Tag Archives: Musical

2000s, 2001, A+, Adventure, Animation, Comedy, Fantasy, Grade, Musical, Past, Review, review-movie, romance, Year

Film Review: Shrek – 2001

July 17, 2022 The Critic Leave a comment

Director(s)	Andrew Adamson Vicky Jenson
Principal Cast	Mike Myers as Shrek Eddie Murphy as Donkey Cameron Diaz as Princess Fiona John Lithgow as Lord Farquaad
Release Date	2001
Language(s)	English
Running Time	90 minutes
Report Card	Click to go to Review TLDR/Summary

Composers Harry Gregson-Williams and John Powell’s ethereal and aptly titled track “Fairytale” plays as the Dreamworks logo begins, encapsulating the film before the narrative proper even starts. A leather-bound book with no discernible title sits in the middle of the frame; the book opens and a voice begins to narrate an archetypal tale of a hero rescuing a princess.

The tale comes to an abrupt close as the narrator incredulously laughs at the story’s insinuation of a true love being able to overcome insurmountable odds, and his green hand subsequently rips the page out to use as a piece of toilet paper; the fairytale becomes the literal butt of the joke.

Accordingly, when the narrator, an ogre named Shrek (Mike Myers), bursts out of his outhouse, the film’s musical stylings switch from Gregson-William and Powell’s “Fairytale” to “All Star” by Smash Mouth. In sharp contrast to the diegetic song-and-dance routine characteristic of the Disney Renaissance films (The Little Mermaid, The Lion King, Mulan) preceding Shrek’s release, this non-diegetic infusion of pop serves as the perfect punch-line to Shrek’s earlier subversive gesture and announces the film’s deconstructive tendencies: Songs play in the backdrop but Shrek refuses to give in to their allure and sing along. He’s not your typical protagonist.

The ogre then brushes aside a coat of mud, unearthing the film’s title card, before the film cuts to a montage of Shrek’s everyday activities: he bathes in mud, brushes his teeth with slug slime, and creates warning signs to keep people off of his property. A match cut from his sign reveals that the townspeople, like Shrek, have constructed signs about an ogre, but theirs is a bounty poster which promises a reward for bringing such a creature in. The people begin a trek into the swamp to confront the ogre menace.

The musical montage comes to a close as the townsfolk finally enter the swamp. But Shrek appears behind them and is lit in such a way as to accentuate his monstrous features. He calmly explains the terrors of ogres to the people before engaging in a theatrical display demonstrating the same. The camera hones in on the intensity of his ostentatious roar with three separate shots, each of which cuts closer to his face. The use of heightened lighting, canted angles, and horrific close-ups intentionally evokes the stylings of a monster film in the vein Frankenstein (the set-up also involves a horde with torches surrounding a green monster which adds to the feeling), but we know it’s performative from Shrek’s side as he calmly tells his audience to depart after said presentation, prompting the latter group’s chaotic escape.

A poster flies away from one of them during said departure, and Shrek notices that it’s an ad promising financial compensation for fairytale creatures; it’s not just ogres that the people seem to be after. Another match-cut transports us from the crudely drawn fantasy creature on the poster to the creature proper locked up in a carriage. The vehicle moves off-screen and reveals a deluge of imprisoned fairytale creatures being carted off and sold to a host of soldiers. If the farcical nature of the film wasn’t clear enough, the representation of the fairytale genre via the creatures making up its milieu literally being partitioned, exchanged for scraps of wealth, and shipped away in cells emphatically hammers home the film’s interests.

A woman walks up to the front of the exchange line and tries to trade her talking donkey (Eddie Murphy). The guard asks for a demonstration of the creature’s talents before accepting him, but Donkey, who up to this moment had been desperately conversing with the woman in an attempt to avert said exchange, refuses to modify his performance and compromise his position. But when fairy dust is sprinkled on him inadvertently causing him to fly, he begins to boast of his prodigious abilities as he begins to mount a grand escape. The moment intentionally evokes Dumbo, leading us to believe that Donkey will fly out with the aid of his newfound powers.

Then he falls back to the ground because this is Shrek and magic, like other genre accoutrements, refuses to work as expected. Instead of flying off, Donkey makes a mad dash through a forest and bumps into Shrek. Caught between the soldiers and the ogre, Donkey picks the latter and hides behind him. The armed group approaches Shrek, clearly scared of the green behemoth. The group’s leader reveals that the group is under orders to round up and relocate all fairytale creatures by dictates of a Lord Farquaad (John Lithgow).

