The Walt Disney Company has long been revered for effectively capitalizing on childhood whimsy and fantasy. For decades, it wove tails of princes and princesses, rogues, genies, and verbose puppets that enchanted contemporary audiences. It skillfully harnessed enduring cultural archetypes, retooling or merely re-telling old stories with an imaginative flair delighted children and adults alike.
Founded in 1923 by brothers Walt and Roy Disney, the company was initially interchangeably referred to as the Disney Brothers Cartoon Studio, Walt Disney Studio or Walt Disney Productions. It was not until 1986, when Disney had already established a firm cultural resonance, that it became uniformly known as the Walt Disney Company. The fledgling studio established its animation credentials early, with the release of “Steamboat Willie,” which popularized the now ubiquitous Mickey Mouse. By the 1950s, after a tranche of additional successful productions, Disney diversified into new spaces, introducing live-action features, television, and theme parks.
By the 1980s, profits began to decline, especially in relation to the animation division, hallowed space within the Disney diaspora of holdings. Shareholders responded by voting in Michael Eisner as CEO, who cultivated what is now referred to as the “Disney Renaissance” of animation in the 1990s. During this time, Disney also began to collaborate with an upstart animation studio known as Pixar, which it eventually acquired in 2006; releasing notable originals like “Up,” “Wall-E,” and “Inside Out.” In the 2010’s Disney continued to expand further, acquiring valuable entities such as LucasFilm and Marvel while also releasing a streaming service known as Disney Plus.
The flurry of acquisitions and activity, however, cannot conceal that recently, many of Disney’s releases have been unoriginal, uninspiring and unsuccessful. During the 2010’s, Disney attempted to pivot toward a strategy of re-releasing animated classics as newly-produced live-action films. Discounting the earnings of popular Star Wars and Marvel franchises, Disney’s original films have largely been deemed as box-office flops. Attempting to revivify lost magic, it seems, has been lost in the translation to the live-action format. In this article, we’ll briefly explore the retinue of films Disney has revamped in the last decade and explore reasons for why they starkly failed to connect with audiences. While some have admittedly been successful, it is becoming conspicuously obvious that audiences are losing their enthusiasm for modern reinterpretations of old classics.
Lion King (2019)
Production Budget: $260 million
Total Gross: $544 million (domestic)
Tomatometer: 52%
Plot: The “Lion King” became one of the most beloved coming-of-age films ever when it was originally released in 1994. 25 years later, Disney capitalized on the lingering nostalgia surrounding the film, when they re-released the film using photorealistic computer-generated animation. The story doesn’t deviate too much from its root. It concerns the story of Simba, who at a young age witnesses his uncle, Scar, betray and murder his father, Mufasa. Merely a cub at the time, Simba exiles himself from his inheritance of the Pridelands, leaving it to the imperious rule of Scar. After trespassing upon two vagrants, Timone and Pumba, Simba contents himself to a whimsical and carefree lifestyle in a lush grotto that parallels a Shangri-La type of environment. Despite his intentions, however, Simba is eventually forced to confront his past, returning to the Pridelands to reclaim what is rightfully his.
Crique: As with many of Disney’s recent remakes, critics greeted “Lion King” with an unwholesome reception. Though the film was popular with audiences, critics fumed against the stale reproduction of the original. Why, in particular, did this story need to be re-told in a slightly altered medium? As one film critic adeptly put it, in his summation of the film: “Watch this Lion King for the technical achievement and musical numbers, and then watch the original to feel satisfied.”
Aladdin (2019)
Production Budget: $183 million
Total Gross: $357 million
Rotten Tomato Score: 57%
Plot: “Aladdin” was originally released in 1992 to much acclaim. The remake boasts an identical narrative, telling the story of a street urchin whose fortunes transform when he stumbles upon a seemingly omnipotent genie, who can grant three of Aladdin’s most ardent desires. The only limitation imposed upon the extravagance of Aladdin’s wishes are in their numeric quantity; along with the provisos that the genie cannot kill anyone, he cannot resurrect the dead, and he cannot make anyone fall in love. Aladdin’s path eventually intertwines with that of the Princess Jasime, who he subsequently courts with superficial trappings. Set against Aladdin is the notorious Jafar, who secretly conspires to usurp the throne of Jasmine’s father and her eventual kingdom.
Critique: Similar to “Lion King,” most of the critical disapproval revolving around “Aladdin” stemmed from growing exasperation with Disney attempting to do anything new. The live-action remake of “Aladdin” was fun, bumptious, and visually appealing; yet if failed to exude the magic of the original. As one critic succinctly noted: “In short, it’s a whole old world.”
