Updated 5/29/23 with a review below. Turns out I actually really liked this movie!
Something fishy is going on with The Little Mermaid’s Rotten Tomato user reviews. I fully expected this movie to fare better with critics than with audiences given how the culture wars normally work.
Instead, the critic score is just 67% as of this writing, while audiences are giving it a whopping 95%—significantly higher than The Jungle Book’s 86%. That film scored a 94% with critics.
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Rotten Tomatoes
Screenshot: Erik Kain
This is actually quite similar to The Super Mario Bros. Movie, which scored just 59% with critics while 96% of fans reviewed the film positively on Rotten Tomatoes. But that’s reflected almost exactly over at Metacritic, where The Super Mario Bros. Movie scored just 46 with critics, but pulled in an 86 with audiences.
Meanwhile, Metacritic’s The Little Mermaid page reflects almost the complete opposite of Rotten Tomatoes:
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Metacritic
Screenshot: Erik Kain
This is much more in line with what I expected would happen with audience reviews since this movie has become so embroiled in culture war debates around race-swapping, “wokeness” and so forth, as well as just Disney fatigue. Many people not invested at all in the culture wars are nevertheless tired of the live-action remakes.
I find it utterly preposterous that this film would score that much higher with audiences than with critics. Critics, while not entirely politically aligned, are much more likely as a group to be sympathetic to social justice politics and less reactionary to changes made to beloved classics than the average moviegoer. I would expect this movie to have a pretty wide spread of negative and positive reviews, and a score within shouting distance of the critic score (a bit higher or a bit lower, but not almost 30 points higher!)
Indeed, the live-action remake of The Little Mermaid is now scoring much higher with audiences than the 1989 animated classic, which sits at 88% with audiences and 92% with critics. Are we to believe that moviegoers love the remake even more than the original? That certainly wasn’t the case with Beauty and the Beast, which fared better with critics and audiences as a cartoon by a wide margin.
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Do I think Metacritic’s 2.1 is an accurate reflection of this film’s quality? Definitely not. CinemaScore has actual audience members giving this an ‘A’ grade, so it’s definitely being warmly received. Beauty and the Beast’s live-action remake also got an ‘A’ CinemaScore, but only clocked in at 80% on Rotten Tomatoes.
I know that Rotten Tomatoes is taking moderation of user reviews seriously, and tries to prevent review-bombing, but these scores seem inflated beyond what is realistically likely for a film that is getting such a lukewarm reception from critics. Peter Pan & Wendy, the most recent live-action Disney remake, scored just a bit lower than The Little Mermaid with critics (62%) but bombed completely with audiences at just 11%.
Even just casually observing forums and social media, you see a pretty wide range of reactions from wild praise to “meh, it was okay” to “this was hot garbage.” There is no way that Rotten Tomatoes’ 95% or Metacritic’s 2.1 are accurate reflections of what people are actually saying about this movie in the real world. Make of that what you will.
Finally, I should point out that what Rotten Tomatoes shows on its front page is ‘Verified Audience’ scores, but you can click on ‘All Audience’ and suddenly it’s a very different picture:
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Rotten Tomatoes
Screenshot: Erik Kain
This seems like a more realistic reflection of what has become a very controversial film. Controversy drives negative reviews. (Note: The uncontroversial Super Mario Bros. Movie gets 95% with “All Audience” and 96% with “Verified Audience.”)
Similarly, if you click over to Top Critics rather than All Critics, you’ll see that the score drops to just 47%. That aligns even more closely with All Audiences. Curiouser and curiouser.
I haven’t seen it myself yet. This is not a review, obviously. I think it looks fine. My biggest concern with all of these live-action remakes is that they almost always lose at least some of the magic that the original animated versions had in spades. Even ones I’ve enjoyed, like Beauty and the Beast, I think to myself after, “Well, I’d prefer to just watch the original!”
And honestly: Wouldn’t you?
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UPDATE:
The Little Mermaid
Credit: Disney
The Little Mermaid Review: A Delightful Surprise
There’s a fun scene in the new Little Mermaid live-action movie where Ariel snags a hat for Prince Eric, plopping it on his head playfully after snatching it off the head of the street vendor. Later, Scuttle steals the hat in order to get the pair to follow the bird down to the lagoon so that they could serenade the would-be-lovers with a slightly altered version of Kiss The Girl.
Well, speaking of hats it’s time I ate mine. I was deeply skeptical about this latest Disney remake. I’ve been burnt out on the whole project for quite some time and thought this would be another soulless cash grab from the House of Mouse. I was wrong. The critics must be crazy, because this is an absolutely delightful picture and is quite possibly my favorite of all the princess live-action remakes.
Much of that is due to the powerful performance—and singing chops—of lead Halle Bailey as Ariel. She is wonderful throughout, perfectly capturing everything we loved about the original Ariel, but adding a little bit more depth and adventurousness to the character. She and Jonah Hauer-King as Prince Eric have splendid chemistry, which certainly helps. Indeed, the entire cast is marvelous and the remakes of the old songs are truly fun and delightful.