We cut to Shrek who asks which army will be in charge of his resettlement at which point we cut back to the leader completely alone and his army long gone. Like the townspeople, the soldiers are too frightened by ogre tales and refuse to deal with the creatures.

But the honest Donkey refuses to buy into the mythos, demonstrating a considerable apathy to Shrek’s horrific performance. He tries to break into a song about friendship, an attempt at introducing the film’s pop stylings in traditional diegetic fashion, but is quickly interrupted by Shrek who refuses to allow a musical moment to happen. In an attempt to terminate any possible relationship between the two, Shrek tries to pull out the same theatrics from his previous acts, glowering down on Donkey from below and growling at him with a monstrous bellow. Yet, Donkey responds with friendship instead of fear and asks for Shrek’s name – a first for the ogre – in an attempt to get to know one another.

The fairytale creatures surround Shrek’s swamp.

However, Donkey’s goodwill only gets him so much: Shrek allows him to stay on the patio for the night but offers no other commodities, going so far as to eat a nice dinner by himself while Donkey sits outside. But Shrek’s peace is quickly interrupted as the fairytale creatures being rounded from earlier begin to spring up from every corner of his house before ousting him out of the abode; the camera pulls up to reveal Shrek surrounded by the entirety of the fairytale crowd imprisoned earlier in the day.

Desperate to disperse the crowd, Shrek learns that their arrival on his property is due to the orders of Farquaad; much to his chagrin, it turns out his swamp has been designated the fairytale dumping ground. Shrek vows to go to Farquaad and evict the crowd from his property. He operates under the assumption that his actions will be decried but the crowd around him, desperate to go back to where they came, cheer for his proclamation and crown him as their champion – a hero fighting for fairytales.

He takes Donkey along as a guide and sets off. Once again, Donkey tries to break into song; the moment is the perfect point where older animated musical fantasies would narrate the journey via song. But he’s stopped by Shrek once more and is only allowed to hum. The ogre might be forced to play hero for the fairytale crowd, but he refuses to go along with the musical script expected.

Meanwhile, the aforementioned Farquaad proceeds to an interrogation. His journey to the interrogation room is cross-cut against the room being set up with a glass of milk of all things; intrigue begins to build. We see his feet, his gloves, and his visage framed from angles which emphasize their size and prominence; there’s a weight to his authority and an importance granted to his frame. An over-the-shoulder shots maintains the illusion of this power for a moment, but as Farquaad moves to the center of the frame, his short stature is revealed and his menacing authority is ripped from underneath his feet. When he finally enters the room and the subject of his punishment is revealed to be none other the Gingerbread Man (the milk qua torture begins to makes sense), the upending is complete: Farquaad feels like a huge joke.

The absurd interrogation is quickly brought to a close when Farquaad’s forces bring in a magical mirror similar to the one in Sleeping Beauty. Farquaad, seeking to stroke his ego, asks the mirror to confirm the greatness of his kingdom but is promptly rebuked: Farquaad, without a queen by his side, is no king and must remedy the situation to achieve his goals.

Consequently, the mirror breaks into a date-show presentation of three princess candidates for Farquaad to choose between for marriage: Cinderalla, Snow White, and Fiona (Cameron Diaz). It’s telling that his choice of bride-to-be is Fiona, the only one of the group who has no former Disney connection. After making his choice, “Escape” by Rupert Holmes plays from the mirror as part of its presentation. This diegetic use of music, a direct contrast to the non-diegetic use of “Smash Mouth” earlier during Shrek’s introduction, signifies Farquaad’s desire: the royal ruler wants to be the legendary hero of old, rescuing his princess partner from a seemingly insurmountable situation and buys into general narrative trappings, musical evocations included.

In this manner, the mirror serves as an analog to the book that Shrek was reading at the film’s start; both mediums present aspects of the mythical hero narrative prevent in the genre and have the respective hero characters orient themselves in regards to the same. Shrek decries the validity of the tales while Farquaad seems to enmesh himself within their fabric.

The musical cues represent proximity to the dictates of the genre which explains Shrek’s reluctance and non-diegetic relationship with music and Farquaad’s embrace of a diegetic relationship with it. This is why the latter’s town, Duloc, is crafted to look like a fictional version of DisneyWorld complete with music playing at all times. Shrek and Donkey hear elevator music in the empty townscape and are then greeted by a song-and-dance number by a mechanical information apparatus; despite his reluctance, Shrek is forced to tango with the musical intrusion and what comes with it.

