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Robin Williams, Scott Weinger, Linda Larkin, Jonathan Freeman, Frank Welker ... see more see more... , Brad Kane , Lea Salonga , John Freeman , Gilbert Gottfried , Douglas Seale , Charlie Adler , Jack Angel , Corey Burton , Philip L. Clarke , Jim Cummings , Jennifer Darling , Jerry Houser , Vera Lockwood , Sherry Lynn , Mickie T. McGowan , Patrick Pinney , Philip Proctor , Albert Tavares , Derek Jacobi , Penelope Keith , Kate O'Mara , Edward Woodward , Nik Stoker , Barry Bostwick , Brent Sudduth , Donna McKechnie , Richard Kiley , Susan Egan , Jason Connery , Nick Stoter , Bruce Adler

Robin Williams's dizzying and hilarious voicing of the Genie is the main attraction of Aladdin, the third in the series of modern Disney animated movies that began with 1989's The Little Mermaid and h... read more read more...eralded a new age for the genre. After a sultan (Douglas Seale) gives his daughter, Jasmine (Linda Larkin), three days to find a husband, she escapes the palace and encounters the street-savvy urchin Aladdin (Scott Weinger), who charms his way into her heart. While the sultan's Vizier, Jafar (Jonathan Freeman), weaves a spell so that he may marry Jasmine and become sultan himself, Aladdin discovers the Genie's lamp in a cave, rubs it, and sets the mystical entity free, leading the Genie to pledge his undying loyalty to the dazzled youth. Aladdin begins his quest to defeat Jafar and win the hand of the princess, with the Genie's help. Monsters, Disney's trademark talking animals, and a flying carpet all figure into the ensuing adventures, but Williams' Genie, who can change into anything or anybody, steals the show as he launches into one crazed monologue after another, impersonating figures from Ed Sullivan to Elvis Presley. ~ Don Kaye, Rovi

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92% liked it

933,624 ratings

Critics

94% liked it

65 critics

G, 1 hr. 30 min.

Directed by: John Musker, Ron Clements, Micky Dolenz, Bill Perkins

Release Date: November 11, 1992

Keywords: kids, animated, cartoon

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DVD Release Date: October 5, 2004

Stats: 39,749 reviews

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Flixster Reviews (39,749)


  • October 20, 2013
    There's an old saying in sport that you're only as good as the last game you played. After the success of Beauty and the Beast, the Disney Renaissance would seem to have been cemented - and in terms of public consciousness, this may be true. But that doesn't mean that everything ... read moreDisney put out in the aftermath deserves such a glowing reputation. While Aladdin is by no means a bad film, it isn't quite as good as memory tells us.

    When I reviewed Sleeping Beauty, I praised the film as an example of 'pantomime done right'. In other words, the film-makers understood the conventions of pantomime and their relationship to fairy tales, embracing the conventions of these genres to tell their story in the best possible manner. Like Sleeping Beauty, and Cinderella before it, Aladdin is at its heart a pantomime, possessing a plot with familiar, much-loved motions, a cheery, family-friendly moral, and a cast of stock characters, some from Disney convention, others from deeper within the genre's history.

    Aladdin is our archetypal romantic hero, someone who isn't that bright and doesn't really do anything to spur the plot on: instead, he spends his time reacting to things that are thrust upon him, whether it's his love at first sight with Jasmine or his discovery of the Genie in the cave. Jasmine is a princess with a well-meaning father who urgently wants her to marry - but she wants to marry for love, while he doesn't particularly mind. As with Sleeping Beauty, the main conflict of the story is between the villain and the heroes' sidekicks: in this case Jafar wants to be Sultan and the Genie works through Aladdin so the latter can marry Jasmine.

    Like any good pantomime, Aladdin has moments of genuine darkness or creepiness which punctuate an often frothy story. Some of the darker moments are really well-rendered: the collapse of the Cave of Wonders, with Aladdin flying the magic carpet, is a really tense little set-piece. Likewise Jafar's transformations are well-paced and very well-drawn, with the snake transformation reflecting the climax of the Bumble Boogie segment of Melody Time. The story wouldn't have been improved by the whole thing being this dark, but these moments do add welcome variety to what is otherwise a well-worn story.

