Skip to main content

New "Beauty and the Beast" Fails to Put New Spin on the Tale as Old as Time: Review

Film Review: Beauty and the Beast



The new live action version of Beauty and the Beast is not very good. The film's best moments come directly from the 1991 animated version, which I once named the best animated Disney film of all time. It seems so preoccupied with recapturing what made that movie so great that it forgets to make this one unique or different in any way. At every possible chance director Bill Condon has to establish an interesting visual look for the film, he defers to the animated film and copies its look. What is the point of making a live action version of an animated movie only to make it look like its animated? Beauty and the Beast never answers that question, and the result is an uninspired retread of a classic story.


I was initially skeptical of Emma Watson playing Belle, but she quickly won me over. She is beautiful enough to be the most beautiful girl in the village, and she looks smart enough that her 'bookishness' would make her an outcast among the villagers. That's a quality I am not even sure the animated Belle conveyed well enough. She does well with the songs, although it's obvious that she is not a singer. The rest of the cast is populated by well-known actors dutifully recreating their characters. Perhaps most impressive was Luke Evans as Gaston, who apparently has a great singing voice. It makes me wonder why Hollywood is so insistent on casting people who cannot sing as the leads in musicals while casting people who can sing in movies about vampires and hobbits and superheroes. 


Image result for beauty and the beast 2017
The script remains faithful to the animated movie, despite some added elements to the story, few of which come off as improvements. The role of the enchantress who curses the Beast is greatly expanded, which mostly entails her lurking in the background of scenes. There's also a sojourn to Paris that is bafflingly irrelevant to the plot.  I did enjoy the tiny backstory given to the harpsichord and the wardrobe (played by Stanley Tucci and Audra McDonald, two actors I never mind having show up in a movie). The three new songs written for this movie are all terrible. I appreciate the attempt to make it into a more full-fledged musical, but why didn't they just use the songs written for the Broadway musical? Not including those songs was a huge missed opportunity. 

Parts of the design elements of this movie seemed engineered to show up in the below-the-line categories at the Oscars, but I think every single of one them missed its mark. No way any of the dreadful new songs get nominated for Best Original Song. The CGI on the objects in the castle at times bordered on creepy, too realistic to believe they can sing and dance. The costumes were intended to look opulent, but instead look garish. Both the sets and the costumes in the village scenes look distractingly cheap, which is bizarre considering the movie cost $160 million dollars to make. 

The 2017 Beauty and the Beast is very much an animated film, replete with a cartoonish visual style and dumb sight gags to keep kids interested. I'm sure many, maybe even most, moviegoers will love it for the same reason I didn't. But this was always guaranteed to be huge at the box office, which is why it makes no sense that of all the recent live action remakes of animated films (Maleficent, Cinderella, The Jungle Book), this is the one that is most faithful to the original. The assurance that it would be a hit should have given Disney the confidence to take a risk and introduce a bold take on the story for the 21st century. Considering that Dinsey has 12 more live action remakes of animated films in development, I hope the takeaway from this isn't that strict adherence to the original is what fans want. Even if it is, it comes off as a more of a lazy cash grab than an actual movie. 

What did you think of Beauty and the Beast? Leave a comment! 

Comments

Post a Comment

Leave a comment!

Popular posts from this blog

Spring 2026 Broadway Review Roundup: Every Brilliant Thing, Giant, Dog Day Afternoon, and More

ChannelTim must keep up with the times, so I’ve joined TikTok! I am reviewing the New York spring theatre season over there, so go throw a follow my way . For those of you not on that app, I’ll be doing a couple of review roundups here. Below are the scripts for my videos.  Every Brilliant Thing Daniel Radcliffe returns to Broadway in Every Brilliant Thing,  on the very stage where he last appeared, in the Tony-winning revival of Merrily We Roll Along . Whereas Merrily showcased his chemistry with his co-stars, this time around, Radcliffe’s the only credited actor on the stage, although he’s not entirely alone, as Every Brilliant Thing incorporates a good deal of audience participation. Now, I know a lot of you out there are weary of shows with audience participation, I know I am, but here I thought it was not awkward at all, and that wasn’t an easy task considering there are multiple scenes that require these audience members to play character and hit emotional beats. Espe...

The Ten Best Movies and TV Shows of 2021

  No explanations. No apologies. These are the lists and they ARE definitive.  Top Ten Films 10. The Last Duel (Scott) 9. Halloween Kills (Green) 8. No Sudden Move (Soderbergh) 7. Cry Macho (Eastwood) 6. West Side Story (Spielberg)  5. The Dig (Stone) 4. Barb and Star Go to Vista Del Mar (Greenbaum) 3. CODA (Heder) 2. Bergman Island (Hansen-Løve) 1. The Lost Daughter (Gyllenhaal) Top Ten Television Shows 10. Invasion (AppleTV+) 9. Evil (Paramount+) 8. The Real Housewives of Beverly Hills (Bravo) 7. Ghosts (CBS) 6. Maid (Netflix) 5. It's a Sin (Channel 4 in the UK, HBO Max in the US) 4. Couples Therapy (Showtime) 3. Succession (HBO) 2. Mare of Easttown (HBO) 1. The North Water (BBC Two in the UK, AMC+ in the US)

Spring 2026 Broadway Review Roundup #2: Death of a Salesman, Cats: The Jellicle Ball, Becky Shaw, and More

ChannelTim must keep up with the times, so I’ve joined TikTok! I am reviewing the New York spring theatre season over there, so go throw a follow  my way . For those of you not on that app, I’ll be doing a couple of review roundups here. Below are the scripts for my videos.  Monte Christo It’s no easy task to take a work of 19th literature and adapt it into a musical. For every Les Mis , there are half a dozen Jane Eyre s and Dracula s. But that track record has not daunted the writers of Monte Christo: A New Musical , who approach the source material, The Count of Monte Christo by Alexandra Dumas, with a bewildering combination of pep and disinterest. For a show that was only two hours long including an intermission, there was always going to be a lot of truncation of the plot, and that’s fine, but Monte Christo is also lopsided structurally. Most of act one is is taken up by the set up of Edmund Dantes getting set up, and he doesn’t take on the identity of the Count until ...