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.page-content{padding-left:0;padding-right:0}}.focus-toggle-tooltip{background-color:var(--primary-body-link-color);border-radius:5px;box-shadow:2px 2px 20px rgba(0,0,0,.3);color:var(--primary-text-color-inverse);font-family:arial,"helvetica neue",helvetica,sans-serif;font-size:1rem;font-style:normal;font-weight:400;line-height:1.25rem;opacity:1;padding:20px 40px 20px 20px;top:50px;transform:translateX(-50%);transition:all .6s ease-out;visibility:visible;width:260px}.focus-toggle-tooltip-close{color:inherit;right:10px;top:10px}.focus-toggle-tooltip-close .icon{width:14px}.focus-toggle-tooltip:before{border-bottom:8px solid var(--primary-body-link-color);border-left:8px solid transparent;border-right:8px solid transparent;content:"";height:0;left:50%;margin-left:-10px;position:absolute;top:-8px;width:0}.focus-toggle-tooltip.fade-out{opacity:0;visibility:hidden} </style> <meta name="viewport" content="width=device-width,initial-scale=1"><title>'Beauty and the Beast' remake is a gilded monument to the more-is-more principle - Los Angeles Times</title><meta name="description" content="L.A. Times' film critic Justin Chang reviews 'Beauty and the Beast.'"><meta name="keywords" content=" Emma Watson, Dan Stevens,Beauty and the Beast, review"><link rel="canonical" href="https://www.latimes.com/entertainment/movies/la-et-mn-beauty-and-the-beast-review-20170316-story.html"><meta name="brightspot.contentId" content="00000169-0cb7-dbbe-a16f-4ef7ee770000"><link rel="apple-touch-icon" sizes="180x180" href="/apple-touch-icon.png"><link rel="icon" type="image/png" href="/favicon-32x32.png"><link rel="icon" type="image/png" href="/favicon-16x16.png"><script id="head-dl">var dataLayer = {"primarySection":"00000168-8677-d5d8-a76d-efff01170000","rootId":"","pageTitle":"'Beauty and the Beast' remake is a gilded monument to the more-is-more principle - Los Angeles Times","publishDate":"03-14-2017 04:35","source":"latimes","sectionParentPath":"entertainment-arts","pageName":"lat:entertainment-arts:movies:la-et-mn-beauty-and-the-beast-review-20170316:story.","platform":"22","sectionName":"movies","cmsSlug":"la-et-mn-beauty-and-the-beast-review-20170316","ownerSite":"latimes","pageTypeCode":"story","isMobile":false,"headline":"'Beauty and the Beast' remake is a gilded monument to the more-is-more principle","urlSlug":"la-et-mn-beauty-and-the-beast-review-20170316-story.html","publishTime":"2017-03-14T11:35:00.000Z","wordCount":1250,"bspContentUuid":"00000169-0cb7-dbbe-a16f-4ef7ee770000","fullUrl":"https://www.latimes.com/entertainment/movies/la-et-mn-beauty-and-the-beast-review-20170316-story.html","bspContentType":"story","isAccessibleForFree":false,"url":"https://www.latimes.com/entertainment/movies/la-et-mn-beauty-and-the-beast-review-20170316-story.html","sectionFullPath":"entertainment-arts:movies","sitePath":"/","sectionFullPathName":"entertainment-arts/movies","site":"latimes","paywallTier":"metered","domain":"www.latimes.com","permalink":"https://www.latimes.com/entertainment/movies/la-et-mn-beauty-and-the-beast-review-20170316-story.html","authors":"Justin Chang"};dataLayer.pixelId = '' + Date.now() + Math.ceil(window.crypto ? window.crypto.getRandomValues(new Uint32Array(1))[0] : Math.random());</script><script id="head-ncm">var newsletterCampaignSettings = {"campaign":{"marketName":"Los Angeles Times","newsletterId":"25","newsletterServiceUrl":"https://membership.latimes.com/subscription-services/v1/newsletters/subscriptions","title":"Only good movies. ","subHeadline1":"Get the Indie Focus newsletter, our guide to the world of cinema."},"bounceTracker":{"probability":1.0,"disableDesktopExitIntent":false,"disableMobileExitIntent":false,"disableRewindLandingPage":false,"debug":false}};</script><script id="head-experiments">var personalizationConfig = {"experiments":[],"fixedConfiguration":{}};</script><script id="head-read-content-tracker-config">var readContentTrackerConfig = {"enableTracker":true,"delaySeconds":5};</script><script> var componentStyles = { gvp: 'https://ca-times.brightspotcdn.com/resource/0000016e-6bb5-d505-abef-fbb7e4420000/styleguide/styles-gvp.min.e624f41b358f2fb3153dacb78bac1156.gz.css', poi: 'https://ca-times.brightspotcdn.com/resource/0000016e-6bb5-d505-abef-fbb7e4420000/styleguide/styles-poi.min.e71f07828151d2fc325bd516b81a4099.gz.css', weather: 'https://ca-times.brightspotcdn.com/resource/0000016e-6bb5-d505-abef-fbb7e4420000/styleguide/styles-weather.min.f7bcc9ce34364f82dc318cec6f869183.gz.css' }; var jsPrefetch = { videoCore: true, } </script> <script