    Even if it had nothing else going for it, Aladdin does succeed in taking these archetypal characters and making them memorable. Jafar and Iago are good, memorable villains with a believable motivation and a memorable method of carrying out their evil schemes. While Jafar is a classic pantomime villain, meant to be both scary and ridiculous, Iago is more straight-up comic relief, and it really works. Jasmine is one of the better Disney princesses: she's no Belle, and she does spend a lot of her time complaining, but she is more independent and less self-pitying than Ariel or Cinderella.

    But by far the most memorable character, for reasons both good and bad, is the Genie as played by Robin Williams. This is ironic considering that Williams took the role on the conditions that he wouldn't be the main focus of the promotion: keen to give Toys an equal chance at the box office, he was paid SAG scale (relatively little) for his voice work and his contract stipulated that the character's image would not take up more than 25% of any advertising. But Jeffrey Katzenberg, the film's executive producer, went back on his word and made Williams' appearance one of the major selling points. As a result Williams refused to return for the straight-to-video sequel The Return of Jafar, being replaced by Dan Castelleneta from The Simpsons.

    The role of the Genie in Aladdin is significant for several reasons. It was a watershed for mainstream animation, in that it ushered in a practice of having celebrities or famous comedians voicing a fast-talking sidekick for the lead. It's also one of the most divisive aspects of the film: since the animators worked to Williams' improvisations rather than have him read from a script, several critics saw his performance as unchecked narcissistic indulgence. But most importantly, whether you agree with this assessment or not, Williams' performances leads us on to the biggest problem with the film.

    I spoke in my reviews of Beauty and the Beast and The Rescuers Down Under about Disney actively celebrating its past. In my reviews of later Disney films, such as Tarzan, I also spoke of how this celebration was eventually consolidated into a series of overly rigid conventions, eventually resulting in such miserable dreck as Atlantis: The Lost Empire. Put simply, there's a very fine line between celebrating your past and shoving it in your audience's faces with a smug grin on your face, and Aladdin crosses this line. You could go to so far to say that in this film are the first few traces of the cynicism that would later engulf the Renaissance.

    Part of the problem is that Williams keeps doing jokes that only adults will get; without wishing to appear insulting, I suspect there are few young children out there who would recognise Ed Sullivan, Peter Lorre, Rodney Dangerfield or Jack Nicholson. But equally problematic are the obvious references to Disney's own back catalogue. It's one thing to have elephants pop up and merge with one another a la Dumbo; it's quite another to have obvious cameos from Pinocchio and Sebastian from The Little Mermaid. These things smack of someone trying to flog their other products in the midst of telling you a story, one of the few things in which Katzenberg truly excels.

    What makes this so frustrating on a narrative level is that Aladdin would have worked just as well without all the blatant references and pop culture jokes. If directors Ron Clements and John Musker had put their foot down, or been allowed to play it straight, the film would have had a greater sense of innocence about it which would have aided both the fairy tale feel and the pace of the storytelling. As it is, whole sections of the film are strung out and dragged down by Disney being just a little bit smug about its own success.

    There are other problems besides this, which relate to the visuals of the film. There has been a great deal of speculation about the relationship between Aladdin and The Thief and the Cobbler, Richard Williams' unfinished masterpiece which saw the light of day in 1993 in a poorly-edited and retooled version by Miramax. Since Disney completed Aladdin before the Miramax cut existed, it's hard to know how much one work may have borrowed from the other. You could certain argue that the works have similarities, both in their character composition and their designs - for instance, Jafar's resemblance to the villainous Zig-Zag.

    More substantial (and problematic) is the cultural depiction of the Middle East. This is a problem that many pantomime versions of Aladdin or Ali Baba face, and being a pantomime we know from the start that historical fidelity is not high on the agenda. But the film does drift into insensitive territory at times, making stereotypical jokes about cutting off people's hands and, Jasmine aside, coming up short in its depiction of women. We could also cry racism on the voice casting: all the heroes are given American accents and are whiter in complexion, while the disposable bad guys have cod Arabic accents and darker skin.