Farquaad tells the soldiers to kill Shrek.

Shrek and Farquaad finally confront one another in a stadium where the latter is hosting trials to select a champion, a hero by proxy capable of engaging in the heroic quest necessary to retrieve Fiona. With an ogre present, Farquaad decides that any one person capable of besting such a monstrosity will be more than capable enough of slaying a dragon, retrieving Fiona, and returning back; he gives the order to attack.

But Shrek absolutely decimates every hero candidate all while “Bad Reputation” plays in the background. At first glance the lyrics suggest that Shrek doesn’t care about improving his social standing or currying anyone’s favor, but his theatrical acquiescence towards the crowd and their demands for performative battle in the vein of wrestling suggests the total opposite: it’s not that he doesn’t care about improving as much as he’s never received an opportunity to change him image.

And it’s this opportunity that Farquaad presents Shrek upon the latter’s absolute victory in battle – a chance to play the part of hero. However, Shrek’s emphatic response to the crowd is short-lived and his disavowal of the archetype’s bells and whistles rushes back in; instead of accepting the quest to embrace the hero lying beneath, Shrek only agrees to Farquaad’s request under the guarantee that his swamp will be returned free of any and all fairytale influence. Thus, the duo sets off on their unheroic, selfishly-motivated hero’s journey.

This disjunction marks the parameters by which the film operates as it swings from lampooning genre conventions to embracing them in a deconstructive fashion. The “traditional” approach popularized by Disney where the protagonist goes overcomes their internal struggles, becomes heroic, and overcome their foes is represented by classical musical choices and the presence of diegetic music numbers, whereas the “non-traditional” approach the film (and Shrek) more explicitly embrace is characterized by the modern song choices and non-diegetic musical montage. Both of these approaches vie for supremacy as the narrative progresses, trading places and functions as Shrek reckons with what his tale truly entails.

The juxtaposition of the film’s more classic sounding score against the pop enthusiasm of its soundtrack exposes Shrek’s disavowal of singing while rendering him a subject of its power. In this sense, just like the social forces within the film which force Shrek to embrace a heroic role, the traditional scoring cues reveal the underlying mood and importance of the moment. In contrast, the needle-drop moments reveal Shrek’s internal machinations, bubbling under the surface, waiting to be unearthed. Diegetic and non-diegetic sound choices represent the shifting tides of this identarian battle as Shrek struggles to reconcile the villainous ogre persona he’s cultivated due to social pressures and the seemingly contradictory heroic persona driving his decisions. By taking advantage of the possibilities generated through strategic interplay of score and soundtrack Shrek is able to achieve a balance between the fantastical and the everyday.

Thus, the sound design ostensibly works to entertain and keep the viewer engaged with its more modern sensibilities all while subtly cueing us in to where Shrek is on the journey to find and embrace the nature of his desires. Like Wes Craven’s Scream, Shrek (to a lesser extent) reveals the underlying logic of its genre, drawing attention to the mechanisms at play, but never undermines them in such a manner to make them ineffective, allowing the film the chance to capitalize on those tropes later on. This combined with both the everyday feel of both the overt soundscape and Shrek’s characterization as vulgar yet endearing gives the fantasy tale a down-to-earth feeling, making it increasingly accessible in spite of its subversive gestures.

Unfortunately, like Scream, Shrek’s success and ingenuity revitalized its genre with lesser emulations (including some sequels) which mimic its appearance but never achieve the same emotional resonance. Films copy the crude humor, expressive animation, genre lampooning, modern songs, and celebrity voice-over acting – all elements of Shrek which are memorable and work – but forgets that these characteristics are utilized in service of the overarching ideas of the film, namely that of expanding the possibilities inherent in fairytales and the narratives the genre can offer up.

REPORT CARD

TLDR	Revolutionary at the time and hard to beat even now, Shrek‘s deconstruction of the Disney Renaissance era films provides a breath of fresh air for animated fantasy musicals while retaining the magic that genre lovers expect. The pop stylings and crude humor go hand-in-hand with an evocative, ogre-filled hero’s journey.
Rating	10/10
Grade	A+

Go to Page 2 for the spoiler discussion and more in-depth analysis.
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2020s, 2021, A+, Crime, Drama, Grade, Musical, Past, Review, review-movie, romance, Year

Film Review: West Side Story – 2021

December 22, 2021 The Critic Leave a comment

Director(s)	Steven Spielberg
Principal Cast	Ansel Elgort as Tony Rachel Zegler as María Ariana DeBose as Anita David Alvarez as Bernardo Mike Faist as Riff Rita Moreno as Valentina
Release Date	2021
Language(s)	English, Spanish
Running Time	156 minutes
Report Card	Click to go to Review TLDR/Summary

NOTE: This is a new release and the review is based off a theatre viewing. This means the review won’t feature common elements like visual analysis, extended theme analysis, or long-form discussions of the cinematic techniques being used. Once I am able to get a copy of the movie to watch, pause, analyze, and get stills from the review will be updated to match the current site’s standard.