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Is it a perfect film? Absolutely not. There are a handful of new songs and the only one I liked is the Scuttle rap, performed by Awkwafina with a bit of Sebastian harmonizing. Daveed Diggs is great as the grumpy crab majordomo also. But the new song for Prince Eric is forgettable, as is Ariel’s new number. They pale in comparison to Under the Sea and Part of Your World, both of which are wonderfully adapted here. Bailey’s singing voice really elevates Part of Your World to a whole new level. It’s brilliant. But I do miss the cartoon version of Under the Sea, with all the fish on their musical instruments.
Indeed, my biggest complaint is the fish. I don’t like the attempt to make Sebastian and Flounder (Jacob Tremblay) look “realistic.” You lose a lot of the fun expressiveness of these characters going this route. I’m thrilled the movie was so bright and colorful after the trailers made it look much less so, but I just sincerely dislike the art direction for the aquatic creatures.
Rounding out the cast we have Javier Bardem as King Triton where he does a very good job as the strict-then-relenting father. His emotional farewell to Ariel hit all the right notes. (His multi-racial brood of daughters makes you think he really got around under the sea, too).
I was skeptical of Melissa McCarthy as Ursula, but she does a terrific job as well, really capturing everything about the original villain perfectly. Her comedic timing and charm really pays off here.
All told, this ended up being a really pleasant surprise for me and my kids. We all went in a bit jaded and skeptical and we all left with smiles on our faces, though both my daughter and I cried like babies at the end. I’m a real crier when it comes to the father/daughter or father/son stuff and this tugged at the heartstrings just right. Probably the best of the Disney live-action movies, which I’m shocked—but happy—to report.
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I guess you can lump me in with audiences on this one. It’s a treat. I’m still surprised it’s getting this high of an audience review score, but it’s really worth seeing on the big screen. I’m happy to have been wrong!
As always, I’d love it if you’d follow me here on this blog and subscribe to my YouTube channel and my Substack so you can stay up-to-date on all my TV, movie and video game reviews and coverage. Thanks!
Sudeep in ‘Max’.
| Photo Credit: Special Arrangement
Inspector Arjun Mahakshay a.k.a Max takes charge unofficially a day before his suspension ends. A huge blunder inside the station puts Max against powerful men, who come for his life. As he is faced with the improbable task of saving his colleagues and coming out unscathed from the problem, the daring cop pauses to prepare a cup of tea.
Director Vijay Kartikeyaa’s debut project is driven by a protagonist who keeps you guessing about his next move. Even if Max aims to provide unhinged ‘masala’ entertainment, the movie’s leading man isn’t a one-note character. Since the events unfold during one night, and he has limited time to cross a series of hurdles, Max puts his sharp brain to quick use. And once he enters the risky zone of facing the criminals head-on, he unleashes the beast inside him.
Storyline: A day before reporting for duty after a two-month suspension, inspector Arjun Mahakshay faces an unexpected situation. Can he save the day?
Max is a celebration of Sudeep, who oozes style in his aggressive portrayal of an all-conquering officer. If you saw him as a subdued yet classy cop carrying a deep pain within him in Vikrant Rona (2022), Sudeep cuts loose in Max to cater to his fans, who were hungry for ‘mass’ moments involving their favourite star.
The one-man show is great fun to watch to an extent. Director Vijay scripts an old-school world where the hero emerges as the ultimate saviour of distressed people. However, as a whole, Max leaves you wanting more as you expect the protagonist to face the heat of a mighty antagonist.
Sunil, essaying the main villain, is undone by a toothless character. Varalaxmi Sarathkumar’s character of a cop with a negative shade shows promise early on but gets fizzled out eventually as she fails to make any difference to the plot. Right from the beginning, it’s apparent that both the characters are bracing for an inevitable onslaught from Max.
It’s also quite shocking how Max has an almost incompetent team. When they aren’t blindly following the instructions from Max, the junior-level officers are scared and clueless. Ilavarasu, playing an experienced officer, delivers a measured performance. The rest of the cast, including Uggram Manju, Samyuktha Hornad, Sukrutha Wagale and Vijay Chendur, are too loud in their respective portrayals.
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One can’t blame the actors as their characters are designed to artificially amp up the tension. With a highly dramatic plot in hand, the director’s decision to showcase stronger emotions than what’s necessary dents the film.
ALSO READ:‘UI’ movie review: Upendra’s political commentary is a one-of-a-kind experience despite its flaws
The core idea of Max might remind you of Lokesh Kanagaraj’s Kaithi (2019). With so much happening in a short span of time, it’s tough to emotionally invest in the proceedings. On the other hand, Max’s racy screenplay keeps you curious about the events on screen. A superb fusion of Chethan D Souza’s action choreography and Ajaneesh Lokanath’s ensures an adrenaline-pumping experience.
Max is a star vehicle with admirable experiments from the makers. With Vikrant Rona and Max, Sudeep has deviated from traditional commercial films. The big stars of Kannada cinema are seeking change, and that’s a good sign.
