Troy Ribeiro

Director Barry Jenkins’ film sets out to answer a question no one seemed to ask: What made Mufasa, the original king of Pride Rock, so... kingly? And while the film manages to fill in the blanks with jaw-dropping visuals and a sprinkle of emotional heft, it also trips over Disney’s usual traps—predictable arcs, lukewarm humour, and songs that could use a little more bite.

The story begins with Rafiki (voiced with dignified mischief by John Kani) recounting Mufasa’s cubhood to an anxious Kiara (Blue Ivy Carter) left in Timon and Pumbaa’s dubious care. Naturally, these two 

can’t resist interrupting with quips that range from mildly amusing to groan-worthy. The tale unfolds with a young Mufasa swept away from his family by a flood and adopted by a new pride. Here, he bonds with Taka, the princely cub who will inevitably become Scar, Disney’s most infamous feline villain.

Plot-wise, this is an origin story dressed up as a hero’s journey. Mufasa learns to rise above adversity, build alliances, and embrace his destined greatness. Meanwhile, Taka’s journey from a supportive brother to a bitter rival is about as subtle as a lion sneaking up on a gazelle. There is a glimmer of tension, but the film rushes through his descent into villainy as if eager to check off the “Scar Transformation” box before the credits roll.

The performances are solid, with Aaron Pierre voicing Mufasa with the right mix of youthful optimism and growing authority. Kelvin Harrison Jr. adds depth to Taka, capturing his inner turmoil and yearning for approval. Yet, it’s Mads Mikkelsen as Kiros, the leader of a marauding pride of white lions, who steals every scene with his cold menace, delivering a much-needed jolt of danger.

Visually, Mufasa is a marvel. Every tuft of fur, a ripple of water, and swaying flowers that carpet the vast landscape radiates digital realism so breathtaking you can almost feel them. Jenkins, along with cinematographer James Laxton, transforms the animated landscape into an immersive experience. A standout moment where Mufasa senses his surroundings blurs the line between animation and live-action, offering a level of naturalism that evokes a high-budget nature documentary. Yet, for all its visual prowess, the film feels like it’s circling the same watering hole, content to marvel at its own reflection.

The music, however, is another story. Lin-Manuel Miranda’s tunes are competent but rarely memorable. A romantic duet between Mufasa and Sarabi (Tiffany Boone) lacks the emotional resonance of past Disney ballads, instead floating by like a dandelion seed in the wind—pleasant but inconsequential.

And then there’s the humour—or what Disney calls humour. Seth Rogen and Billy Eichner return as Timon and Pumbaa, delivering meta-jokes that feel as fresh as yesterday’s leftovers. The comedic interjections often derail the narrative, making you wish for more Rafiki and less Hakuna Matata 2.0. Yes, the film’s Achilles’ paw lies in its narrative device.

Ultimately, a visually stunning, occasionally moving, and predictably safe addition to the Lion King universe, this prequel might make you nostalgic for the original—don’t expect it to dethrone it.