type="application/ld+json">{"@context":"http://schema.org","@type":"NewsArticle","isAccessibleForFree":false,"articleBody":"What would Howard Ashman have thought? We’ll never know. But as the credits rolled on “Beauty and the Beast,” Disney’s live-action update of its own 1991 animated masterwork, I found myself perusing the late, great lyricist’s words in search of a phrase that would do the experience justice. “Just a little change; small, to say the least”? A bit of an understatement. “Perfect, a pure paragon”? Alas, no. Oddly, the correct answer sprang from another genius Ashman-Alan Menken collaboration entirely: “Look at this stuff, isn’t it neat?” The new “Beauty and the Beast” is a look-at-this-stuff kind of picture. The Beast’s castle, its labyrinthine interiors captured from a multitude of swirling camera angles, is a rococo real-estate catalog come to life. (Call it Better Homes and Gargoyles.) That so many of the actors are playing singing-and-dancing household objects feels both apt and a touch redundant in a movie where the decor is already the loudest character on screen. This isn’t just a remake; it’s an act of cinematic upholstery, with all the padding that implies. The performances are unexceptionally fine. Emma Watson, making an intuitive leap from the bookish, lovely Hermione Granger to the bookish, lovely Belle, gives us a luminous if not exactly full-throated heroine. Dan Stevens, his good looks peeking out from behind the Beast’s horned countenance and gruff manner, pulls off an excellent hybrid of Bigfoot and Mr. Darcy. Ewan McGregor, Ian McKellen, Emma Thompson, Gugu Mbatha-Raw, Stanley Tucci and Audra McDonald, availing themselves of state-of-the-art visual sorcery, do thoroughly credible if character-deficient impersonations of a candelabra, a clock, a teapot, a feather duster, a grand piano and a wardrobe, respectively. Familiar as much of this may sound, the filmmakers have done their best to dispel the project’s inevitable air of redundancy. Working from a screenplay by Stephen Chbosky and Evan Spiliotopoulos, the director, Bill Condon, is no stranger to the challenges of adapting a popular musical property (“Dreamgirls”) or navigating a cross-species romance (the final two “Twilight” movies). With “Beauty and the Beast,” he has taken a sleek and elegant 84-minute fairy tale — the crown jewel of Disney’s ’90s new-wave renaissance — and spun from it a 129-minute epic of extravagance, a gilded monument to the more-is-more principle. You feel that more-ness most of all in the music, and unfortunately it’s the same kind of more-ness you get from a blandly over-produced cover of a beloved song. When Belle sings about the poor provincial town where she lives with her inventor father (a sweetly absent-minded Kevin Kline), you might note how slack the tempo feels, how much dead air seems to have been piled around the individual stanzas so as to accommodate exaggerated bits of business and slapstick. FULL COVERAGE: 'Beauty and the Beast' news, interviews and more » Later at the castle, when a kitchen full of crooning crockery invites the newly imprisoned Belle to “Be Our Guest,” you may applaud their dinner-theater antics out of a sense of duty rather than delight. The choreography is dazzling, the effect curiously numbing: Can singing and dancing plates and utensils seem genuinely enchanting when they’re so clearly following a template? Surely an elaborate digital recreation buys you more genuine magic than this. The musical hiccups are particularly revealing. The Oscar-winning 1991 film endures, in no small part, on the strength of Menken’s compositions and Ashman’s lyrics, a sublime marriage of sensibilities that still feels like a nonpareil achievement in the animated musical canon — a master class in storytelling through song. What’s remarkable is not just the catchiness but also the narrative agility of the music, the intricate layering of exposition, character development, humor and surprise in every line and melody. That extraordinary level of concision — something that the costly, labor-intensive animation process often demands — stands in sharp contrast to the new film’s faltering rhythms. This “Beauty and the Beast” is a leisurely, sprawling affair, pausing to revel in its own splendor when it should be picking up the pace — and curiously enough, the result feels less lifelike and more cartoonish than its hand-drawn predecessor in nearly every respect. That the tale of a prince and his servants trying to reclaim their stolen humanity should itself feel so immobilized, trapped rather than liberated by the live-action medium, is scarcely the least of the movie’s