The Disney “live-action” remakes, of which the new “Beauty and the Beast” is but one in an assembly line, are starting to resemble an iPhone software update. Click a button and that old cartoon interface changes Belle into Emma Watson, the Beast into Dan Stevens and maybe fixes a few bugs in the system.
“Beauty and the Beast,” that “tale as old as time” (or, to pinpoint it, 1740, when the French fairy tale was published), could certainly use a few tweaks. It is, after all, a fable about finding beauty within that ends, curiously, with the once superficial prince falling for a beautiful woman he’s kidnapped, whose name literally means beauty. If you’d like to untangle those ironies, please, be our guest.
Director Bill Condon’s film — let’s call it “Beauty and the Beast 2.0” — often feels in search of a purpose beyond the all-but-certain dollar signs. Much of the live-action/digital effects makeover is less lifelike than the Oscar-winning 1991 animated film: It’s gained a dimension but lost a pulse. The merely fine acting and the lavish production design (the sumptuous sets nearly swallow the performers whole) dutifully strive to make this a worthy enterprise.
Opposites attract, of course. And this “Beauty and the Beast” is equal parts dispiriting and enchanting: overflowing in handsome craft, but missing a spirit inside. Howard Ashman and Alan Menken’s songs still have their infectious kick, but most of the big musical moments feel more like very good covers of the originals. (There are also three less-memorable new songs by Menken and Tim Rice.)