    Even with all these problems, however, it is still just about possible to enjoy Aladdin as a breezy pantomime musical. The music is much more brash than Beauty and the Beast, trading the gentle grace of 'Beauty and the Beast' for the quick-fire wordplay of 'Friend Like Me'. This song is the stand-out, with great choreography which plays to Williams' vocal style and fittingly disorientates the hero. 'Prince Ali isn't quite as memorable but is still very pleasant, and even the overplayed 'A Whole New World' since has a childlike quality to it. Aladdin's singing voice isn't all that great, but in general the cast (both sung and spoken) is very strong.

    Aladdin is an enjoyable but problematic entry into the Disney canon, which raises questions about the Renaissance as much as it commercially underpins it. It has too many issues, whether visual or narrative, to be given a completely clean bill of health, but as a piece of pantomime storytelling it makes up for it with good humour and strong performances. While it's definitely a comedown from Beauty and the Beast, you won't be wishing it would disappear any time soon.
  • fb733768972
    January 3, 2013
    fb733768972
    It's not particularly one of disney's best feature films, but all of it's heart is in the right place and the voice acting is very fun to view (hear). The story of "Aladdin" is simple, albait almost too simple, but for kids, it couldn't be any more perfect. It teaches how second ... read morechances at anything are definitely needed in life, but we don't always get them. I highly enjoyed my viewing of this film, but it is strictly a kids film. It needs to be a little longer and add a few more story arches. "Aladdin" is very very fun!
  • fb100000293612769
    November 26, 2012
    fb100000293612769
    It's fun to watch, but Aladdin comes off a bit too silly for any real drama in the story to be taken seriously or to develop fully. The songs, except for the beautiful "A Whole New World" are fittingly big and bold, yet are easily forgotten.
  • July 10, 2012
    I have created a theory that most supporting characters in Disney films are more recognised than the protagonists. 'Alice in Wondeland' had the Mad Hatter, 'The Little Mermaid' had Sebastian and 'Snow White' had the seven dwarves. 'Aladdin' has the ultimate supporting character; ... read morethe Genie, who is voiced by the wacky Robin Williams. At the same time, it features quite possibly the greatest Disney villian of all time; Jafar. While it won't be remembered like 'Beauty and the Beast' or 'Cinderella', its does feature lovely and iconic songs. Aladdin is one of my most favoured Disney film of all time.
  • November 29, 2011
    Aladdin is a good animated film that will please anyone of all ages. This is a fun, comedy filled adventure that will appeal to kids as much as adults. The voice talents are great here, but Robin Williams as the Genie steals the show. He made the film much better than it is, and ... read morehis performance alone made this film worth seeing. The film is good, and I did enjoy it, but man is it racist. Anyhow, back to the film. Like I said, Robin Williams made this film better, and he is simply the best actor in the film. Aladdin is good family entertainment, but is far from perfect. This is by no means Disney's best animated feature, and I think many would agree. However for what it is, Aladdin is a film that is pure fun, though not perfect is silly entertainment and with Robin William giving a great performance, this is one film that is worth seeing. The film beautifully drawn and is a good effort from Disney. A good film, but not the best, Aladdin has its flaws, but for what it is, it's an average film that has a strong performance (Williams) and good adventure. This is one film that the entire family can enjoy, and there are enough comedic bits to keep you laughing and keep you engaged in the story. This is a film that though not Disney's best, is still worth watching because in nonetheless has everything necessary to make this a good family film. The film is lots of fun, even if at times it's uneven.
  • August 12, 2011
    Good+
  • August 12, 2011
    John Musker and Ron Clements pull a genie out of a lamp and out comes the magic in Aladdin.

    The story may be a brief 85 minutes, but it is amusing from the first to the last minute. The picture never spends too much time on something when it never has to, in turn genera

    ... read moreting a nicely paced story.

