Popularity: 7 (history)
| Director: | Niki Caro |
|---|---|
| Writer: | Amanda Silver, Elizabeth Martin, Lauren Hynek, Rick Jaffa |
| Staring: |
| When the Emperor of China issues a decree that one man per family must serve in the Imperial Chinese Army to defend the country from Huns, Hua Mulan, the eldest daughter of an honored warrior, steps in to take the place of her ailing father. She is spirited, determined and quick on her feet. Disguised as a man by the name of Hua Jun, she is tested every step of the way and must harness her innermost strength and embrace her true potential. | |
| Release Date: | Sep 04, 2020 |
|---|---|
| Director: | Niki Caro |
| Writer: | Amanda Silver, Elizabeth Martin, Lauren Hynek, Rick Jaffa |
| Genres: | Fantasy, Adventure, Action |
| Keywords | china, martial arts, hero, fake identity, honor, east asian lead, heroine, based on myths, legends or folklore, live action and animation, chinese girl, live action remake, admiring, defiant, vibrant |
| Production Companies | Walt Disney Pictures, Jason T. Reed Productions, Good Fear |
| Box Office |
Revenue: $69,965,374
Budget: $200,000,000 |
| Updates |
Updated: Aug 03, 2025 Entered: Apr 13, 2024 |
| Name | Character |
|---|---|
| Liu Yifei | Hua Mulan |
| Donnie Yen | Commander Tung |
| Gong Li | Xian Niang |
| Jet Li | The Emperor |
| Jason Scott Lee | Böri Khan |
| Yoson An | Chen Honghui |
| Tzi Ma | Hua Zhou |
| Rosalind Chao | Hua Li |
| Cheng Pei-Pei | The Matchmaker |
| Ming-Na Wen | Esteemed Guest |
| Xana Tang | Hua Xiu |
| Ron Yuan | Sergeant Qiang |
| Jun Yu | Cricket |
| Chen Tang | Yao |
| Doua Moua | Po |
| Jimmy Wong | Ling |
| Nelson Lee | The Chancellor |
| Hoon Lee | Village Magistrate |
| Crystal Rao | Young Mulan |
| Elena Askin | Young Xiu |
| Vincent Feng | Longwei |
| R.J. O'Young | Young Soldier |
| Roger Yuan | Duba Tegin |
| Jenson Cheng | Tulugui Tegin |
| Arka Das | Red Fez |
| Jen Sung | Kilifu Tegin |
| King Lau | Bati Tegin |
| Zhaidarbek Kunguzhinov | Stallion Tegin |
| Gary Young | Garrison Commander |
| Wolf Chen | Garrison Scout |
| Owen Kwong | Senior Officer |
| Young-H. Lee | Imperial Gate Guard #2 (as Young-H Lee) |
| Name | Job |
|---|---|
| Liz Tan | First Assistant Director |
| Scott Rogers | Second Unit Director |
| Jessica Virtue | Development Producer |
| Winston Harris | Dolly Grip |
| Rick Findlater | Makeup Supervisor, Hair Supervisor |
| Lilia Collar | Digital Compositor |
| Niki Caro | Director |
| Mandy Walker | Director of Photography |
| Harry Gregson-Williams | Original Music Composer |
| Tori Marsh | Stunt Double |
| Amanda Silver | Screenplay |
| Elizabeth Martin | Screenplay |
| Lauren Hynek | Screenplay |
| David Coulson | Editor |
| Luke Maxcy | Second Assistant Director |
| Doc Kane | ADR Mixer |
| Brian Chumney | Dialogue Editor |
| John Roesch | Foley Artist |
| Chris Manning | Foley Editor |
| Anna Behlmer | Sound Re-Recording Mixer |
| Holly Dorff | ADR Voice Casting |
| Dylan Jury | Casting Associate |
| PoPing AuYeung | Casting Consultant |
| Stu Turner | Casting |
| Arnika Howard-Lawrence | Extras Casting Assistant |
| Sarah Hart | Extras Casting Coordinator |
| Lisa Lassek | Additional Editor |
| Benton Jew | Storyboard Artist |
| Zach Hamelton | Visual Effects Coordinator |
| Hubert Maston | Visual Effects Supervisor |
| Jared Connon | Production Manager |
| John Brubaker | Visual Effects Supervisor |
| Michael A. Martinez | Visual Effects |
| Jane Wu | Storyboard Artist |
| Heidi Moneymaker | Fight Choreographer |
| Jacob Tomuri | Stunts |
| Bina Daigeler | Costume Design |
| Joe Howes | Visual Effects |
| Anne Kuljian | Set Decoration |
| Leanne Hoare | Makeup Artist |
| Michele Perry | Makeup Artist |
| Jason T. Clark | Art Direction |
| Jill Cormack | Art Direction |
| Damien Drew | Art Direction |
| George Hamilton | Art Direction |
| Gabriel Kearney | Art Direction |
| Mark Robins | Art Direction |
| Sam Storey | Art Direction |
| Calvin Tsoi | Art Direction |
| Thomas P. Wilkins | Art Direction |