Mulan (2020)
Production Budget: $200 million
Total Gross: $70 million (domestic)
Rotten Tomato Score: 72%
Plot: “Mulan” tells the story of a female warrior living in a strictly patriarchal society. When China declares war on raiding bands of warriors from the North, Mulan’s father is forced to enlist in the Chinese army. Mulan, in secrecy, takes his place; though she is technically forbade from serving. Mulan, however, masquerades as man, eventually leading her troops to glory and victory.
Critique: The release of Mulan was notably muddled by the incursion of the COVID-19 pandemic, when much of the world was still living in a police state. In contrast to several of Disney’s prior re-releases, Mulan was critically well-received, but nonetheless scorned by the viewing audience. Against its staggering production budget of $200 million dollars, the movie only grossed $70 million domestically, making it a notable box-office flop. Most viewers lamented the lack of the original soundtrack, the film’s more ominous tone, and the emphasis on visual spectacle as opposed to character development.
Cruella
Production Budget: $100 million
Total Gross: $86 million (domestic)
Rotten Tomato Score: 75%
Plot: Based on the novel “The Hundred and One Dalmations,” by Dodie Smith, “Cruela” serves the function of illustrating the backstory of the novel’s antagonist. Set during the Punk Rock era of the 1970’s in London, the film delineates the narrative of an aspiring fashion designer, Estella Miller, who slowly transforms into the inimitable Cruella De Vil.
Critiqu: Though, similar to Mulan, “Cruella” received general praise from critics, its reception from audiences was underwhelming. Forbes critic remarked that “Cruella” was a “successful disappointment,” as it revealed the possibilities of cultivating further growth through the Disney Premier platform, where the film performed lucratively. Going forward, it provided Disney executives with an opportunity for self-evaluation in determining which films merit widescale release in theaters; and which merit a more limited distribution among its streamers.
Little Mermaid (2023)
Production Budget: $240 million
Total Gross: $300 million (domestic)
Rotten Tomato Score: 67%
Plot: In “Little Mermaid,” the mermaid protagonist, Ariel, harbors a deep curiosity and fascination with the world above the water, inhabited by humans. Much to her chagrin, her overbearing Father condemns her inquisitive spirit, forbidding her sternly against exploring the realms of men. In desperation, Ariel consents to a scheme fashioned by the deceptive Ursula, who casts a spell endowing her with human in exchange for her voice. Hence, while Ariel is able to traverse the world above-water to her heart’s delight, her ability to exercise her individuality is correspondingly excised.
Critique: Many considered the remake of the Little Mermaid too bloated, too strapped to unnecessary plotlines and superfluous narratives not present in the original. Moreover, by 2023, fans had become vocally disgruntled with Disney’s continuing proliferation of remakes. Though Disney has countered with claims justifying its emphasis on reproducing established classics, namely that they are now able to bring these timeless tales to a more diverse audience, those encomiums have largely fallen upon deaf ears. While the “Little Mermaid” was not regarded as a terrible film, it reinforced the prevailing idea that Disney, the “imagineers,” have run out of a new ideas.
Snow White and the Seven Dwarves (2025)
Production Budget: $210 million
Plot: A retelling of the 1937 classic that largely legitimized Disney, “Snow White and the Seven Dwarves” tells the tale of princess fleeing the harsh hegemony of her domineering and envious stepmother. She discovers refuge in the cottage of seven dwarfs, who she quickly befriend with her amiable nature. Snow White’s stepmother, however, eventually is able to identify her whereabouts and deceives Snow White into eating a poisoned apple. The apple essentially renders Snow White comatose. The dwarves, upon discovering her, place her in a protective glass coffin, where she is eventually awakened after an eager prince dares to kiss her.
Critique: Though “Snow White” has yet to be released, Disney has done everything in its power to ensure it remains mired in fretful controversy. Insisting on the need for “diversity,” they cast a Hispanic woman as Snow White. The actress playing the titular character, moreover, has asserted that the new release of the classic film will deviate dramatically from the original film, boasting Snow White no longer requires a prince to save her. Observers were vexed further when it became clear Disney was not casting actual dwarves to play the dwarves, arguing it would be regarded as a caricature of little people. The whole project has become iterative of the ongoing issues surrounding social justice, rather than a paean to the original Brothers Grimm fairy tale.
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