Mufasa: The Lion King review – "It's no Hakuna Matata but this Disney origin story is a class above the 2019 movie"

If Jon Favreau's 2019 live-action version of The Lion King left you with a painful scar (get it?), then at least Barry Jenkins' directorial effort Mufasa: The Lion King provides the plaster. Favreau's shot-for-shot attempt was completely soulless, lacking the emotion of the classic animated film, ultimately failing to justify its existence despite the star power of Donald Glover and Beyoncé.

And while it showcased the boundless technology resembling a nature documentary that David Attenborough would be proud of, to echo Jeff Goldblum's Ian Malcolm in Jurassic Park: "Your scientists were so preoccupied with whether or not they could, that they didn't stop to think if they should."

As harsh as that sentiment is, we are talking about The Lion King here. The epic, award-winning 1994 film that came at the height of the Disney animated renaissance, traumatizing a generation of '90s kids in the process.

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Fast-forward to 2024 and the studio has strayed from that legacy, intent on remaking all their animated films into live action (or in the case of The Lion King, a photorealistic virtual production).

Even with the elite talent of Barry Jenkins at the helm (with a career forged by masterpieces such as The Underground Railroad, If Beale Street Could Talk, and the Academy Award winning Moonlight), everything still pales in comparison to the original, no matter how much money is thrown at the screen.

Mufasa doesn't make a strong enough case for its necessity, but to judge the 2024 prequel on its own merits, or at least for the parts that do work, Jenkins' fingerprints are all over the story's direction.

Touches of magic

Jeff Natherson's screenplay keeps in tone with The Lion King's Shakespearean roots – a light story about bloodlines, brotherhood, and betrayal. Told through a series of flashbacks via Rafiki (John Kani), we see the origin story of Mufasa (Aaron Pierre) before he became the king of Pride Rock.

After a flood separates young Mufasa (Braelyn Rankins) from his parents (insert a different type of childhood trauma here), the little lion is rescued by Taka (Theo Somolu), another cub from a royal tribe who will one day be heir to the throne.

Despite opposition and tension from Taka's father Obasi (Lennie James), who sees Mufasa as nothing but a lost stray only worthy of being food in his belly, the cubs grow up to become brothers (now voiced by Pierre and Kelvin Harrison Jr. as Taka), learning to hunt and navigate the Pride Lands, thanks to the nurturing support of Taka's mother Eshe (Thandiwe Newton).

Their peaceful existence is disturbed by an encounter with The Outsiders, an albino pride led by Kiros (Mads Mikkelsen). With the future kingdom at stake, the pair journey to find the fabled "Milele" – a 'forever' home – and along the way, they pick up familiar faces in Sarabi (Tiffany Boone), Zazu (Preston Nyman), and a young Rafiki (Kagiso Lediga).

The touches of magic Jenkins does bring to the table makes it feel a little less like a cash grab but rather an earnest attempt to deliver something different. Its commitment to capturing African cultures is very identifiable. Rafiki telling Simba's daughter Kiara (Blue Ivy Carter) about her legendary grandfather is reminiscent of elders sitting their descendants down to tell family stories, continuing the ancestral line from generation to generation.

The soulful tones of Lebo M meanwhile are baked within Dave Metzger's accompanying score. And while he doesn't quite pull off his trademark POV shot with the same emotional resonance, Jenkins' natural eye for visual poetry still captures the vastness of the African Pride Lands. And The Lion King wouldn't be what it is without James Earl Jones, so the film rightfully pays its respects to the legendary actor who passed away this year.

It also helps that the animation feels more expressive this time around – not by much but certainly an improvement over Favreau's effort. The slight, emotive upgrade allows a better connection with its voice cast which comprises of the 'who's who' of Black excellence, including the next generational talent in Somolu and Rankins.

Whilst Pierre is no James Earl Jones (but then again, who is?), at least he makes the character his own to feel invested in Mufasa's journey as a reluctant leader who becomes the king we know and love. The learned nobility complements the eventual downfall of Taka and his infamous nickname.

Vision vs nostalgia bait

Yet the technology still has its limitations and the Lin-Manuel Miranda-penned lyrics doesn't have the same punch as its animated predecessor, although hearing Mikkelsen sing 'Bye Bye' might be worth the cinema admission alone. But there's nothing those imaginative lyrics can do when it's trapped in a bland CGI landscape committed to real world physics.

But honestly, that's not the frustrating part. The studio obligation for brand reassurance and nostalgia bait is constantly at odds with Jenkins' vision, especially when they're not emotionally earned. How many times can we slide in "everything the light touches?" How many times should we tease Mufasa's downfall where Scar does his best Star Wars impression of 'having the high ground'? Ever wanted to know how Pride Rock was formed? These are somehow the burning questions Mufasa felt the need to answer and yet it is amazing how quickly they take you out of the moment. The result: a messy and rushed third act that doesn't spend enough time with characters.

While Mufasa will still (likely) end up as a commercial hit thanks to its VFX and brand familiarity, you just wished Jenkins was given the benefit of the doubt to tell Mufasa's story to its fullest potential.

Mufasa: The Lion King is out in theaters worldwide on December 20.

For more, check out our guide to the upcoming Disney movies to watch out for, as well as our picks of the best movies on Disney Plus that you can watch right now!