THE LITTLE MERMAID (2023) Makes a New Splash

Disney’s 1989 princess classic gets its turn for the live-action treatment, with the red-haired mermaid exploring the world she so desperately longs to be part of. With some minor tweaks to breathe new life into the aquatic tail tale, The Little Mermaid is a vibrant and joyous adaptation.

Bringing the underwater story to life was quite serendipitous for many. With development starting in 2016, Lin-Manuel Miranda quickly hopped off the Moana wave to serve as producer (fun fact: his son is named Sebastian after the famed crustacean). With Chicago director Rob Marshall soon attached, rumors swirled as to who would get the part of the inquisitive mermaid. But it was the first girl to audition who got it, Halle Bailey.

Disney’s live-action remakes often have grand shoes to fill, but The Little Mermaid hits the mark in all departments. While it was hard to avoid the unnecessary controversy surrounding the film, the final product is a spectacular incarnation that is true to the beloved original — while also feeling fresh and exciting. 

Bailey slips into Ariel’s fin with ease, perfectly embodying the innocence and curiosity of the character, but with the enhancements live-action versions can allow for. Her performance reminded me so much of Lily James in the 2015 Cinderella remake, where she so effortlessly exuded what that character is.

With all the unwarranted critiques of Bailey’s casting, it’s a testament to her talent—and Marshall’s vision—that she comes out on the other side having given it her all. You cannot help but love her as Ariel and her vocal talents are so impressive, bringing a new sense of sorrow and yearning to the classic songs — including several new musical numbers written by Miranda.

Additional songs aren’t the only refreshed items, as the story now includes a variety of new ideas. The film stays relatively close to the original, with writer David Magee keeping the most recognizable lines and moments. But he adds some great backgrounds on Eric (Jonah Hauer-King) and Ariel — and why their worlds fear one another. But most importantly, there’s a better insight into how the two develop a strong connection with many things in common to build that bond.

Casting for this movie seemed to be the hottest topic, and I get it to a degree. These are characters from many folks’ childhood, and it’s hard to imagine anything beyond what we’ve known. But there truly isn’t a weak link in the cast.

There are three genuinely great performances for Ariel’s trio of pals. Daveed Diggs absolutely nails it as the voice of Sebastian, sarcasm and all. Jacob Tremblay captures the sweet voice of Flounder. And Awkwafina is surprisingly a refreshing take as the aloof Scuttle.

Admittedly, I was most nervous about Melissa McCarthy‘s take on the sea witch Ursula. I would have loved a drag queen in the role (as she was inspired by Divine), but I was pleasantly surprised to see McCarthy perfectly deliver a menacing yet glamorous performance.

Honestly, it was Javier Bardem as King Triton which was perhaps the most underwhelming in the end.

My only major complaint was the realism of the mermaid animations. While the underwater world is a stunning spectacle and truly mesmerizing, you can tell that CGI for subaquatic humans is not quite where it needs to be. Even in Aquaman (2018), where the pressure was just as high, the visuals still feel off.

Although animation in those scenes could improve, and perhaps better lighting in the final face-off between Ariel and Ursula, The Little Mermaid was such a terrific film. Bailey makes for a fabulous Disney princess, and Marshall wonderfully steered the ship into live-action success.