Tad Stones | 82 mins | streaming (HD) | 16:9* | USA / English | U
For most of the ’90s and ’00s, Disney churned out direct-to-video sequels to many of their most beloved animated classics. They have a reputation for being unremittingly awful, hence why Pixar’s John Lasseter put a stop to their production after he became Disney’s Chief Creative Officer in 2006. Despite that reputation, however, there are those who say one or two are actually quite good. One of those (and the only one I’ve previously seen) is The Lion King 1½ (released as The Lion King 3 in the UK), which is a sort of a Rosencrantz and Guildenstern Are Dead to the original film’s Hamlet, re-telling the story from the perspective of Timon and Pumbaa. I saw it years ago but would vouch for its relative quality — when I first re-watched The Lion King after, I briefly thought some scenes were missing, which I guess is testament to how well it fits.
Another such-praised sequel is this follow-up to Disney’s 1992 Animated Classic. It’s actually the second sequel (the first was also the first of those Disney DTV sequels) and also follows an 86-episode TV series. Fortunately, the makers dropped an early idea to use one of the series’ main villains as the film’s antagonist, and so it functions perfectly as a direct sequel to the original movie. Which is nice, because that first sequel isn’t meant to be very good and I imagine the TV series is hard to come by nowadays. Plus, neither of those can claim an ever-so-important distinction that this can: it features the return of Robin Williams as the Genie.
The film begins on the wedding day of Aladdin (Scott Weinger) and Jasmine (Linda Larkin), which is interrupted by the mysterious Cassim, the King of Thieves (John Rhys-Davies), and his gang of forty thieves seeking to steal an oracle from among the wedding gifts. Although they fail, the oracle informs Aladdin that the answers he seeks about his long-departed father are to be found with the forty thieves… I expect you can guess where that’s going. Fortunately the film gets there pretty quickly, then transitions into a story about the possible redemption (or not) of Cassim alongside the quest for the Hand of Midas, capable of turning whatever it touches into gold (natch).
The King of Thieves has a few things in its favour. It’ll come as no surprise that the biggest and best is Williams reprising his iconic performance, and consequently being responsible for most of the film’s humour. There are a couple of fun nods to some of Williams’ other best-remembered roles, and plenty to other Disney films too. The rest of the film offers a fast-paced, action-packed narrative, with a few musical numbers to boot. The songs are certainly not as memorable as those found in proper Disney movies, but most are decent while they last. Jasmine gets somewhat short shrift, but this is really a story about father and son.
Those who dislike Disney’s Aladdin won’t find anything to enjoy here, but for fans of the original, Aladdin and the King of Thieves is a solid, fun follow-up.
* The film was made for release on VHS, so it’s no surprise that the OAR is 1.33:1. The HD version is cropped for 16:9. It’s mostly alright, though anyone with an eye for composition will find it obvious at times. ^