After numerous delays (the film was originally scheduled for release in 2018), the highly-anticipated live-action adaptation of Disney’s 1998 animated classic is finally out. Compared to the other live-action remakes, ‘Mulan’ deviates the most from its Disney origins to tell a story that hews more closely to the Chinese folklore “The Ballad of Mulan.” The final result is a film struggling with an identity crisis, much like the titular hero herself.

Despite attempts to pull more from the original poem, the new ‘Mulan’ still follows the same familiar beats from the Disney animated version. Hua Mulan (Liu Yifei), the eldest daughter of Hua Zhou (Tzi Ma) and Hua Li (Rosalind Chao), disguises herself as a man, enlists in the imperial army on behalf of her ailing father, trains and bonds with her fellow male recruits, and fights against a dark and mysterious force. Left out of this picture, however, are fan favorites, like the wise-cracking dragon Mushu, bisexual icon Li Shang, and the memorable songs (though some do appear as instrumentals). Supporting characters Ling, Yao, and Chien-Po are still here (played by Jimmy Wong, Chen Tang, and Doua Moua, respectively). Shan Yu is now Bori Khan (Jason Scott Lee). Li Shang’s character is now served by two characters in the film, Commander Tung (Donnie Yen) and fellow recruit Chen Honghui (Yoson An). Oh, and there’s also a witch, Xian Lang (Gong Li)!

I don’t need my Disney live-action adaptations to be shot-for-shot remakes of their animated classics (ahem, ‘The Lion King’). And I don’t blame Disney for remaking their animated films - it’s an easy way to make bank, and we all know Millennials love nostalgia. But with all the talent and money around a project like this it’s almost unforgivable how lackluster the film ends up being. There’s a lack of joy, no emotional through-line, no triumphant conclusion. This is a serious war film, which is fine, but at least make it a good one.

The characters are so thinly-written that the one or two scenes given to each major character in an attempt at character development would’ve had the same effect had the scenes just not been included at all. The only resemblance Ling, Yao, and Chien-Po have with their animated version is in their names; unlike in the animated film, these characters have no personality. Bori Khan isn’t as menacing as Shan Yu, and he’s given just one tiny scene that fleshes out his motivation. Xian Lang looks cool as the villainous witch who’s been exiled by her community, and it’s somewhat inspired to have her included in the film as a foil to Mulan, but, like many elements of this film, the idea is present yet barely given any additional thought. And it doesn’t help that most of the acting here is too wooden to have any chance at elevating the weak material.

The biggest mistake the filmmakers made was not clearly deciding what kind of film they wanted this to be. Is this a remake of the Disney animated version? Is this a straight adaptation of the Chinese folklore? Or is it both? The film obviously went for the last option, but in doing so they set the film up for failure. The 1998 Disney version was a critical and box office success — in the U.S.; it was widely mocked in China for its cultural inaccuracies and for being too Westernized. The 1998 version was a Chinese folktale told through an Asian-American lens; its themes of independence and taking on the patriarchy are very Western. But the Chinese understand Mulan served in the army due to filial piety - out of respect for her family. The filmmakers try to avoid these issues and appease more to Chinese audiences by having the film resemble the original legend more, getting rid of culturally-inaccurate elements (like the haircut scene), and featuring more Chinese actors (including the Jet Li!). The film tries to have it both ways, but these attempts proved futile because the film struggles to merge both its Western and Eastern identities into a cohesive vision. Perhaps this all could’ve been avoided had the film surrounded itself with more Asian and Asian-American filmmakers behind the camera.

The film is directed by Niki Caro (‘Whale Rider’); is written by four (four!) people, Rick Jaffa & Amanda Silver (‘Jurassic World’) and Lauren Hynek & Elizabeth Martin (‘Christmas Perfection’); is scored by Harry Gregson-Williams (‘The Martian’); is shot by Mandy Walker (‘Hidden Figures’); features costume designs by Bina Daigeler (‘The Zookeeper’s Wife’); and features production designs by Grant Major (‘The Lord of the Rings’ trilogy). All of these key players are white. Like many Disney films that feature non-white cultures, its production team did cultural research in China, but no amount of research can replace individuals who know the culture, those who’ve lived it. But considering all of Disney’s other remakes have been directed by white men, and ‘Mulan’ is the most expensive film ever directed by a woman ($200 million), I guess this is progress?

The clearest example of the filmmakers’ fundamental misunderstanding of East Asian culture is in the film’s use of qi (or, “chi”). In Chinese culture, qi is viewed as a vital life source or energy that flows in your body. In the film’s portrayal, however, qi is basically power, and Mulan has a lot of it, which is apparently unusual for a girl. Mulan’s overflowing qi basically makes her a superhero who can leap across rooftops, kick back arrows, and do other acrobatics with ease. This qi is what makes Mulan special, not because she’s brave or clever. This is a huge loss for the film and character of Mulan, as it no longer makes her relatable nor interesting.

If there’s any redeeming quality to ‘Mulan’ it’s in the film’s visuals. The costumes by Bina Daigeler pop with color and there are some inspiring looks (see Xian Lang’s witch costume). The cinematography by Mandy Walker is gorgeous, and it easily makes this the best looking remake Disney has made thus far. And the action sequences are dynamic, though I wished there were more of the wuxia-style action it hints at.

‘Mulan’ could have been a great but it stumbles trying to be too many things at once. Western audiences who grew up on the 1998 animated film will miss the memorable characters, the catchy songs, and moments of levity. Eastern audiences who are looking for a more faithful adaptation of one of China’s most famous folk heroes will find better adaptations from China itself. In its efforts to appeal to all audiences, it ends up appealing to none.

2 out of 4 Kents.

‘Mulan’ is available to stream on Disney+ for a premium fee of $29.99. The film will be available to all subscribers on December 4, 2020.

PS: I can’t write about ‘Mulan’ and not mention its several controversies, all of which I think should be known to potential viewers before deciding whether or not to see the film. The #BoycottMulan hashtag became prominent after the film’s star, Liu Yifei, voiced support for the Hong Kong police amidst the Hong Kong protests for democracy. There was also backlash against the decision to remove Li Shang’s character from the film, a decision the filmmakers said was a result of the Me Too Movement. And lastly (and lesser known) are the alleged anti-Black and transphobic remarks from one of the film’s supporting actors, Doua Moua.