    The soundtrack is a definite highlight. There are an abundance of musical numbers throughout and they are catchy and enjoyable. Aladdin really does have a memorable set of songs.

    The characters each have their own unique personalities and that's what makes them so likable, or unlikable as they should be. The genie is a barrel of laughs and this film wouldn't be the same without him.

    Scott Weinger and Linda Larkin both have suitable voices for Aladdin and Jasmine respectively. Robin Williams as the genie? Simply superb. Gilbert Gottfried does match Iago, but he can get a teensy bit annoying. Just a bit.

    When it comes to animations, Aladdin is an example of a successful one. "I can't believe it. I'm losin' to a rug."

  • fb729949618
    August 7, 2011
    fb729949618
    My favorite Disney movie. Simply untouchable.
  • July 8, 2011
    If there ia something I love is comedy. When I heard that Robin Williams will be featuring the voice of the genie I though "What!?, I want to see it right now!" . And didn't disappointed. I saw it subtitled in Polanco, one of the few movie theaters that presented Aladdin in his o... read moreriginal languaje. Amazing job! hundreds of jokes, personifications, gags, jeez! Another Disney's successful job.
  • June 24, 2011
    A childhood favourite and a classic!

Critic Reviews


Kenneth Turan
November 19, 2013
Kenneth Turan, Los Angeles Times

Aladdin is a film of wonders. To see it is to be the smallest child, open-mouthed at the screen's sense of magic, as well as the most knowing adult, eager to laugh at some surprisingly sly humor. Full Review

Michael Sragow
November 19, 2013
Michael Sragow, New Yorker

What makes this animated feature such intense, giddy fun is the eruption of uninhibited parody that Robin Williams provides as the voice of the Genie in Aladdin's lamp. Full Review

Dave Kehr
November 19, 2013
Dave Kehr, Chicago Tribune

Aladdin is a marvel of the cartoonist`s art. Full Review

John Hartl
November 19, 2013
John Hartl, Seattle Times

Disney's latest animated feature is a thoroughly satisfying musical-comedy romp. Full Review

Desmond Ryan
November 19, 2013
Desmond Ryan, Philadelphia Inquirer

Forget about the lamp. Aladdin is all anyone could wish for in holiday entertainment. Full Review

Jay Boyar
November 19, 2013
Jay Boyar, Orlando Sentinel

This hilariously hip and thoroughly gorgeous motion picture is nothing less than the crowning achievement -- so far -- of Disney's revitalized animation department. Full Review

Jonathan Rosenbaum
November 13, 2009
Jonathan Rosenbaum, Chicago Reader

The results are fun and fast moving, but far from sublime. Full Review

Richard Corliss
September 1, 2008
Richard Corliss, TIME Magazine

It juggles a '90s impudence with the old Disney swank and heart. Full Review

Variety Staff
May 20, 2008
Variety Staff, Variety

Floridly beautiful, shamelessly derivative and infused with an irreverent, sophisticated comic flair thanks to Robin Williams' vocal calisthenics... Full Review

Geoff Andrew
June 24, 2006
Geoff Andrew, Time Out

Visually, it's a treat, a perfect marriage of hi-tech graphics and the traditional Disney virtue of strong characterisation and colour. Full Review

Critic ratings and reviews powered by RottenTomatoes.com

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Facts


    • Iago: Look at this. I'm so ticked off that I'm molting.
    • Abu: Uh-Oh.
    • Genie: Oi! Ten thousand years will give you such a crick in the neck.
    • Genie: Don't you scare me like that?
    • Aladdin Singing: Let's not be too hasty!
    • Aladdin: Trouble? No way. You're only in trouble if you get caught.

Aladdin : Watch Free on TV


Aladdin Trivia


  • In which Disney's Aladdin did Robin Williams NOT play the character Genie?  Answer »
  • Sidekick trivia: This animated movie features two side-kicks. Their names are "Abu, and "Iago".  Answer »
  • What is the name of Princess Jasmine's pet tiger in the classic flim Aladdin?  Answer »
  • Which Disney movie has one character asking another character "Do you trust me?" twice?  Answer »

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