| Amber Richards | Set Decoration |
| Ian Gracie | Supervising Art Director |
| Teuila Field | Second Assistant Director |
| Guy Campbell | Second Assistant Director |
| James Andrew Haven | Second Assistant Director |
| Justin Muller | Second Unit First Assistant Director |
| Joe Nolan | Second Unit First Assistant Director |
| David Emmerichs | Additional Photography |
| Matthew Linfoot | Best Boy Electric |
| Michael Milella | Best Boy Grip |
| Jason Ellson | Steadicam Operator, Camera Operator |
| Todd Bilton | Camera Operator |
| Cameron McLean | Steadicam Operator, Camera Operator |
| Davis Bonner | Camera Production Assistant |
| Christopher Rudkin | Digital Imaging Technician |
| Lukas Davidson | Digital Imaging Technician |
| Christian Gower | Digital Imaging Technician |
| Pasquale Paolo | Digital Imaging Technician |
| Phil Pastuhov | Aerial Director of Photography |
| John Mang | Dolly Grip |
| Richard Ward | Dolly Grip |
| Justin Sykes | Dolly Grip |
| Sam Peacocke | Drone Pilot |
| Michael Craig Ferguson | Drone Pilot |
| Brenden Holster | First Assistant "A" Camera |
| Sam Bailey | First Assistant "B" Camera |
| Ben Rowsell | First Assistant "B" Camera |
| Samuel Fraser | First Assistant "C" Camera |
| Ryan Spearman | First Assistant Camera |
| Paul Marbury | First Assistant Camera |
| Shaun Conway | Gaffer |
| Sean O'Neill | Gaffer |
| Craig Cooper | Grip |
| John Curran | Grip |
| Seb Graham | Grip |
| Jan Kleinheins | Grip |
| Frederick Leota | Grip |
| Mike Mcrae | Grip |
| Jay Munro | Key Grip |
| Dion Hartley | Key Grip |
| Charlie Adams | Lighting Technician |
| Aaron Cordery | Lighting Technician |
| Mathew Harte | Lighting Technician |
| Effron Heather | Lighting Technician |
| Luke Ripley | Lighting Technician |
| David Brown | Rigging Gaffer |
| Thomas DeRose | Rigging Gaffer |
| Andrew Sykes | Rigging Grip |
| Jason Waguespack | Rigging Grip |
| Laetitia Belen | Second Assistant "A" Camera |
| Nick Willoughby | Second Assistant "C" Camera |
| Louis Cassells | Second Assistant "C" Camera |
| Jasin Boland | Still Photographer |
| Sanja Bucko | Still Photographer |
| Bogdan Iofciulescu | Techno Crane Operator |
| Jay Weston | Video Assist Operator |
| Marc Mapile | Additional Hairstylist |
| K. Troy Zestos | Additional Hairstylist |
| Denise Kum | Makeup Designer, Prosthetic Designer, Hair Designer |
| Charlie Oswin | Hairstylist |
| Elizabeth McCarthy | Hair Supervisor |
| Bianca Appice | Key Makeup Artist |
| Shay Lawrence | Makeup & Hair |
| Jacqui Leung | Makeup & Hair |
| Georgia Lockhart-Adams | Makeup & Hair |
| Claire Rutledge | Makeup & Hair |
| Chiara Tripodi | Makeup & Hair |
| Ally Williams | Makeup & Hair |
| Tamara Eyre | Makeup & Hair |
| Jacinta Driver | Makeup & Hair |
| Daisy Faulkner | Makeup & Hair |
| Hayley Ness | Makeup & Hair |
| Jacqueline Priem | Makeup & Hair |
| Hannah Wilson | Makeup & Hair |
| Jose Noriega | Makeup & Hair Assistant |
| Toni Bisset | Makeup Artist |
| Susan Durno | Makeup Artist |
| Susie Glass | Makeup Supervisor |
| Michael Krehl | Makeup Supervisor |
| Orlando Bassi | Wigmaker |
| Jack Taggart | Ager/Dyer |
| Daniela Backes | Assistant Costume Designer |
| Lucy Bowring | Assistant Costume Designer |
| Sophie Hart-Walsh | Assistant Costume Designer |
| Liz McGregor | Assistant Costume Designer |
| Patrick Pabalan | Costume Assistant |
| Phoebe Newman | Costume Coordinator |
| Jenny Rushton | Costume Supervisor |
| Bettina Seifert | Costume Supervisor |
| Lisa Gardner | Costumer |
| Jee Ok | Costumer |
| Aimee Reed | Costumer |
| Holly Johnson | Costumer |
| Sunshine Yuen | Key Costumer |
| Louise George | Key Costumer |
| Sarah Goodhue | Set Costumer |
| Jonathan Borland | Sound Effects Editor |
| Kelly Marumaru | Set Costumer |
| Philippa O'Brien | Set Costumer |
| Ana Cuerda | Wardrobe Assistant |
| Evelyn Santana Paz | Wardrobe Assistant |
| Ana Lydia Monaco | Script Coordinator |
| Sarah Hinch | Script Supervisor |
| Kathleen Thomas | Script Supervisor |
| Vincent Cosson | ADR Mixer |
