Ever wonder what happens when a beloved animated classic gets a live-action glow-up with a $183 million budget? Disney’s Aladdin (2019), directed by Guy Ritchie, answers with a vibrant, if wobbly, spectacle that’s as much a love letter to the 1992 original as it is a bold reimagining. It’s a carpet ride that soars high but occasionally dips, leaving you enchanted yet craving a bit more polish.

Let’s start with the visuals. Cinematographer Alan Stewart transforms Agrabah into a kaleidoscope of color bustling markets gleam with golden hues, and the Cave of Wonders pulses with mythic grandeur. Every frame feels like a painting, blending practical sets with CGI that’s mostly seamless, though the tiger-shaped cave mouth occasionally looks like a video game cutscene. The musical numbers, like “Prince Ali,” explode with choreography that’s a Bollywood-meets-Broadway fever dream, capturing the chaotic joy of a city in celebration. But the magic falters in quieter moments some CGI, like the carpet’s weave, feels rushed, undermining the tactile wonder.

The cast is where Aladdin both shines and stumbles. Mena Massoud’s Aladdin is all heart, his wide-eyed charm and nimble dance moves making you root for the street rat with a dream. Naomi Scott’s Jasmine is a revelation, her fierce agency and soulful rendition of “Speechless” injecting modern feminist fire into the princess archetype. Yet, Will Smith’s Genie, while charismatic, can’t escape Robin Williams’ shadow. Smith leans into his own brand of swagger, but the script’s quips feel forced, like a comedian trying too hard at a reunion gig. Jafar (Marwan Kenzari) is the weakest link his menace is more petulant than chilling, diluting the stakes.

Ritchie’s direction keeps the pace brisk, but his gritty Snatch-style flourishes feel out of place in Agrabah’s fairy-tale glow. The film’s cultural resonance, though, hits home in 2025. Jasmine’s arc as a woman demanding her voice mirrors today’s push for representation, and the diverse cast feels like a nod to globalized audiences craving inclusive stories. Still, the film sidesteps deeper cultural critique, settling for safe, crowd-pleasing vibes over bold commentary.

For all its flaws, Aladdin (2019) is a visual feast that captures the original’s heart while stumbling on execution. It’s a reminder that remakes can dazzle but rarely outshine their roots. Buckle up for the ride just don’t expect every wish to come true.