'Mufasa: The Lion King' review: Barry Jenkins gets engulfed in the soulless Disney machine
Courtesy of Disney
Barry Jenkins is undeniably one of the most gifted, soulful, and captivating filmmakers of his generation. Between “Moonlight” (which won Best Picture), “If Beale Street Could Talk,” and “The Underground Railroad” on Amazon Prime, the writer-director has demonstrated an exceptional ability to delve into the subtext of human emotion and its connection to overcoming seemingly insurmountable adversity. So, it’s not hard to understand why he might be drawn to a different kind of story: chronicling the journey of how Mufasa went from an orphaned cub to a king in “Mufasa: The Lion King”—the prequel to the 2019 remake that, frankly, no one was really asking for.
I can see the appeal Jenkins found in Jeff Nathanson’s screenplay: a Disney family film that also attempts to double as a Shakespearean tragedy. The film primarily explores the complex relationship between Mufasa and his brother who will become Scar, and offers the opportunity to experiment with cutting-edge digital technology that has evolved since “The Batman” and “The Mandalorian.” But despite all this, “Mufasa” never feels like a Barry Jenkins film. It comes across as a piece of content—one that lacks emotional depth, memorable characters, and the kind of imaginative spark that we've come to expect from a filmmaker of Jenkins’ caliber. This is the film’s biggest failing: it pulled a gifted storyteller out of circulation for nearly four years. Just think about the films we could have had in that time.
Instead, we’re left with “Mufasa,” a movie that’ll attract viewers, and some speculation, particularly with Jenkins' involvement (which admittedly gave me more optimism than I probably should have had for another Disney sequel), but witnessing the final product, which includes original songs by Lin-Manuel Miranda, you can’t help but wonder why such immensely talented creatives had nothing better to do.
The film sets out to answer all of your burning intuitions about how Mufasa (voiced by “Rebel Ridge” breakout Aaron Pierre) became the ruler of the Pride Lands, alongside his best friend, who would eventually become Scar (Kelvin Harrison Jr., showcasing his “Cyrano” singing chops). Along the way, we learn how Pride Rock was formed and are frequently interrupted by Timon and Pumba (voiced by Billy Eichner and Seth Rogen), who break up the story with a framing device borrowed straight from “The Princess Bride.” In this device, Rafiki recounts the rise of Mufasa to Simba and Nala's child, Keira (voiced by Blue Ivy Carter, daughter of Beyoncé).
The original “The Lion King” was imbued with a sense of gravitas in its portrayal of Mufasa’s son, Simba, as the latest in a long line of monarchs tasked with protecting the Pride Lands, and of Mufasa’s younger brother, Scar, who felt betrayed by the family. “Mufasa,” however, essentially repeats the same story, but with far less emotional resonance or creative energy. A prime example of this is the convoluted and overly complicated set-up in which Timon and Pumba sit in a cave narrating the story, effectively creating the most expensive version of reader’s theater you can imagine.
The story reveals that Mufasa wasn’t born into royalty—he was separated from his parents during a flood, and ended up at the feet of Taka, who you’ll know as Scar. The two grow up together as brothers, fighting side-by-side, even though Mufasa never fully integrates into his tribe. However, these conflicts are soon overshadowed by the arrival of a group of angry white lions (led by a character voiced by Mads Mikkelsen) seeking to assert their dominance over the Pride Lands. As the story unfolds, it quickly becomes clear, between Mufasa and Taka, who is destined to become a leader and who is not.
Of course, this narrative feels largely inconsequential because everyone already knows “The Lion King.” Despite Jenkins’ attempts to inject some gravitas into the film’s quieter, more somber moments, the final product remains a mere shadow of the original. The technology used in the 2019 remake was groundbreaking for its time, but in “Mufasa,” it’s stagnant and disjointed. Almost like a talented director struggling to find his footing within the constraints of a major, big-budget studio production, where too many executives are pulling the strings. There’s no creative autonomy here—no final cut.
Even the songs by Miranda, the hitmaker behind “Hamilton” and “Moana,” fail to capture the kind of memorable melodies needed to elevate this soundtrack into the cultural zeitgeist. The music also works against some of the actors. Harrison Jr., for example, fluctuates between accents (why is Scar British? The prequel never bothers to explain), and Pierre, in the title role, lacks the necessary conviction in his voice. In a climatic scene where Mufasa attempts to rally the troops, I was left unconvinced that this character would someday become the king of the Pride Lands. It almost put me to sleep.
The only silver lining here is that I sincerely hope Barry Jenkins was well-compensated for his involvement and that the financial freedom it provides allows him to pursue the projects he truly wants to make for the remainder of his career. If that’s the case, we’ll look back on this brief misstep in what will undoubtedly be a rich and rewarding filmography and be amazed that he was ever lured into the Disney IP machine. Otherwise, this will not have been worth it.
Grade: D+
MUFASA: THE LION KING is now playing in theaters
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