| Jordan Smith | ADR Mixer |
| Davy To Burnard | ADR Mixer |
| Jeanette Browning | ADR Recordist |
| Annlie Huang | ADR Recordist |
| Brett Voss | ADR Recordist |
| Corrin Ellingford | Boom Operator |
| Chris Hall | Cableman |
| Matthew Hartman | Dialogue Editor |
| James Wright | Dolby Consultant |
| Shelley Roden | Foley Artist |
| Christopher Barron | Foley Editor |
| E. Larry Oatfield | Foley Editor |
| Nick Docter | Foley Editor |
| Scott Curtis | Foley Mixer |
| Tony Johnson | Production Sound Mixer |
| Pascal Garneau | Sound Effects Editor |
| Scott Guitteau | Sound Effects Editor |
| Dan Abrams | Sound Engineer |
| Mark Lindauer | Sound Engineer |
| Ryan Stern | Sound Engineer |
| Andy Winderbaum | Sound Engineer |
| Eric Flickinger | Sound Mix Technician |
| Steve Harris | Sound Mixer |
| Chris Quilty | Sound Mixer |
| Cloud Wang | Sound Recordist |
| Terry Porter | Sound Re-Recording Mixer |
| Anna P. McCarthy | Casting Assistant |
| Ariella Segal | Casting Assistant |
| Chris Velvin | Casting Associate |
| Paul Rubell | Additional Editor |
| David Stone | Assistant Editor |
| Pete Harrow | Colorist |
| Natasha Leonnet | Digital Intermediate Colorist |
| James Andrykowski | First Assistant Editor |
| Jonny Winograd | First Assistant Editor |
| Allison Krumwiede | Art Department Assistant |
| Rachael Cooper | Art Department Coordinator |
| Janelle Hope | Art Department Coordinator |
| Rebecca Young | Art Department Coordinator |
| Lok Yiu Chan | Assistant Art Director |
| Tony Drew | Assistant Art Director |
| David Peters | Assistant Art Director |
| Mark Stephen | Assistant Art Director |
| Helen Strevens | Assistant Art Director |
| Abi Wollcombe | Assistant Property Master |
| Rosie Guthrie | Assistant Set Decoration |
| Katie Sharrock | Assistant Set Decoration |
| Francis Baker | Carpenter |
| Paul Drebing | Carpenter |
| Brian Schrider | Carpenter |
| Kyle Brown | Concept Artist |
| Richard K. Buoen | Concept Artist |
| Andrea Dopaso | Concept Artist |
| Andrew H. Leung | Concept Artist |
| David Masson | Concept Artist |
| Steffen Reichstadt | Concept Artist |
| Houston Sharp | Concept Artist |
| Aaron Sims | Concept Artist |
| Filippo Valsecchi | Conceptual Design |
| Alistair Gillies | Conceptual Illustrator |
| Mathew Hunkin | Conceptual Illustrator |
| Michele Moen | Conceptual Illustrator |
| Victoria Wevers | Construction Buyer |
| Cathy Adams | Construction Coordinator |
| Mark Stainthorpe | Construction Foreman |
| Kevin Willcocks | Construction Foreman |
| Darren Wilcock | Construction Manager |
| Michael Wong | Construction Manager |
| Jarl Benzon | Greensman |
| Tyler Page | Armorer |
| Matt Cornelius | Property Master |
| Natalija Kucija | Props |
| Guy Mulligan | Props |
| Dan Perry | Props |
| Mela Blackwell | Scenic Artist |
| Ethan Montgomery-Williams | Scenic Artist |
| Karin Åberg | Scenic Artist |
| Jenny Morgan | Set Decorating Coordinator |
| Zahra Archer | Set Designer |
| Rebecca Asquith | Set Designer |
| David Chow | Set Designer |
| Tanika Pratt | Set Designer |
| Karijus Schlogl | Set Designer |
| Rachel van Baarle | Set Designer |
| Gavin Walker | Swing |
| Jillian Chitty | Textile Artist |
| Joe Dunckley | Weapons Master |
| Mark Smith | Animation Supervisor |
| Julius Kwan | Animation Supervisor |
| Laurent Laban | Animation Supervisor |
| Benjamin Hendricks | CG Supervisor |
| Daniele Tosti | CG Supervisor |
| Nicholas Daniels | Compositing Supervisor |
| Romain Rico | Compositing Supervisor |
| Christoph Salzmann | Compositing Supervisor |
| Ndosi Anyabwile | Digital Compositor |
| Michael Balzer | Digital Compositor |
| Julian Bryant | Digital Compositor |
| Gayanath Dayasundara | Digital Compositor |
| Daphne De Jesus | Digital Compositor |
| Andrew Dohan | Digital Compositor |
| Robyn Ducharme | Digital Compositor |
| Nara Smith | Digital Compositor |
| Tyler Usie | Digital Compositor |
| Jack Van Nuis | Digital Compositor |
| Alex Wolfe | Digital Compositor |
| Tomohiko Fukuda | Digital Compositor |
| Aron Galabuzi | Digital Compositor |
