Aladdin (2019) - Movie Reviews - Page 12 of 12

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Review of Aladdin (2019)

By Michael Phillips (2,622) for Chicago Tribune (6,211) on 21 May 2019

As stand-alones, some of these work better than others…

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Review of Aladdin (2019)

By Frank Scheck (1,741) for The Hollywood Reporter (7,050) on 21 May 2019

The combination of diverse casting and female empowerment themes results in a perfectly politically correct Aladdin for these times…

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Review of Aladdin (2019)

By Mark Kennedy (184) for The Associated Press (882) on 21 May 2019

It’s pretty clear after watching the new live-action Aladdin that doubts about Will Smith’s casting as the Genie are overblown…

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Review of Aladdin (2019)

By Ignatiy Vishnevetsky (836) for The A.V. Club (5,644) on 21 May 2019

Ricthie’s Aladdin feels sluggish in comparison to the fast-paced original…

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Review of Aladdin (2019)

By David Edelstein (2,124) for New York Magazine (Vulture) (3,519) on 21 May 2019

This Aladdin’s sole innovation is a feminist Jasmine who refuses to be controlled, but the song is so saccharine and the vistas are so…

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Review of Aladdin (2019)

By A.o. Scott (2,100) for The New York Times (9,847) on 21 May 2019

The movie itself, while not entirely terrible — a lot of craft has been purchased, and even a little art — is pointless in a…

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Review of Aladdin (2019)

By David Sims (534) for The Atlantic (1,046) on 21 May 2019

It’s a garish, special-effects-laden extravaganza that still manages to feel tossed-off and half-hearted…

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Review of Aladdin (2019)

By Matt Singer (625) for ScreenCrush (954) on 21 May 2019

The nicest thing I can say about 2019’s Aladdin is in its best moments it reminded me of a movie I liked a lot as a kid…

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Review of Aladdin (2019)

By Soren Andersen (496) for The Seattle Times (964) on 21 May 2019

It’s got a flying carpet. It’s got an enchanted lamp. It’s got a shape-shifting genie. But alas, Aladdin lacks real magic…

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Review of Aladdin (2019)

By Jake Cole (292) for Slant Magazine (8,298) on 21 May 2019

Guy Ritchie’s live-action remake is content to trace the original’s narrative beats with perfunctory indifference…

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