ironies. There are moments when Condon’s maximalist impulses pay off. Luke Evans is such an ideal physical match for Gaston, the story’s impossibly buff, arrogant, antler-poaching, Belle-coveting villain, that he comes enviably close to putting his own muscular stamp on the role. He’s aided immeasurably in this feat by Josh Gad’s crack timing as Gaston’s boisterous and besotted sidekick, LeFou. (The character’s “exclusively gay” moment, ill-advisedly trumped up in the movie’s marketing rollout, turns out to be a mild throwaway — a little something there that wasn’t there before. Or was it?) Another saving grace: Watson and Stevens not only manage a nice and bristly screen rapport but also strike a chord of authentic feeling. Their big ballroom dance number is an unsurprising highlight; that iconic golden gown is so radiant, it’s almost radioactive. But pay attention to the dialogue they exchange beforehand when Belle, diving into the castle library, engages the Beast in a playfully barbed discussion of Shakespeare. She falls in love with this monster, we’re reminded, not just because of his latent goodness, but also because he is her intellectual equal. For the most part, the same can’t be said of this “Beauty and the Beast” in relation to its predecessor (or, for that matter, in relation to Jean Cocteau’s hauntingly poetic 1946 version). Little that has been reproduced here rises above the level of serviceable imitation, and little that has been added — including four new songs written by Menken and the lyricist Tim Rice — feels particularly inspired. The most inexplicable addition is a supernatural plot device that illuminates the untimely death of Belle’s mother, as if we needed more of a reason to empathize with our heroine. (What will Disney dream up next? Photos from Mufasa’s autopsy?) But enough with the side-by-side comparisons, you may be thinking: Surely none of this will matter to those encountering the material for the first time! Can’t we appreciate the new work on its own terms? To which I would counter that there is precious little this “Beauty and the Beast” can honestly call its own, so thoroughly and unsuccessfully does it try to mimic and maximize its predecessor’s very specific charms. Keeping a checklist of what a remake gets wrong may be a fundamentally pedantic, ungenerous approach to criticism. But it may also be the appropriate one in response to Disney’s ongoing business strategy, which, even with above-average outings like the recent updates of “Cinderella” and “The Jungle Book,” seems increasingly invested in exploiting the audience’s nostalgia. This isn’t the studio’s first enterprise to trade in secondhand pleasures and, certain as the sun rising in the east, it won’t be the last. ------------ ‘Beauty and the Beast’ MPAA rating: PG, for some action violence, peril and frightening images Running time: 2 hour, 9 minutes Playing: In general release See the most-read stories in Entertainment this hour » justin.chang@latimes.com @JustinCChang ALSO 'Beauty and the Beast' pulled from Malaysian release after 'gay moment' censored From the archives: 'Beauty and the Beast' is the most satisfying animated Disney feature in years From the archives: 'Beauty and the Beast's' Alan Menken takes pride in carrying the vision of Howard Ashman","articleSection":"Movies","url":"https://www.latimes.com/entertainment/movies/la-et-mn-beauty-and-the-beast-review-20170316-story.html","dateModified":"2017-03-16T16:22:22.000Z","datePublished":"2017-03-14T11:35:00.000Z","description":"L.A. 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principle</h1> <div class="page-wrapper"> <main class="page-main"> <article class="story"> <div class="page-lead-media"> <div class="video-enhancement" data-video-disable-history> <div class="video-enhancement-player"> <ps-youtubeplayer data-video-player class="youtube-video-player video-player youtube-video-player-facade" data-player-id="fb064b548b4b843869b0d12ad6f0e3f7a" data-video-id="S9cfXyjUZ7g" data-video-title="Beauty and the Beast’ movie review by Justin Chang" data-slot-name="/21787098806/web.latimes/entertainment-arts/movies/video" data-lazy-offset="1.0" data-autoplay-threshold="50" data-miniplayer data-internal-video-id="S9cfXyjUZ7g" data-ad-slot-name="/21787098806/web.latimes/entertainment-arts/movies/video" data-ad-provider="ima" data-ima-sdk-url="https://imasdk.googleapis.com/js/sdkloader/ima3.js" data-ima-ad-tag-url="https://pubads.g.doubleclick.net/gampad/ads?sz=640x480&gdfp_req=1&env=vp&output=vast&unviewed_position_start=1&cmsid=2652439&ad_rule=0&plcmt=1" > <picture> <source