When the newly crowned Queen Elsa accidentally uses her power to turn things into ice to curse her home in infinite winter, her sister, Anna, teams up with a mountain man, his playful reindeer, and a snowman to change the weather condition.
The magically long-haired Rapunzel has spent her entire life in a tower, but now that a runaway thief has stumbled upon her, she is about to discover the world for the first time, and who she really is.
Determined to make her own path in life, Princess Merida defies a custom that brings chaos to her kingdom. Granted one wish, Merida must rely on her bravery and her archery skills to undo a beastly curse.
When Gru, the world's most super-bad turned super-dad has been recruited by a team of officials to stop lethal muscle and a host of Gru's own, He has to fight back with new gadgetry, cars, and more minion madness.
In order to power the city, monsters have to scare children so that they scream. However, the children are toxic to the monsters, and after a child gets through, two monsters realize things may not be what they think.
Anna, a fearless optimist, sets off on an epic journey - teaming up with rugged mountain man Kristoff and his loyal reindeer Sven - to find her sister Elsa, whose icy powers have trapped the kingdom of Arendelle in eternal winter. Encountering Everest-like conditions, mystical trolls and a hilarious snowman named Olaf, Anna and Kristoff battle the elements in a race to save the kingdom. From the outside Anna's sister, Elsa looks poised, regal and reserved, but in reality, she lives in fear as she wrestles with a mighty secret-she was born with the power to create ice and snow. It's a beautiful ability, but also extremely dangerous. Haunted by the moment her magic nearly killed her younger sister Anna, Elsa has isolated herself, spending every waking minute trying to suppress her growing powers. Her mounting emotions trigger the magic, accidentally setting off an eternal winter that she can't stop. She fears she's becoming a monster and that no one, not even her sister, can help her. Written by
DeAlan Wilson for ComedyE.com
Santino Fontana told The Hollywood Reporter that the biggest challenge of working in animation "is that you have no idea what it's gonna look like. Any acting in front of a camera or on stage, you have to be aware of the whole arc, the whole through line, whereas in animation the script is constantly changing, so you are really only responsible for that scene. That's a huge difference and a huge weight off your shoulders. You don't have to get something right, because it's going to change and they are going to edit it, so that's great." See more »
It is revealed on Elsa's coronation day that Anna had stayed inside the palace for the entirety of the time that the gates were closed, even though the only reason the gate were closed was to prevent word getting out about Elsa's powers, this means Anna could have gone outside and had a normal life whenever she felt like it. See more »
[pulling on the reins of his reindeer in a snowy land]
Come on, Sven!
[the scene changes to the castle of Arendelle]
[approaching her little sister, who is sleeping soundly in bed]
Elsa, psst! Elsa!
[Anna climbs on the bed and pushes on Elsa]
Wake up! Wake up! Wake up!
Anna, go back to sleep!
[sighs and rolls around]
I just can't! The *sky's* awake, so *I'm* awake, so we *have* to *play*!
Go play by yourself!
[...] See more »
For the Disney credits, "Caffeination" is one of the job titles. See more »
First of all, I strongly disagree with any assertions that Frozen hearkens back to the great Disney films of the late 80s and early 90s. The music is nowhere near that level, and the storytelling is not nearly as sharp. Even suggesting that this is the best *since* The Lion King rings false with me. I have not seen every Disney film of the past twenty years, but offhand I can say that Tangled, Bolt and Meet the Robinsons are all far superior examples well-written stories than Frozen. In my personal opinion, of course.
Second of all, Frozen definitely skews towards the younger crowd, with little to none of the sophisticated touches or wittily mature humor that have come to be somewhat more commonplace in recent animated films. This one is aimed at the pre-teen crowd. Not that that is necessarily a bad thing, but it is worth noting.
The overall story is an interesting one, but the execution is rather sloppy and the narrative meanders a bit too much. The dialog, in particular, is not a strength. Unlike the best films, in which every line and every scene feels both essential and perfect, Frozen is more of a loose joyride. Again, there is nothing inherently wrong with that approach, but in my personal estimation, it earns lower marks as a storytelling method.
The songs are for the most part unremarkable, and some of the musical sequences suffer from not fully committing to dialog or singing. They just feel hastily-choreographed and not fully thought out. And do not even get me started on the troll song. Yikes.
Two of the songs, "Do You Want to Build a Snowman" and especially "Let it Go," do work very well. The latter ties into what is unquestionably the best scene in the film on every level. It provides the one glimpse of true majesty, the sort of quality that would explain all of the extremely positive "this is the greatest" reviews that are being posted by others. Unfortunately, the film descends most of the way back into mediocrity after that scene.
On the positive front, however, Frozen offers a fantastic, gorgeous take on the visual elements of winter. Deep blue ice, snowflakes, white mountains contrasting with colored skies. It is an unspeakably lovely display of a subject matter than CGI animation has never (in my experience) turned its energies to before, at least not like this. Of course, it goes without saying that all of the animation in Frozen, characters and landscapes alike, is excellent.
For me, Tangled was much more satisfying than Frozen. I applaud Disney for honing their CGI skills, and for finally adapting The Snow Queen to screen. I just wish that they would have spent more time on the script.
With films like this one, a distinction needs to be made between loving it for the visceral takeaway ("it was sweet"/"it had a great message"/"it made me feel good") and looking at it from a critical standpoint. Now, I understand that one needs to just "forget about being critical" and enjoy a film - for me, the best films take care of that themselves. It is the ones, like Frozen, that seem like they clearly could have been much better, that get me thinking about just that.
This film is a fun one for kids, and great to look at for adults, but it is far short of being great, or a masterpiece. More focus on an truly excellent story, and it might have been.
119 of 202 people found this review helpful.
Was this review helpful to you?