| Jason Marlow | Matchmove Supervisor |
| Marc Jones | Matchmove Supervisor |
| Josh Evans | Matte Painter |
| Darren Quah | Matte Painter |
| Einar Martinsen | Matte Painter |
| Marvin Kim | Modelling Supervisor |
| Rpin Suwannath | Pre-Visualization Supervisor |
| David Gimenez | Senior Animator |
| Ryan Sivley | Senior Animator |
| Nicholas St. Clair | Senior Animator |
| Jared Sandrew | Stereoscopic Supervisor |
| Isaac Buono | Visual Effects Compositor |
| Chloe Feodoroff | Visual Effects Coordinator |
| Dru Fickling | Visual Effects Coordinator |
| Emily Fay Higgins | Visual Effects Coordinator |
| Katie Johnson | Visual Effects Coordinator |
| Ricky McLennan | Visual Effects Coordinator |
| Raven Midkiff | Visual Effects Coordinator |
| Ruchika Rawat | Visual Effects Coordinator |
| Kimberley Wells | Visual Effects Coordinator |
| Valerie Wicks | Visual Effects Coordinator |
| Louise Vanhelle | Visual Effects Coordinator |
| Zaid Babeel | Visual Effects Coordinator |
| Melyssa Forget Turcotte | Visual Effects Coordinator |
| Tom Barrett | Visual Effects Editor |
| Pamela Choules | Visual Effects Editor |
| Ryan Brassington | Visual Effects Editor |
| Jennifer Pearson | Visual Effects Editor |
| Diana Giorgiutti | Visual Effects Producer |
| Jarrod Nesbit | Visual Effects Producer |
| Adam Pere | Visual Effects Producer |
| Jeanne-Élise Prévost | Visual Effects Producer |
| Lilian Bravo | Visual Effects Producer |
| Fiona Crawford | Visual Effects Producer |
| Matthew Dravitzki | Visual Effects Producer |
| Rene Sekula | Visual Effects Producer |
| Jake Hetzel | Visual Effects Production Assistant |
| Hugh Brompton | Visual Effects Production Manager |
| Tyler Cordova | Visual Effects Production Manager |
| Todd Whalen | Visual Effects Production Manager |
| Christian Irles | Visual Effects Supervisor |
| Darwin Go | Visual Effects Supervisor |
| Seth Maury | Visual Effects Supervisor |
| Anders Langlands | Visual Effects Supervisor |
| Sebastian Meyer | Creature Design |
| Simon Ambridge | Production Manager |
| Andrew Cochrane | Production Supervisor |
| Christie Kwan | Production Supervisor |
| Huai Hsuan Huang | Translator |
| Helen Ashton | Dialect Coach |
| Sarah Shepherd | Dialect Coach |
| Erik Singer | Dialect Coach |
| Kylie Gaudin | Production Coordinator |
| Logan Marshall | Production Runner |
| Francesca Hunt | First Assistant Accountant |
| Nicola Benton | Second Assistant Accountant |
| Melissa Chan | Second Assistant Accountant |
| Amy Gurr | Second Assistant Accountant |
| Mei Ling Au | Set Production Assistant |
| Devon Baclawski | Set Production Assistant |
| Miriam Emerson | Set Production Assistant |
| Luke Park Bower | Set Production Assistant |
| Jason Ren | Set Production Assistant |
| Moira Houlihan | Unit Publicist |
| Jared Hasselbach | VFX Artist |
| Jason Astley | VFX Artist |
| Kay Hoddy | Rotoscoping Artist |
| Sophie Massey Broadbery | Third Assistant Director |
| Duy Pham | Visual Effects |
| Lizzy Jane Klein | Researcher |
| Justin Pollard | Researcher |
| Marina Stojanovic | Set Designer |
| Sarah Dunn | Graphic Designer |
| Rick Jaffa | Screenplay |
| Sean Andrew Faden | Visual Effects Supervisor |
| Holly Sedillos | Vocals |
| Simon Rhee | Stunt Double |
| James Lew | Stunts |
| Marc Dominic Rienzo | Visual Effects Supervisor |
| Grant Major | Production Design |
| Ashlee Fidow | Stunt Double |
| Kyrsten Mate | Supervising Sound Editor, Sound Designer |
| Gwendolyn Yates Whittle | Supervising Sound Editor |
| Yaxi Liu | Stunt Double |
| Wakako Sekine | Compositing Artist |
| Kiera O'Connor | Stunts |
| Tina L. Newman | Production Executive |
| Ben Cooke | Stunt Coordinator |
| Stuart Thorp | Stunts |
| Sandra Balej | 2D Supervisor |
| Name | Title |
|---|---|
| Liz Tan | Co-Producer |
| J.C. Spink | Producer |
| Jake Weiner | Producer |
| Tendo Nagenda | Producer |
| Jason Reed | Producer |
| Chris Bender | Producer |
| Organization | Category | Person |
|---|
Popularity History
| Year | Month | Avg | Max | Min |
