There is just the face of a lion, making the only face lions make, albeit with his jaw lowered. Except that when we get that glimpse of Simba’s reaction, there’s no helplessness, no lost innocence, no fear. “The Mouse House’s new Lion King remake employs photorealistic computer animation to replicate this moment almost exactly. His mouth hangs agape, his eyebrows pull back in shock, and his yellow-orange eyes widen to make him look like the frightened little boy he is. Mufasa first falls down toward the ‘camera,’ a reverse shot from above accompanies his final roar, and then we rapidly zoom out from the pupil of Simba’s eye to reveal his horrified face. Disney’s animators render the moment with a terrible poignancy that can stay with a person for the rest of their life. Club: “The dead-eyed new Lion King painfully illustrates the difference between cinema and video games” - “For a generation of children, the sight of lion prince Simba watching his father, Mufasa, die in a wildebeest stampede in 1994’s The Lion King represented a first encounter with mortality.
Here, the death of a beloved character, one whose fur looks so real you could pet it, is that much harder to take.” “There’s something about this ‘Lion King,’ which, like the original, has its narrative roots in ‘Hamlet,’ that feels so much more Shakespearean and - there’s no other word for it - so much more tragic than the 1994 feature-length animation, in which the story’s darker themes were subliminal, not center stage.
“‘But Dad,’ Simba asks his father, Mufasa, at one point, ‘don’t we eat the antelopes?’ The lives that are at stake, and sometimes lost, in this vivid evocation of human power struggles - expressed via the metaphor of the food chain - have never felt so precious or so vital. “Translation? In this new, virtual-flesh-and-blood version of the film, the creatures that have assembled to pay their respects to Simba are essentially his breakfast, lunch and dinner. As Rafiki the mandrill hoists the newborn lion cub Simba high above a savanna full of Simba’s future subjects - adoring antelopes, gamboling giraffes and other worshipful wildlife - a heavenly choir sings about the ‘Circle of Life.’
Washington Post: “‘The Lion King’ feels way more like ‘Hamlet’ this time - and that’s why it’s so good” - “From the stirring first moments of Disney’s upgraded ‘The Lion King’ - a turbocharged animal fable that, like 2016’s ‘The Jungle Book,’ uses photorealistic CGI animation to add visual heft and emotional resonance to what was a charming, hand-drawn cartoon - it’s clear that this African-set narrative of a doomed king and his reluctant-prince son has tapped into a powerful well of myth. Also, the majority of the audience will know the story well–so there should be little cause for confusion.” Though there is some sameness when it comes to the lions’ coloring –the distinctive voices of James Earl Jones’ Mufasa, Donald Glover’s adult Simba, and Chiwetel Ejiofor’s sinister Scar are enough to distinguish them easily. The CGI looks so hyperrealistic that the audience will feel like they’re in Subsaharan Africa right along with the animals. “The craftsmanship in 2019’s The Lion King is breathtaking.
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