srcset="https://img.youtube.com/vi_webp/S9cfXyjUZ7g/maxresdefault.webp" type="image/webp"/> <source srcset="https://img.youtube.com/vi/S9cfXyjUZ7g/maxresdefault.jpg"/> <img id="yt-img-S9cfXyjUZ7g" alt="" src="https://img.youtube.com/vi/S9cfXyjUZ7g/hqdefault.jpg" decoding="async"/> </picture> <button type="button" class="youtube-video-player-facade-button" aria-label="Play"> <svg class="icon"><use xlink:href="/styleguide/assets/misc-icons.svg#icon-youtube-play"></use></svg> </button> <div class="container"> <a href="#" class="close-link hidden">×</a> <div id="youtube-video-player-fb064b548b4b843869b0d12ad6f0e3f7a"></div> </div> <script>(()=>{const e=document.getElementById("yt-img-S9cfXyjUZ7g");e&&e.addEventListener("load",(t=>{t.target.naturalWidth<=120&&(e.parentNode.children[0].srcset=e.parentNode.children[1].srcset=e.src)}),{once:!0})})()</script> </ps-youtubeplayer> </div> <p class="video-enhancement-title">Justin Chang reviews “Beauty and the Beast,” directed by Bill Condon, starring Emma Watson, Dan Stevens, Luke Evans, Kevin Kline, Josh Gad, Emma Thompson, Ewan McGregor, Audra McDonald, Ian McKellen, Gugu Mbatha-Raw and Stanley Tucci. Video by Jason</p> </div> </div> <div class="byline"> <div class="authors"> <div class="author-name"> <span class="byline-prefix">By</span> <a class="link" href="https://www.latimes.com/people/justin-chang" aria-label="Justin Chang" data-click="standardBylineAuthorName" >Justin Chang</a><span class="author-title">Film Critic </span> </div> </div> <time datetime="2017-03-14T11:35:00.000Z" class="published-date"><span class="published-date-day">March 14, 2017 </span><span class="published-time">4:35 AM PT </span></time></div> <div class="page-actions"> <ps-actionbar class="action-bar"> <ul class="action-bar-menu"> <li> <a class="action-link" data-modal-trigger href="#"><svg class="icon share-arrow-icon"><use xlink:href="#share-more-arrow"></use></svg><span>Share</span></a> </li> </ul> <div class="action-bar-content ct-hidden"> <div class="action-bar-overlay" data-modal-close></div> <div class="action-bar-modal"> <div class="action-bar-modal-header"> <span>Share via</span> <button 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xlink:href="#mono-icon-print"></use></svg><span>Print</span></span> </li> </ul> </div> </div> </ps-actionbar> </div> <div class="page-titleline"> Film Critic </div> <div data-element="story-body" class="ct-rich-text-children font-body font-normal text-lg leading-7.75 text-primary-text-color clearfix mb-10 md:max-w-170 md:mx-auto" data-subscriber-content> <p>What would Howard Ashman have thought? We’ll never know. But as the credits rolled on “Beauty and the Beast,” Disney’s live-action update of its own 1991 animated masterwork, I found myself perusing the late, great lyricist’s words in search of a phrase that would do the experience justice.</p><p>“Just a little change; small, to say the least”? A bit of an understatement.</p><p>“Perfect, a pure paragon”? Alas, no.</p><p>Oddly, the correct answer sprang from another genius Ashman-Alan Menken collaboration entirely: <a class="link" href="https://www.youtube.com/watch?v=SXKlJuO07eM" target="_blank" >“Look at this stuff, isn’t it neat?”</a></p><p>The new “Beauty and the Beast” is a look-at-this-stuff kind of picture. The Beast’s castle, its labyrinthine interiors captured from a multitude of swirling camera angles, is a rococo real-estate catalog come to life. (Call it Better Homes and Gargoyles.)</p><div class="enhancement" data-click="enhancement" data-align-center ><div class="google-dfp-ad-wrapper" style="min-height: 270px;" data-min-height="270" > <div class="google-dfp-ad-caption">Advertisement</div> <div id="story-inline-1" class="google-dfp-ad injected" data-slot-name="/21787098806/web.latimes/entertainment-arts/movies/story_inline" data-slot-sizes="[[5, 1]]" data-ad-type="injected" data-module-targeting="{"instart": "false"}" > <span class="google-dfp-ad-placeholder"></span> </div> </div></div><p>That so many of the actors are playing singing-and-dancing household objects feels both apt and a touch redundant in a movie where the decor is already the loudest character on screen. This isn’t just a remake; it’s an act of cinematic upholstery, with all the padding that implies.</p><p>The performances are unexceptionally fine. Emma Watson, making an intuitive leap from the bookish, lovely Hermione Granger to the bookish, lovely Belle, gives us a luminous if not exactly full-throated heroine. Dan Stevens, his good looks peeking out from behind the Beast’s horned countenance and gruff manner, pulls off an excellent hybrid of Bigfoot and Mr. Darcy.