|---|---|---|---|---|
| 2024 | 4 | 65 | 84 | 47 |
| 2024 | 5 | 67 | 92 | 49 |
| 2024 | 6 | 63 | 99 | 46 |
| 2024 | 7 | 63 | 105 | 39 |
| 2024 | 8 | 62 | 116 | 45 |
| 2024 | 9 | 45 | 61 | 33 |
| 2024 | 10 | 69 | 122 | 32 |
| 2024 | 11 | 60 | 106 | 37 |
| 2024 | 12 | 52 | 85 | 40 |
| 2025 | 1 | 59 | 80 | 38 |
| 2025 | 2 | 39 | 52 | 9 |
| 2025 | 3 | 14 | 51 | 3 |
| 2025 | 4 | 9 | 12 | 7 |
| 2025 | 5 | 21 | 80 | 8 |
| 2025 | 6 | 15 | 48 | 7 |
| 2025 | 7 | 7 | 10 | 6 |
| 2025 | 8 | 7 | 10 | 5 |
| 2025 | 9 | 6 | 9 | 5 |
| 2025 | 10 | 6 | 7 | 5 |
Trending Position
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 10 | 592 | 843 |
| Year | Month | High | Avg |
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| 2025 | 9 | 306 | 644 |
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| 2025 | 8 | 198 | 665 |
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| 2025 | 7 | 211 | 651 |
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| 2025 | 6 | 186 | 644 |
| Year | Month | High | Avg |
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| 2025 | 5 | 217 | 688 |
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| 2025 | 4 | 201 | 752 |
| Year | Month | High | Avg |
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| 2025 | 3 | 122 | 531 |
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| 2025 | 2 | 108 | 589 |
| Year | Month | High | Avg |
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| 2025 | 1 | 319 | 699 |
| Year | Month | High | Avg |
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| 2024 | 12 | 111 | 625 |
| Year | Month | High | Avg |
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| 2024 | 11 | 328 | 681 |
| Year | Month | High | Avg |
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| 2024 | 10 | 395 | 716 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2024 | 9 | 364 | 681 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2024 | 8 | 418 | 699 |
If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com As you might now, this remake is one of my most anticipated movies of 2020 (list here). I've at least "liked" almost every remake Disney has delivered so far, so I was incredibly excited that 1998's ... Mulan was getting the same treatment. Niki Caro made it clear this would be an entirely different version of the story we all know and love. A more realistic take on the Chinese tale, one that removes all songs and fan-favorite characters like Mushu, which instantly impacted expectations, varying tremendously from person to person. People who would love a remake quite similar to the original will enter the film already slightly discouraged. However, to everyone who complained about Disney copying their original IP, Mulan might be their best chance to like a remake from the studio. In my opinion, a remake should have a bit of both. It must keep the original's essence and message while delivering something that distinguishes it from the former. Any remake must always prove the reasons behind its existence. It must have something that makes the viewers think: "I like this part that's not in the original". Aladdin has a new arc given to Jasmine. Beauty and the Beast provides Beast with a better-developed storyline. Even The Lion King, a remake that convinced many people to call it a shot-for-shot (it isn't), presents a groundbreaking visual experience that's incomparable to the original. Therefore, I was genuinely hyped for Mulan and what Niki Caro could bring with her more pragmatic cut... I can't deny it: I feel extremely disappointed. In my review of the original movie, I mention how epic and cinematic it feels. It was one of the aspects I looked forward to the most in this new version. Despite the beautiful set design and some painting-like shots, this is the first time a Disney's live-action remake loses to its original regarding its visuals. The 2D animation from more than twenty years ago feels superior in every single aspect. There's only one shot in the entire remake that I would put in the