others it invites a simple question: Why? “Aladdin,” the 1992 cartoon feature with Robin Williams as a garrulous blue genie, may not be the best movie from Disney’s second golden age of animation, but like the others it has durable charms and memorable songs.
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