The James Earl Jones tribute is the only good bit in Mufasa: Lion King

There’s no creative explanation as to why we are getting a follow-up to 2019’s remake of The Lion King. But John Favreau’s reinterpretation of the 1994 classic made over $1billion five years ago, making another film a certainty. Mufasa: Lion King hits cinemas in time for Christmas.

Positioned as both a prequel and sequel, the film sees Rafiki assemble the previous film’s cast to tell the origin story of Mufasa (Aaron Pierre), an orphan who is taken in by a new pride and forms a bond with Taka (Harrison Jr.).

Their brotherhood turns to division, however, in a rift that will see Mufasa become king and Taka be better known as Scar.

Barry Jenkins, the visionary director behind Moonlight, finds himself trying to find meaning in a film made to satisfy a spreadsheet. The overstuffed, clunky plot tries to justify its existence, asking questions that audiences don’t need the answer to.

Mufasa’s rise to prominence is entertaining enough, following the path of the classic Disney hero who must prove themselves worthy to a medley of original songs. Like Jenkins, Lin Manuel Miranda struggles to infuse anything magical into his soundtrack, which has the familiar notes of past work without offering anything that stands out.

Pierre and Harrison Jr do solid work as the younger versions of these characters, although like the inclusion of the 2019 cast, much of their work seems to be devoted to explaining why they are here.

A touching tribute to James Earl Jones, the original Mufasa, only underlines how much this new film is lacking.

The cutting-edge technology (animation with the feel of live action) and familiar faces will make Mufasa: The Lion King a hit with younger viewers, but anyone looking for something more will see another lifeless chapter in Disney’s quest to mine its own history.