If you are talking about this, it's just cheap product marketing art - which means it has the most basic of lighting, no shadows and is there to be slapped on some silly merchandise products.
Yes, that was what i was talking about, thanks for the clarification.
I almost wish they would just do it Roger Rabbit style and have 2D cartoons amongst the live action actors. But then I guess what would've been the point of the Lion King remake.

This looks great.

This looks awful - visually/design wise. I can't believe Disney finally dusted off the Paperman tech they had and thought this style would wow anyone. Especially after literally every other studio has done it, but better. I'm not surprised. I remember when they said Tangled was going to look like a moving rococo painting/piece of art but then when the film finally got previewed, it looked like every other Disney film. Disney can't step away and push themselves to make anything that doesn't look like what has come before it.
I'd kinda wish they'd just gone fully 2d cause the mix doesn't quite work for me, but it does look pretty

Yeah, it would have even more 'warmth' if it was fully 2D. But it is a step in the right direction. I miss the traditional animation. Or maybe I'm just too old. Thankfully, there's Miyazaki's 'How Do You Live?' to look forward to.
Halle’s vocal is solid, as expected, but they really reined her in vocally and subdued a lot of her vocal character.

In doing so, they have her singing with her tongue and jaw placement really forward to get a less r&b delivery which provides a very bright, light tone with exaggeratedly crisp pronunciation that’s more reminiscent of the “princess” sound.

I get part of the appeal to Disney songs is their sing-along nature, but imagine if they had pushed her a bit and then had an orchestral backing that swelled like her longing in the lyric and delivery.

I mean, let’s make a statement and use a talented black singer for Ariel but let’s sanitize her vocal and make her sound as whitebread, stagey as possible… seems like an opportunity lost to really make it a different iteration of the character.

With all that being said, it works for what they want.
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2D animation is infinitely more charming and artistically rewarding but I don't think young kids today connect with it at all. Even tv cartoons are 3D, they wouldn't even know what 2D animation looks like. The gorgeous Princess and the Frog underperformed because it was 2D.
Yeah, I don't care for the new rendition of the song. The high note sounds paper thin. Hopefully the movie is a visual feast. Curious to hear Melissa's take on "Poor Unfortunate Souls" in full.
There's absolutely no question Bailey is an incredible singer technically but I feel like she oversings parts of it. Part of the beauty of the original is that it is for the most part intimate, pretty stripped back and confessional. Almost talk-singing for much of the duration but dense with feeling and emotion.

Berry's version feels like what you get what you get someone trying to turn it into a singer's vocal gymnastic showcase. It just loses the simplicity and purity of intent of the original for me. Especially those runs where she's almost spitting the words out staccato. I don't get the idea behind that at all.
Thank you,I feel the same way.
Whilst there's no denying Halle's voice is gorgeous I think this new version is way overwrought (and thus fits in perfectly with the expected PS2 CGI look of the movie).
I think I remember some behind the scenes stuff from the original where they show how Howard Ashman made Jodi Benson sing it again and again because she was oversinging it and he wanted it to be more like Ariel talking to herself with some bursts of emotion here and there. I think that's what made the original so intimate and beautiful and no other version of this song (neither the million pop covers nor this new version) got this right.
I don't hear oversinging at all here. In fact, it's remarkably similar to Jodi's version in places.

Halle only does one real vocal run and that's the little descending run at the end. The ascending note on "shore up abooooove" is a bigger moment, but again, she's not even singing it in full chest. There's a heady mix in there to keep it lighter. She makes really nice choices. There are multiple moments of talk-singing, and then others when it sounds like she's almost crying. She manages the little bursts of laughter and expression so well and she also handles the shifts in tempo and intensity beautifully in my opinion.

Given her vocal ability, she could have easily sung the shit out of this and riffed all over it, but she played this pretty straight and she's found a great balance. It's a more modern take that's respectful of the original and doesn't stray too far.