original, and I bet it would look and feel a lot more emotionally significant. The action sequences are unimaginative and incredibly disjointed. Except for a few great war moments, most action scenes are packed with excessive CGI, a badly employed HFR (high frame rate), and overediting. In fact, the editing (David Coulson) is weirdly overworked throughout the entire runtime, cutting too much and omitting sequences that were supposed to significantly impact the narrative. From character-defining moments to simple connections between scenes, it feels like the film is hiding something. I constantly needed to rely on my knowledge of the original to remember why certain moments are meaningful to a character or to the story itself because this remake straight-up removes these moments without replacing them with something else. Even in chronological terms, it's clumsily put together, jumping from location to location without actually showing the characters moving from one place to another. Finally, as my last remark on the technical aspects, Harry Gregson-Williams' score is partially also a letdown. Like the rest of the movie, there are some nice touches and lovely homages to the songs everyone cherishes, especially Reflection. I had already mentalized myself to ignore the absence of songs because I believed Harry would find a way to replace them with a similarly grand score that I would definitely enjoy. However, Mulan's score fails not only to elevate a single battle sequence but also to deliver that cinematic atmosphere that I was looking forward to so much. I didn't get chills during the entire film. It didn't transform any big character moments. Maybe watching it on IMAX instead of at home might improve my opinion, but I doubt that. Story-wise, it's a mixed bag for me. Niki Caro promised a more realistic take, totally different from the original, and she undoubtedly accomplished that. This is the furthest from the original any Disney remake has been, by far. From the replacement of characters to an overall change to the main narrative, Mulan is more faithful to the original Chinese tale than the 1998's flick, but that doesn't mean it's better, much on the contrary. The essence and message are there but told through a distinct perspective, which some people will find hard to accept, especially hardcore fans of the original movie. However, I do believe that Hua Mulan still carries the characteristics that made me care about her. Her courage and bravery to go to war in order to save her father from certain death. Her love and devotion to her family, who she wants to honor. Hua Mulan doesn't want to just be the wife of some random man nor be imprisoned by dated stereotypes. This is all in the remake but told through the lenses of a protagonist who already has everything she needs to lead a nation. This is the main difference character-wise, but one that doesn't affect the nature of the original. However, it impacts the remake itself. While all of this sounds amazing, Mulan sort of contradicts itself by making her main character feel unique and different from everyone else, distancing her more from people than actually embracing her. Like I already mentioned above, this is an entirely altered version of the story everyone knows. I do welcome every change made, including the removal of Mushu, Cri-Kee, and all of the singing. However, if something's removed, something else has to replace it in some shape or form. Once again, I have mixed feelings. Some additions, like the introduction of Chi and the witch Xian Lang (Gong Li), are refreshing but poorly developed throughout the runtime. The vital energy force is connected to my issue with the "be yourself" message, while the character not only follows a predictable arc, but it diminishes Bori Khan's (Jason Scott Lee) menacing presence. The ending feels remarkably underwhelming as well. Not only the climactic fight between Hua Mulan and Bori Khan fails to live up to expectations, but it's executed in a visually disheartening