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“Aladdin” Spinoff In The Works At Disney+!

When I tell you that news broke last night that Disney is producing a spinoff series based on a character from their billion-dollar summer blockbuster Aladdin, a live-action remake of the animated classic, I’m sure your assumption would be something like: oh, a spinoff about Aladdin? I’d watch that.

But it’s not about Aladdin. Guess again.

Princess Jasmine? Jafar?

Wrong on both counts. Last guess.

Um…the Genie? Abu the Monkey? The flying carpet?

Nope. See, you’re not thinking in the mindset of a studio executive, who looks at a great movie with one of Disney’s most ethnically diverse live-action casts and asks themselves: is there any way to make an entire TV show about the one white guy in this movie?

"Aladdin" Spinoff In The Works At Disney+! 1
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Still not ringing any bells? That’s because the one white guy in Aladdin only had two scenes, and you probably forgot him long ago, he was so insignificant. Prince Anders, the regal visitor from a far away kingdom called Skanland (in my review of Aladdin, I mistakenly marked it down as Scotland: my bad), made no impression on any of the characters around him, and thus made no impression on us, the audience. And yes, I’m sure Billy Magnussen was doing his very best in the role (and clearly he thinks he was good enough to warrant his own miniseries, as he was apparently involved in pitching this idea to the studio), but Anders came across as an unlikable buffoon who absolutely nobody would want to spend time with – if there was any purpose to his character, that was it. He unsuccessfully courted Princess Jasmine (and in a deleted scene gifted her a giant cannon, which blew up his own ship), and then hung around in the background like a clingy house-guest that everybody was this close to escorting out the door. And yet, he’s getting his very Disney+ streaming series.

Disney has hired Jordan Dunn and Michael Kvamme to write a script for the series (Disney’s first spinoff of a live-action remake), which will star Magnussen. Plot details are still unknown, but if the series is going to have anything to do with Aladdin, it will presumably follow the dim-witted prince on his…journey? Leisurely stroll?…through the city of Agrabah. It is not known whether any of the other main cast of Aladdin will show up in the series – don’t forget, a sequel to that film is also supposedly in the works at Disney.

Despite that, many people are understandably upset that this news broke just days after Aladdin star Mena Massoud revealed that, since the blockbuster’s release back in May, he hasn’t gotten a single audition. While he’s probably going to star in the unconfirmed Aladdin 2, the optics of this announcement are ridiculously bad. Firstly, because nobody was asking for an entire spinoff series about an annoying background character whose biggest scene was deleted from the movie. Secondly, because there are a number of other characters in Aladdin who would make for much more interesting and compelling protagonists: a Jafar prequel series, exploring his rise from street rat to vizier; a fun comedy series following Genie and his new love-interest Dahlia on their voyages around the world; literally anyone else in Agrabah who is actually, oh I don’t know, an Agrabahan (Agrabahon? Agrabahni?).

I also fear that this announcement means Anders isn’t going away anytime soon, and will stick around for the Aladdin sequel, assuming his series has any sort of popularity. Personally, I’d be happy forgetting that this character ever existed – but alas, I don’t have my own personal Genie who can wish this nonsense out of existence.

What do you think of the news? Share your own thoughts, theories and opinions in the comments below!

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“Charlie’s Angels” Trailer Review!

Months ago, when we got our first look at Charlie’s Angels, as reimagined for modern audiences by director Elizabeth Banks, I had no idea what to expect, no idea what to critique, and what to compliment. I had never watched a single second of footage from the two previous Charlie’s Angels movies, or the 1970’s TV show that started it all. Well, I’m proud to say today that that has changed, and that, thanks to Netflix, who always seem to conveniently release older movies just when they’re relevant again, I have watched both of the original films. They’re bad movies: they’re cheesy, ridiculous, and laughable – they’ve got sexist and racist overtones, and are unabashedly and sometimes even uncomfortably intended for the male gaze: so it comes as no surprise that, unburdened by a male director, the modern Charlie’s Angels is quite the opposite of the two films that precede it.

I completely agree with what Banks is trying to do with the franchise, bringing in more diversity, focusing significantly more on the women themselves rather than their relationships with men, and shaking things up in the general premise of the plot.

Now, on the flip-side, Banks also seems to have gotten rid of one of the more unproblematic elements of the first two films: the crazy, over-the-top action that made those movies actually watchable – there were some iconic and clever fight scenes in those films, made possible through CGI wizardry and a lot of wire-work: the Angels repeatedly verged on becoming superhero ninjas, even defying the laws of gravity – the fact that there are not one, but two scenes in those films where the Angels successfully climb onto a helicopter in mid-air, is proof of that. And yes, it’s so hilariously implausible that it’s hard not to laugh, but isn’t that what made the series fun? But Banks has chosen to focus less on cool action-sequences than on “party vibes”, which is an okay route to go, I guess, but doesn’t compare to the sword-fights, race-car duels and motorbike murder from the first two films. And with actresses like Kristen Stewart and Naomi Scott in this movie, is Banks seriously going to rob us of any cool fight sequences with the two?