</p><p>Ewan McGregor, Ian McKellen, Emma Thompson, Gugu Mbatha-Raw, Stanley Tucci and Audra McDonald, availing themselves of state-of-the-art visual sorcery, do thoroughly credible if character-deficient impersonations of a candelabra, a clock, a teapot, a feather duster, a grand piano and a wardrobe, respectively.</p><div class="enhancement" data-click="enhancement" data-align-center ><div class="google-dfp-ad-wrapper" style="min-height: 270px;" data-min-height="270" > <div class="google-dfp-ad-caption">Advertisement</div> <div id="story-inline-2" class="google-dfp-ad injected" data-slot-name="/21787098806/web.latimes/entertainment-arts/movies/story_inline" data-slot-sizes="[[2, 2], [320, 50], [300, 250], [320, 100]]" data-ad-type="injected" data-slot-ad-size-maps="[[[1024, 0], [300, 250], [2, 2]], [[0, 0], [320, 50], [2, 2], [320, 100], [300, 250]]]" data-module-targeting="{"position":"2"}" > <span class="google-dfp-ad-placeholder"></span> </div> </div></div><p>Familiar as much of this may sound, the filmmakers have done their best to dispel the project’s inevitable air of redundancy. Working from a screenplay by Stephen Chbosky and Evan Spiliotopoulos, the director, Bill Condon, is no stranger to the challenges of adapting a popular musical property (“Dreamgirls”) or navigating a cross-species romance (the final two “Twilight” movies). With “Beauty and the Beast,” he has taken a sleek and elegant 84-minute fairy tale — the crown jewel of Disney’s ’90s new-wave renaissance — and spun from it a 129-minute epic of extravagance, a gilded monument to the more-is-more principle.</p><div class="enhancement" data-click="enhancement" data-align-center > </div><div class="enhancement" data-click="enhancement" data-align-center > <div class="quote" data-module-id="0000016b-f7e6-dbc6-afef-f7e616760000"> <blockquote> <p class="quote-body" >This isn’t just a remake; it’s an act of cinematic upholstery, with all the padding that implies.</p> </blockquote> </div> </div><div class="enhancement" data-click="enhancement" data-align-center ><div class="google-dfp-ad-wrapper" style="min-height: 270px;" data-min-height="270" data-render-conditions="{"requiresSubscriber":false,"requiresNonSubscriber":true}"> <div class="google-dfp-ad-caption">Advertisement</div> <div id="story-inline-3" class="google-dfp-ad injected" data-slot-name="/21787098806/web.latimes/entertainment-arts/movies/story_inline" data-slot-sizes="[[5, 1]]" data-ad-type="injected" data-hide-mobile="true" data-module-targeting="{"instart": "false"}" > <span class="google-dfp-ad-placeholder"></span> </div> </div></div><p>You feel that more-ness most of all in the music, and unfortunately it’s the same kind of more-ness you get from a blandly over-produced cover of a beloved song. When Belle sings about the poor provincial town where she lives with her inventor father (a sweetly absent-minded Kevin Kline), you might note how slack the tempo feels, how much dead air seems to have been piled around the individual stanzas so as to accommodate exaggerated bits of business and slapstick.</p><p><b><a class="link" href="https://www.latimes.com/entertainment/la-et-beauty-and-the-beast-sg-storygallery.html" target="_blank" >FULL COVERAGE: ‘Beauty and the Beast’ news, interviews and more »</a></b></p><p>Later at the castle, when a kitchen full of crooning crockery invites the newly imprisoned Belle to “Be Our Guest,” you may applaud their dinner-theater antics out of a sense of duty rather than delight. The choreography is dazzling, the effect curiously numbing: Can singing and dancing plates and utensils seem genuinely enchanting when they’re so clearly following a template? Surely an elaborate digital recreation buys you more genuine magic than this.</p><p>The musical hiccups are particularly revealing. The Oscar-winning 1991 film endures, in no small part, on the strength of Menken’s compositions and Ashman’s lyrics, a sublime marriage of sensibilities that still feels like a nonpareil achievement in the animated musical canon — a master class in storytelling through song. What’s remarkable is not just the catchiness but also the narrative agility of the music, the intricate layering of exposition, character development, humor and surprise in every line and melody.