fashion. I expected this remake to feel grand, magnificent, epic, and cinematic, just like its original or even better. It's far from that. The acting could also be better. Liu Yifei is fantastic as Hua Mulan, Yoson An offers a subtle yet efficient interpretation of Chen Honghui, and the actors who portray Yao (Chen Tang), Ling (Jimmy Wong), and Chien-Po (Doua Moua) are also amusing. However, Donnie Yeng as Commander Tung and Jet Li as The Emperor are embarrassingly bland, while Jason Scott Lee is visually perfect casting as the main villain, but he's not able to shine. In the end, Mulan is the most disappointing remake Disney has made so far and by far. Even though Niki Caro delivers the realistic, distinct take that was promised, its execution feels inferior to the original animated film in every single way. Technically and visually, it's the first live-action remake from the respective studio that loses in almost every aspect to the 2D animation from more than twenty years ago. The 1998's movie is far more epic and cinematic than its remake. The disjointed editing is overworked to the point of omitting and skipping through character-defining moments. The action scenes are packed with unnecessary CGI that takes away from the war set pieces, which also look small in scale. The musical score isn't able to replace the songs from the original, overflowing the film with a weirdly empty feeling. Despite Liu Yifei delivering a good performance as the protagonist as well as a few of her colleagues, the acting is pretty mediocre overall. Story-wise, it's a mixed bag. It's an undoubtedly unique version, the furthest that a Disney's remake has ever been from its original, which will instantly upset some and please others. I praise the courage and bravery in producing such a different version. There are dozens of new additions that I sincerely appreciate, but their execution lacks emotional impact, ultimately being decisions inferior to the ones of the original. The message and essence of the original are still present through another perspective, which is the best compliment I can give to an otherwise quite disappointing remake... Rating: C-
Disappointing watch, probably won't watch again, and can't recommend. I finally see what everyone is freaking out about this movie. Mostly, it is because it just left all the spirit of the first movie behind and started over. They made a conscious effort to ditch the goofiness, and magic ani ... mals of the first one to do a more gritty and real version, like a DC movie. After those decisions, they also chose to reintroduce actual magic, but mostly for the villains, who had slightly better women's rights(?). I'll be honest, the movie itself wasn't interesting enough to follow completely. For instance, I know "Mushu" was replaced with a phoenix, but I have no idea what happened to it. Mulan also is outed much sooner in this, but basically skirts execution about 3 different times because of her accomplishments with a much more laid back atmosphere than it was in the 1998 version. Despite all the money poured into the movie that keeps it from being a bad movie, it just doesn't feel good. While it is wonderous at times, it just lacks the heart warming charm that one would expect from a Disney movie.
I did not see the first movie pertaining to this story so there is nothing for me to compare it to, maybe this was a good thing for me because I went into it with an open mind. I am always apprehensive when I watch a movie with jumps that are not realistic (flying actors with hidden wires attached) ... but although such things were included, it was bearable. I thought the actors were believable and they filled their roles as expected. I would watch this movie a second and even a third time because for me the entertainment factor was there. I have watched many movies that allow me to multitask, this one required my undivided attention. In a nutshell, the entertainment, screenplay and acting were all there so I give it at least 5 stars.⭐⭐⭐⭐⭐