There’s only one way Disney could treat The Lion King legacy worse than rendering it in “live-action” with soulless, inexpressive lions: making a prequel to that movie with uninspired songs and wasting the talent of one of the best directors working today. Five years after the disastrous 2019 remake, Mufasa: The Lion King does just that.
To give credit where it’s due, the lions’ expressions have improved, with larger, more emotive eyes. But this marginal upgrade doesn’t compensate for a story that treats the Lion King mythos like a trivia night checklist. Ever wonder how Rafiki got his stick? How Pride Rock was formed? Or why Scar got his name and scar? If so, Mufasa has answers! But if you’re hoping for compelling characters, memorable songs, or even a reason for this movie to exist beyond corporate brand extension, don’t dream too high.
Visually, Mufasa boasts impressive CGI, with some moments resembling a nature documentary in their realism. Yet, the lifelike visuals, once again, create a mismatch between the dialogue and the lions’ movements (primarily due to the high register of the tones of the actors’ voices). It’s baffling how The Chronicles of Narnia handled this better back in 2005.
Narratively, Mufasa borrows the dual-plot structure of Mamma Mia! Here We Go Again, alternating between Mufasa’s origin story and Rafiki narrating the events, often undermining the drama with unfunny meta-jokes. The original 1994 film was grand and Shakespearean, rooted in Hamlet-inspired tragedy and populated by larger-than-life characters. Even the direct-to-video sequel, Lion King 2: Simba’s Pride, managed to channel Romeo & Juliet and had genuine stakes.
The film follows young Mufasa, who is separated from his parents during a tragedy (because of course he is), grows up as an outsider, and gradually learns life lessons that shape him into the lion we know. His bond with his brother Taka (the future Scar) is tested by jealousy and rivalry, but the story lacks depth and fails to explore their complex relationship meaningfully. It’s all very convenient, with no surprises or emotional weight. The dynamic mirrors the similarly underwhelming Transformers One, where the fallout of a broken relationship is rendered ineffective by one character’s overly perfect portrayal, sapping the narrative of any real tension.
The songs fare no better. Lin-Manuel Miranda’s contributions are decent in isolation but lack the sweeping power of Elton John’s classics. Worse, they don’t propel the story or characters forward. Instead, we’re left with forgettable lyrics and an annoyingly repetitive refrain: “I always wanted a brothaaaa”, which gets drilled into your head about 27 times.
Timon and Pumbaa are more grating than ever. Their constant interruptions and meta-humor kill any tension, making you long for Disney side characters who knew when to step back (Lumière and Cogsworth for the win!). The villains, while visually striking, are painfully generic, with motivations that feel paper-thin. The script leans on convenient plot devices, such as granting characters “super smell” or the ability to see the future, conveniently deployed when the plot requires it.
The film also stumbles in its messaging, failing to teach children about forgiveness and doubling down on shallow conflicts. By the end, it feels like a Q&A session for fans desperate for backstory rather than a story worth telling.
The most tragic aspect of this film is how it squanders Barry Jenkins’ immense talent. As the Oscar-winning director of Moonlight, Jenkins is a master of nuance and emotional resonance, but here, his gifts are buried under Disney’s corporate machinery. While the cinematography is often stunning (do we compliment the cinematographer or the visual effects team?), Jenkins seems out of his element directing the CGI-heavy spectacle, particularly in the action sequences which are often confusing. Ultimately, Mufasa feels far less like a Jenkins film and more like a studio-driven product with little room for artistic vision.
If Disney insists on continuing its live-action spree, they should focus on remaking stories with room for improvement (Hercules or The Hunchback of Notre Dame are right there!) instead of draining every drop of nostalgia from The Lion King. For now, Mufasa stands as a technically impressive yet creatively barren film that does little to honor its legacy, or its director.
- Where to watch
Disney+- Where to watch
- Disney+
Play trailer
- Original title
- Mufasa: The Lion King
- Director
- Barry Jenkins
- Cast
- Aaron Pierre, Kelvin Harrison Jr., Tiffany Boone, Kagiso Lediga, Preston Nyman, Blue Ivy Carter, John Kani, Mads Mikkelsen
- Rated
- PG
- Screenwriter
- Jeff Nathanson
- Composer
- Dave Metzger
- Cinematography
- James Laxton
- Editor
- Joi McMillon
- Country
- Language
- English
- Budget
- $200 million
- Box office
- $722.632 million