</p><div class="enhancement" data-click="enhancement" data-align-center > <div class="video-enhancement" data-video-disable-history> <div class="video-enhancement-player"> <ps-youtubeplayer data-video-player class="youtube-video-player video-player youtube-video-player-facade" data-player-id="f1b46552ee4a342e2866509a8b02bd9ee" data-video-id="JKr6NwaTr54" data-video-title="Beauty and the Beast’ trailer" data-slot-name="/21787098806/web.latimes/entertainment-arts/movies/video" data-lazy-offset="1.0" data-autoplay-threshold="50" data-miniplayer data-internal-video-id="JKr6NwaTr54" data-ad-slot-name="/21787098806/web.latimes/entertainment-arts/movies/video" data-ad-provider="ima" data-ima-sdk-url="https://imasdk.googleapis.com/js/sdkloader/ima3.js" data-ima-ad-tag-url="https://pubads.g.doubleclick.net/gampad/ads?sz=640x480&gdfp_req=1&env=vp&output=vast&unviewed_position_start=1&cmsid=2652439&ad_rule=0&plcmt=1" > <picture> <source srcset="https://img.youtube.com/vi_webp/JKr6NwaTr54/maxresdefault.webp" type="image/webp"/> <source srcset="https://img.youtube.com/vi/JKr6NwaTr54/maxresdefault.jpg"/> <img id="yt-img-JKr6NwaTr54" alt="" src="https://img.youtube.com/vi/JKr6NwaTr54/hqdefault.jpg" loading="lazy" decoding="async"/> </picture> <button type="button" class="youtube-video-player-facade-button" aria-label="Play"> <svg class="icon"><use xlink:href="/styleguide/assets/misc-icons.svg#icon-youtube-play"></use></svg> </button> <div class="container"> <a href="#" class="close-link hidden">×</a> <div id="youtube-video-player-f1b46552ee4a342e2866509a8b02bd9ee"></div> </div> <script>(()=>{const e=document.getElementById("yt-img-JKr6NwaTr54");e&&e.addEventListener("load",(t=>{t.target.naturalWidth<=120&&(e.parentNode.children[0].srcset=e.parentNode.children[1].srcset=e.src)}),{once:!0})})()</script> </ps-youtubeplayer> </div> <p class="video-enhancement-title">Emma Watson, Dan Stevens and Luke Evans star in the live-action movie “Beauty and the Beast.”</p> </div> </div><p>That extraordinary level of concision — something that the costly, labor-intensive animation process often demands — stands in sharp contrast to the new film’s faltering rhythms. This “Beauty and the Beast” is a leisurely, sprawling affair, pausing to revel in its own splendor when it should be picking up the pace — and curiously enough, the result feels less lifelike and more cartoonish than its hand-drawn predecessor in nearly every respect. That the tale of a prince and his servants trying to reclaim their stolen humanity should itself feel so immobilized, trapped rather than liberated by the live-action medium, is scarcely the least of the movie’s ironies.</p><div class="enhancement" data-click="enhancement" data-align-center ><div class="google-dfp-ad-wrapper" style="min-height: 270px;" data-min-height="270" data-render-conditions="{"requiresEnabledFeature":"focusMode"}"> <div class="google-dfp-ad-caption">Advertisement</div> <div id="story-inline-4" class="google-dfp-ad injected" data-slot-name="/21787098806/web.latimes/entertainment-arts/movies/story_inline" data-slot-sizes="[[970, 250], [970, 90], [728, 90], [1680, 220], [1280, 220], [1800, 220]]" data-ad-type="injected" data-hide-mobile="true" data-slot-ad-size-maps="[[[1024, 0], [970, 250], [970, 90], [728, 90], [1680, 220], [1280, 220], [1800, 220]]]" data-module-targeting="{"position":"4"}" > <span class="google-dfp-ad-placeholder"></span> </div> </div></div><p>There are moments when Condon’s maximalist impulses pay off. Luke Evans is such an ideal physical match for Gaston, the story’s impossibly buff, arrogant, antler-poaching, Belle-coveting villain, that he comes enviably close to putting his own muscular stamp on the role. He’s aided immeasurably in this feat by Josh Gad’s crack timing as Gaston’s boisterous and besotted sidekick, LeFou. (The character’s “exclusively gay” moment, ill-advisedly trumped up in the movie’s marketing rollout, turns out to be a mild throwaway — a little something there that wasn’t there before. Or was it?)</p><p>Another saving grace: Watson and Stevens not only manage a nice and bristly screen rapport but also strike a chord of authentic feeling. Their big ballroom dance number is an unsurprising highlight; that iconic golden gown is so radiant, it’s almost radioactive. But pay attention to the dialogue they exchange beforehand when Belle, diving into the castle library, engages the Beast in a playfully barbed discussion of Shakespeare. She falls in love with this monster, we’re reminded, not just because of his latent goodness, but also because he is her intellectual equal.</p><p>For the most part, the same can’t be said of this “Beauty and the Beast” in relation to its predecessor (or, for that matter, in relation to Jean Cocteau’s hauntingly poetic 1946 version). Little that has been reproduced here rises above the level of serviceable imitation, and little that has been added — including four new songs written by Menken and the lyricist Tim Rice — feels particularly inspired. The most inexplicable addition is a supernatural plot device that illuminates the untimely death of Belle’s mother, as if we needed more of a reason to empathize with our heroine. (What will Disney dream up next? Photos from Mufasa’s autopsy?)