Like Disney's previous live-action remakes of its classic films, The Little Mermaid is a cash-grab that disrespects the magic of animation. While it's not the worst of the bunch, that's not saying all that much.
That said, the merit doesn't lie in anything new drawn out of the story. We still follow teen sea queen Ariel as she enters into a bargain with octo-witch Ursula, gaining legs and losing her voice to venture on land in pursuit of Prince Eric. But with a runtime nearly twice that of the original, director Rob Marshall and writer David Macgee almost impressively manage to avoid adding much substance.
And as she redefines what was the first "I want" song of the Disney renaissance, Melissa McCarthy's Ursula does enough to keep the story interesting with one of the most iconic villain songs of all time,While she doesn't quite match the drag queen-inspired vocal performance of the supreme Pat Carroll, that would likely be impossible. McCarthy instead manages to, impressively, perform in the same general arena.
Not only is the implausibility criticism moot, disingenuous and in bad faith, it's a symptom of the overwhelming problem at the heart of this remake: a seeming belief that adapting a cartoon well means making it fit better into the bounds of reality.
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