And at the same time that the film is straying dangerously far from its roots into uncharted territory, the trailers are also extremely confusing: for one thing, Ariana Grande, Miley Cyrus and Lana Del Rey all show up in this new trailer – except, their footage appears to be taken straight from the music video they did for the film’s hit song, “Don’t Call Me Angel”. So, um, are they in the movie…or not? I mean, I guess it makes sense, since the song is pretty much the only thing that has so far captured the public’s attention, so capitalizing on that is a surefire win…but also kind of perplexing, since audiences who haven’t watched the music video are now going to think that those three, popular singers are in the movie – or maybe they are! Who knows?

So, the trailers are almost definitely going to be a miss for many people, and long-range box-office tracking predicts that Charlie’s Angels itself will be a miss: I mean, honestly, it looks decent. What it lacks is brand recognition, action, and cohesion. What do you think? Are you going to see the film, or will this angel’s wings be broken at the box-office?

Trailer Rating: 5.9/10

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“Charlie’s Angels” Trailer Review!

My first thought while watching this trailer was that Sir Patrick Stewart clearly didn’t want to be left out of all the wickedly charming fun that his good friend, Sir Ian McKellen, is having in The Good Liar. Yes, the first trailer for the upcoming spy-thriller Charlie’s Angels has dropped, giving us our first look at a fun, diverse cast of all-female heroines – and a cameo from Stewart, who strolls into the scene grinning from ear to ear. Interestingly, the two films will probably have to go up against each other in the busy November scene. If I had to hazard a guess, I’d predict that Charlie’s Angels will have the slight advantage at the box-office, due to its more light-hearted, comedic tone. But both films will likely be swallowed up in Frozen 2 fever, which leaves The Good Liar with the last laugh, as it can at least stick around long enough for an awards-season bonus round, whereas Charlie’s Angels…probably can’t.

But this film has something that too few films can boast: the aforementioned all-female lead cast. Kristen Stewart, Ella Balinska – and Naomi Scott, still fresh off her own magic carpet-ride: here, though, Disney’s newest princess is a government whistle-blower, trying to prevent the creation of a dangerous new weapon that could lead to global catastrophe. These three talented women come together under the direction of Elizabeth Banks from The Hunger Games, who also stars in the movie as the leader of the team.

The action and adventure elements showcased in the trailer do tend to verge on the over-the-top and ridiculous – not so much because the stunts and situations themselves are humorous, but because the actresses are: even Scott, who was actually rather dramatic in Aladdin, but plays wide-eyed naivete very well here. If you’re looking for a Mission: Impossible movie, you’ve definitely come to the wrong place. But if you’re looking for Project Runway meets Mission: Impossible, well…that’s a little more like it. The actresses are perfect paragons of modern fashion.

And, the other notable thing to mention: the song. I feel like I’d be guilty of a crime if I didn’t mention it, considering the way this film is pushing it as if it’s one of the main marketing attractions. A collaboration of three talented musicians like Ariana Grande, Miley Cyrus and Lana Del Rey is never a bad idea, and it sounds pretty good from what we hear of it in the trailer, but seriously, the film shouldn’t have to rely on its soundtrack to sell tickets. The cast pretty much sells itself.

One last thing: the trailer ends with the women answering, almost as if brainwashed, to the commands of some robotic voice called “Charlie”, which presumably explains the film’s title, but I (casual viewer that I am) have no idea what I’m supposed to make of that: a hint of suspense in an otherwise upbeat trailer? Just a fun nod to the 1970s TV series this film is based on?

Trailer Rating: 7.5/10

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“Aladdin” Movie Review!

"Aladdin" Movie Review! 2
indiewire.com

The 2019 live-action of Aladdin has been walking a fine line with critics the past few days, and continues to hover uncertainly – personally, my own review will be a little more positive than many, but I’m not going to let the film entirely off the hook. It had the chance to truly be “A Whole New World”, but it was too tentative to make the leap – Aladdin’s little pep-talk about “do you trust me?” and all that would have really come in handy when the screenwriters were handling this project.

The film starts out a little shaky, going from a visually-stunning glimpse of the nightlife of Agrabah and the various things that our characters are doing before their part in the story begins, to a somewhat-awkward dance number in the marketplace as Aladdin (Mena Massoud) and a disguised Princess Jasmine (Naomi Scott) run from armed soldiers. The film then briefly tries to imitate the 2017 mega-hit Beauty And The Beast by having its protagonist sit in a window and talk about his deceased mother, and the melodies she would sing to him when he was a baby – and, of course, Jasmine’s mother used to sing the same lullabies…a lot of bonding over dead parents happens in this scene, and it felt very formulaic and dull.