</p><p>But enough with the side-by-side comparisons, you may be thinking: Surely none of this will matter to those encountering the material for the first time! Can’t we appreciate the new work on its own terms? To which I would counter that there is precious little this “Beauty and the Beast” can honestly call its own, so thoroughly and unsuccessfully does it try to mimic and maximize its predecessor’s very specific charms.</p><p>Keeping a checklist of what a remake gets wrong may be a fundamentally pedantic, ungenerous approach to criticism. But it may also be the appropriate one in response to Disney’s ongoing business strategy, which, even with above-average outings like the recent updates of “Cinderella” and “The Jungle Book,” seems increasingly invested in exploiting the audience’s nostalgia. This isn’t the studio’s first enterprise to trade in secondhand pleasures and, certain as the sun rising in the east, it won’t be the last.</p><p>------------</p><p><b>‘Beauty and the Beast’</b></p><div class="enhancement" data-click="enhancement" data-align-center ><div class="google-dfp-ad-wrapper" style="min-height: 270px;" data-min-height="270" data-render-conditions="{"requiresEnabledFeature":"focusMode"}"> <div class="google-dfp-ad-caption">Advertisement</div> <div id="story-inline-5" class="google-dfp-ad injected" data-slot-name="/21787098806/web.latimes/entertainment-arts/movies/story_inline" data-slot-sizes="[[970, 250], [970, 90], [728, 90], [1680, 220], [1280, 220], [1800, 220]]" data-ad-type="injected" data-hide-mobile="true" data-slot-ad-size-maps="[[[1024, 0], [970, 250], [970, 90], [728, 90], [1680, 220], [1280, 220], [1800, 220]]]" data-module-targeting="{"position":"5"}" > <span class="google-dfp-ad-placeholder"></span> </div> </div></div><p><b>MPAA rating: </b>PG, for some action violence, peril and frightening images</p><p><b>Running time:</b> 2 hour, 9 minutes</p><p><b>Playing: </b>In general release</p><p><b><a class="link" href="https://www.latimes.com/entertainment/popular/" target="_blank" >See the most-read stories in Entertainment this hour »</a></b></p><div class="enhancement" data-click="enhancement" data-align-center > <ps-video-playlist class="video-module" data-module-id="0000016b-f7e6-dbc6-afef-f7e616880001"> <div class="mb-5 pt-4.5 border-0 border-t-2 border-solid border-t-color-black"> <p class="m-0 font-serviceblack text-2xl leading-6.5"> Movie Trailers </p> </div> <div class="video-module-content"> <div class="video-module-content-wrapper"> </div> </div> </ps-video-playlist> </div><p><b><a class="link" href="mailto:justin.chang@latimes.com" target="_blank" >justin.chang@latimes.com</a></b></p><p><b><a class="link" href="https://twitter.com/JustinCChang" target="_blank" >@JustinCChang</a></b></p><p> </p><p><b><b>ALSO</b></b></p><p><b><b><a class="link" href="https://www.latimes.com/entertainment/la-et-entertainment-news-updates-march-beauty-and-the-beast-malaysian-1489506972-htmlstory.html" target="_blank" >‘Beauty and the Beast’ pulled from Malaysian release after ‘gay moment’ censored</a></b></b></p><div class="enhancement" data-click="enhancement" data-align-center ><div class="google-dfp-ad-wrapper" style="min-height: 270px;" data-min-height="270" data-render-conditions="{"requiresEnabledFeature":"focusMode"}"> <div class="google-dfp-ad-caption">Advertisement</div> <div id="story-inline-6" class="google-dfp-ad injected" data-slot-name="/21787098806/web.latimes/entertainment-arts/movies/story_inline" data-slot-sizes="[[970, 250], [970, 90], [728, 90], [1680, 220], [1280, 220], [1800, 220]]" data-ad-type="injected" data-hide-mobile="true" data-slot-ad-size-maps="[[[1024, 0], [970, 250], [970, 90], [728, 90], [1680, 220], [1280, 220], [1800, 220]]]" data-module-targeting="{"position":"6"}" > <span class="google-dfp-ad-placeholder"></span> </div> </div></div><p><b><a class="link" href="https://documents.latimes.com/la-et-disney-beauty-and-the-beast-review/" target="_blank" ><b>From the archives: ‘Beauty and the Beast’ is the most satisfying animated Disney feature in years</b></a></b></p><p><b><a class="link" href="https://documents.latimes.com/la-et-beauty-and-beast-alan-menken-howard-ashman/" target="_blank" ><b>From the archives: ‘Beauty and the Beast’s’ Alan Menken takes pride in carrying the vision of Howard Ashman</b></a></b></p><div class="enhancement" data-click="enhancement" data-align-center > <div class="list list-zz list-spacer-bottom" data-list-id="00000192-be42-da32-a3db-ff76fc3b0000" data-module-id="00000192-be42-da32-a3db-ff76fc3b0000"> <div data-element="element-header" data-click="liZZListTitleCTA" class="!pb-0 border-solid pt-0 border-0 "> <h3 class="mb-5 p-0 font-serviceblack text-2xl leading-6.5" 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Please try again." data-success-message="Thank you for signing up." data-success-link-message="Manage all your newsletters here." data-success-pre-text="You've signed up" data-success-post-text="successfully." data-submitting-text="Submitting..." data-subscription-url="https://membership.latimes.com/newsletters" novalidate> <div class="email-input text-input"><label class="email-input-label text-input-label" for="email-input-element-00000193-5fd5-d3b4-affb-5fd759f00001" ><span>Enter email address</span> <input class="email-input-element text-input-element" type="email" id="email-input-element-00000193-5fd5-d3b4-affb-5fd759f00001" name="emailinput" disabled="disabled" placeholder="Enter email address" /> </label> </div> <div class="form-error-message"></div> <div class="form-buttons"> <button class="button" disabled="disabled" type="submit" >Sign Me Up </button> </div> </form> <p class="module-disclaimer"> You may occasionally receive promotional content from the Los Angeles Times. </p> </ps-newsletter-module> <div class="bylines"> <div class="author-info"> <div class="author-avatar"> <a class="link" aria-label="Justin Chang" href="https://www.latimes.com/people/justin-chang" data-click="authorBioImage"> <img alt="" src="https://ca-times.brightspotcdn.com/dims4/default/8103083/2147483647/strip/true/crop/1856x1856+1484+486/resize/130x130!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F8d%2Ff7%2F5ed5e0de4813a9741c1a95e164aa%2Fstaff-bio-justin-chang-03.JPG" loading="lazy" srcset="https://ca-times.brightspotcdn.com/dims4/default/8103083/2147483647/strip/true/crop/1856x1856+1484+486/resize/130x130!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F8d%2Ff7%2F5ed5e0de4813a9741c1a95e164aa%2Fstaff-bio-justin-chang-03.JPG 1x,https://ca-times.brightspotcdn.com/dims4/default/f9d137f/2147483647/strip/true/crop/1856x1856+1484+486/resize/260x260!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F8d%2Ff7%2F5ed5e0de4813a9741c1a95e164aa%2Fstaff-bio-justin-chang-03.JPG 2x" width="130" height="130" > </a> </div> <div class="author-bio"> <div class="author-name"> <a class="link" href="https://www.latimes.com/people/justin-chang" aria-label="" data-click="authorBioName">Justin Chang</a> </div> <div class="author-social-media"><div class="social-bar"> <p class="social-bar-heading">Follow Us</p> <ul class="social-bar-menu"> <li><a data-element="social-link" class="flex justify-center items-center h-10 w-10 border border-solid border-secondary-color-6 rounded-sm hover:border-secondary-color-5" rel="noreferrer noopener" href="https://twitter.com/JustinCChang" target="_blank" data-social-service="twitter" data-social-trigger="authorBio" > <svg data-element="social-icon" class="h-7 w-7 fill-secondary-color-8 [[data-element='page-footer']_&]:fill-secondary-color-5"> <use xlink:href="#mono-icon-twitter"></use></svg> <span class="sr-only">X</span> </a> </li> </ul> </div> </div> <p class="author-bio-text">Justin Chang was a film critic for the Los Angeles Times from 2016 to 2024. He won the 2024 <a class="link" href="https://www.pulitzer.org/winners/justin-chang-los-angeles-times" target="_blank" >Pulitzer Prize in criticism</a> for work published in 2023. Chang is the author of the book “FilmCraft: Editing” and serves as chair of the National Society of Film Critics and secretary of the Los Angeles Film Critics Assn.</p> </div> </div> </div> <div class="page-content-footer" data-click="contentFooter"><ps-connatix-module data-fetch-offset="1.25" data-integration-script="!function(n){if(!window.cnx){window.cnx={},window.cnx.cmd=[];var t=n.createElement('iframe');t.src='javascript:false'; t.display='none',t.onload=function(){var n=t.contentWindow.document,c=n.createElement('script');c.src='//cd.connatix.com/connatix.player.js?cid=87b4f8ff-3ecb-4d03-9754-0c59c3121f22',c.setAttribute('async','1'),c.setAttribute('type','text/javascript'),n.body.appendChild(c)},n.head.appendChild(t)}}(document);"> <div class="connatix-wrapper" style="min-height: 495px;" > <div class="connatix" data-customer-id="87b4f8ff-3ecb-4d03-9754-0c59c3121f22" data-player-id="5fff2aa5-02d5-4d8a-9635-e04eb729fc9b" data-story-id="78a81e64-cb32-4c91-bd13-272154f6a3b7" > 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