Mollywood icon, Mohanlal has now ventured into the director’s chair and his directorial debut film Barroz has made its theatrical release today, December 25, 2024. The Malayalam fantasy movie, within hours of release, has gotten some vivid reviews from fans, who have highlighted their opinions on social media.
Well, it seems that Barroz has received mixed opinions from some fans, who have significantly highlighted how the film has not lived up to the expectations considering it being the senior actor’s directorial debut.
Fans have expressed disappointment at the fact that the film’s storyline is weaker, and it is only the specialised use of VFX that has been pulling it all together.
On the other hand, some other fans have appreciated the impeccable acting chops of Mohanlal himself, with special mention to the excellent 3D presentation appealing to mass audiences for more than one reason.
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There have been specific references to a few underwater scenes, which have been touted as an epitome of masterclass cinematic presentation, not to forget how it would not hit as a mass entertainer.
Check out the fans’ reviews about Barroz on Twitter:
Mohanlal has left no stone unturned when it comes to the jam-packed promotional spree for Barroz. The film’s cinematography has been done by the talented Santosh Sivan, while the musical score is handled by Mark Killian.
Coming to the plot of the film, it is said to revolve around the conquest undertaken by Barroz, the guardian of a treasure which has been hidden for over 400 years. This wealth has been trusted to only a true descendant of Da Gama.
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It is inspired as an adaptation of Jijo Punnoose’s novel Barroz: Guardian of D’Gama’s Treasure. However, the scenes were rewritten by Mohanlal and Thazhathupurakkal Karunakara Panicker, including characters and locations, leading to the exit of the novelist, forfeiting his credits.
Speaking of the cast of Barroz, besides Mohanlal, it stars Maya Rao West, Cesar Lorente Raton, Kallirroi Tziafeta, Daniel Caltagirone, Aadukalam Naren, Tuhin Menon and others.
ALSO READ:Nayanthara enjoys ‘best holiday’ in Europe with Vignesh Shivan and twins; sunsets, long walks and Eiffel Tower sum up her travel diaries; PICS
The Fire Inside Director: Rachel Morrison Michael De Luca Productions, PASTEL In Theaters: 12.25
I’m not a fan of combat sports in real life, yet I find that movies about them are nearly irresistible. Whether it’s Rocky,The Karate Kid, Warrior or the upcoming wrestling flick Unstoppable, the underdog who comes out swinging and bests their bigger, more experienced opponent always plays. It’s also nearly always the same movie, and that’s what makes The Fire Inside a knockout.
In this fact–based story, Claressa Shields (Ryan Destiny, A Girl Like Grace, Oracle) is a young woman from Flint, Michigan, who has one skill and one passion: boxing. Despite limited support from her family, Claressa is taken under the wing of Jason Crutchfield (BrianTyree Henry, If Beale Street Could Talk, Godzilla vs. Kong), a coach at a local gym. As Jason becomes as much a surrogate father as a coach, Claressa trains with a ferocious determination and earns a spot on the 2012 Summer Olympic team — Claressa “T-Rex” Shields becomes the first American woman to take home the gold in the sport at age 16. From there, Claressa goes from being a poor inner city kid with nothing to … a poor inner city kid with a gold medal overnight. There are no endorsement deals, no professional career and seemingly no new worlds to conquer. As Claressa fights discouragement, she must find a path to lead her beyond a one time victory into a lasting better life.
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Rachel Morrison, the first woman to be nominated for an Academy Award for her work on Black Panther, makes a strong directorial debut, coming out swinging. She’s ably assisted by a terrific script by Barry Jenkins (Moonlight). The Fire Inside transcends the tropes of the genre by reaching the rush of climactic fight and then daring not to end there, instead delving into the reality that in Shields’ life, one triumph in the sports world doesn’t change your circumstances, especially for an uncouth young woman with no interest in playing the public relations game and selling a softer, more traditionally feminine image. We’ve heard the cliche “this isn’t just a movie about sports, it’s about life,” but such a candid look at a life-changing moment that does nothing to change your life, and learning how to face this, was something refreshingly new and honest. The often bleak and at times stunningly beautiful cinematography by Rina Yang, along with the stirring score by Tamar-kali,lift the sensory experience and go a long way to making this one a winner.
Destiny shows potential as a breakout star, commanding the screen as effortlessly as Claressa commands the ring. Henry is the highlight of any film he’s in, and The Fire Inside is no exception, with his grounded performance keeping the film moving along and setting the tone for a story about learning that you can still lean on others while you’re believing in yourself. The sizzling chemistry between these two actors drives a poignant and entertaining story to a satisfying and believable conclusion that’s not the one you’re expecting.
The Fire Inside is a breath of fresh air in a genre that far too often settles for stale and dank. It provides enough inspirational warmth to fulfill its duties as an uplifting sports movie, but its got the stamina and the drive to go a few extra rounds and push its own limits. Unlike most boxing films, this champ doesn’t pull any punches. –Patrick Gibbs
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