Then, suddenly, things start moving, and the plot jumps into gear. There’s theft and a daring palace heist, and royal visitors from…Scotland? Aladdin is trying to survive on scraps, while Jasmine enjoys a life of splendor and majesty – but she yearns to go out onto the streets and help her starving people, who are seemingly oppressed by the Vizier, Jafar (Marwan Kenzari). Exactly why Jafar is oppressing the people is, unfortunately, never explained, nor do the starving people of Agrabah really play much of a part in the story, despite the fact that protecting them is Jasmine’s greatest motivation throughout the film. It would have been truly wonderful to see Jasmine’s connection with the citizens continue to develop as she is in turn disenfranchised and robbed of her own privileges. Sadly, it’s only the first of many things that the film suggests in subtext but never explores.

Aladdin himself is okay through the first act of the movie, decent in the second, and good in the third: Massoud is charming and endearing, and his humility and awkwardness makes him especially fun to watch – the movie does strip those traits away from him pretty abruptly at one point, but Massoud’s acting is just good enough that he can get away with it. He’s also undeniably helped by the fact that he is accompanied by the requisite Adorable Animal Sidekick, and the…Adorable Fabric Sidekick? I am, of course, referring to Aladdin’s pet monkey Abu and magical rug, Carpet: both of whom have numerous opportunities to show off their skills.

Massoud’s Aladdin, however, never comes close to approaching the true grandeur that is Naomi Scott’s Jasmine. An elegant and confident character, Jasmine is so unexpectedly fresh that she never actually felt like the original 1992 animated Jasmine…she was better. Scott, in fact, is so good that she could easily warrant an entire sequel or spin-off series about her character: she is a clear thinker and a strategist, with fierce determination; the type of Princess that needs to be – and can be – the new norm from Disney. Unfortunately, the limitations of film require that only a small part of Jasmine’s personality and backstory can be shown onscreen, but I would have gladly learned more about her mother’s native kingdom, the one that Jafar desperately wants to invade (for unexplained reasons), or her attempts to help the city’s inhabitants while disguised. The film wastes very little, but still too much, time on her prospective suitor Prince Anders (Billy Magnussen) of Scotland, an incredibly forced and unfunny character. Jasmine, however, does get to have relatively fleshed-out relationships with her father, The Sultan (Navid Negahban) and her handmaiden Dalia (Nasim Pedrad), both of which lend more facets to her already multi-faceted character and help to make her, without a doubt, the movie’s standout performance.

Naomi Scott is also blessed with a beautiful singing-voice: Jasmine’s new song “Speechless” is a powerful shout-out to all people who have been victimized, and whose stories have been silenced – but especially to women, in this age of #MeToo. This song is too good to be sung only once, and happily we get to see two renditions of it in the film (after which, it can be listened to on repeat for the rest of eternity). Scott also lends her vocals to “A Whole New World”, the film’s defining moment, but Massoud is actually a good singer on his own too.

The dance-numbers and songs are fantastic, and all feel very new and exciting – except, perhaps, “A Friend Like Me” and “Prince Ali”, both of which look and feel much like they did in the animated film. The music is a highlight – but how could it go wrong with Alan Menken composing? Costuming and production design are very much Hollywood quality, but with a beautiful and authentic Bollywood flair that lends the film something unique, something that Beauty And The Beast does not possess. But what else does Aladdin have, other than that and Naomi Scott?

It has Will Smith.

Yes, we laughed at his first appearance in the trailers, and we continued to laugh well after that. But hey, first impressions can be deceiving, and Will Smith proves that with his incredible performance as The Genie. To follow in the footsteps of an icon like Robin Williams is probably no small feat, and Smith clearly knows that – rather than trying to imitate Williams, he brings something new, something iconic of his own, to the character. Whether the critics and the general audiences will like that, remains to be seen – because despite the fact that the movie is named for the endearing street-rat Aladdin, and despite the fact that Naomi Scott steals the show with pride, Will Smith is the star. He’s also probably the most heavily-criticized part of the movie, whether people are merely joking about his CGI smoke-cloud, or getting fussy about his decision to add rap to his musical numbers (about that, that whole “issue” was completely overblown: if you’re worried about it, just leave before the credits roll).

Thankfully, the movie has Scott, Smith and the Bollywood vibes going on. Jafar is a bit of boring villain, even with new elements added to his backstory: again, there was a lot of opportunity to make him a sympathetic and relateable villain, but the film doesn’t take the extra step that’s needed to make this work. The script has some flaws, and a bit of the dialogue is cringey, especially in the first thirty minutes of the film. The end of the film might have needed a bit more buildup – I, for one, was completely confused as to how everything was going to work out, and not exactly in a good way.

All in all, Aladdin has all the ingredients to make a great film, but it only nervously tests the waters, trying to play it safe. With two great leads and one good one, plus fantastic songs, the movie manages to be very enjoyable (I can’t stress that enough; I enjoyed myself immensely) – but it’s not quite the Whole New World we were hoping for.

Movie Rating: 7.5/10