The camera starts on street-level among scattered debris and slowly traverses the broken-in area, moving up towards the sky above. The sound of whistling can be heard as the camera continues to glide over a sea of rubble and torn-down buildings; a wrecking ball gets in position to knock another structure down, while the camera dips below it to reveal a manhole. The whistling is revealed to be coming from a young man who jumps up from the manhole; a sign of vitality among the disarray.

This young man quickly joins up with a group of all white men, all dressed in similar blue colors; these are the Jets. The group quickly breaks into synergistic song and dance, as their leader Riff (Mike Faist) leads them through the town; the camera feels like a member of the gang, pushing them forward in their choreographed tirade through the town, adding a kinetic surge to their movements. It becomes clear that the target of their march is none other than a painted flag of Puerto Rico – a symbol of national pride displayed in the Puerto Rican part of town.

Without missing a beat, the Jets quickly lay waste to the flag, smearing it with splotches of paint. But the Puerto Ricans refuse to take the vandalism lightly; a rival gang from their community, the Sharks, gives chase to the Jets as latter gang run off the premises. The groups converge and break into battle before the police arrive and break the brawl up. Even though both groups are at fault, the way the police interact with the parties involved makes it clear that their allegiances are racially charged; they’d rather arrest some Sharks. Neither side acquiesces to the request for information; it’s clear that both parties want to settle their grievances in a more intimate fashion than the law would allow. Lieutenant Schrank (Corey Stoll) admonishes both gangs for their paltry efforts at remaining relevant or trying to claim any turf given that their neighborhood both groups share is set to be demolished to make room for Lincoln Center, a place for the performing arts.

Unable to get a response, Schrank sends the Sharks off the premises. However, the leader of the Sharks, Bernardo (David Alvarez) doesn’t go quietly. He breaks out into a rendition of “La Borinqueña”, the Puerto Rican national anthem and the rest of the Sharks start to sing with him. Much to the chagrin of Schrank who constantly mentions the need for people to speak English, Bernardo and the Sharks refuse to give into linguistic domination and director Steven Spielberg matches their demand for equality by opting to not subtitle the lyrics. If the words of the English-speaking parties need no translation, then neither do the words of the Spanish-speaking parties.

With their brawl delayed, the gangs split ways from one another and vow to settle their dispute at another time. Riff mentions that the Jet’s former leader, Tony (Ansel Elgort), can serve as the group’s trump card. However, Tony, now fresh on parole for previously participating in a gang-related rumble gone wrong, is unwilling to go along with his former gang’s plans; he wants no part in Riff’s plans and makes as much clear to his best friend.

However, Tony’s involvement isn’t up to him – a lesson he finds out soon enough at the local dance that night. While the Sharks and Jets along with their respective partners engage in dancing qua battle, their choreography every much as energetic and exacting as an action set-piece, Tony locks eyes with María (Rachel Zegler), Bernardo’s younger sister, from across the room and it’s clear that a new love is blossoming. The love-struck couple makes their way to the back of the auditorium where the dance is taking place and take cover under some bleachers; their first dance takes place in the shadows away from the gaze of judgmental eyes. Alas, as the couple kiss they are discovered and María is taken away. A warning is issued to Tony; with the racial antagonism at a resounding high, no romance between the two sects can be allowed. The Romeo-and-Juliet inspired tale of star-crossed lovers is set in motion.

As someone unfamiliar with both the original stage musical and 1961 theatrical adaptation of West Side Story, I am unable to comment on the differences in Spielberg’s adaptation, but I can confidently say that this is an experience one can enjoy regardless of one’s level of familiarity. In fact, Spielberg’s decision to leave the Spanish sections of both the dialogue and songs untranslated adds to the sense of empathy the film is driving towards. Even if we can’t understand what’s being said between characters during a certain moment, we know the story trappings and can infer based on context clues not only the nature of what’s being said but also the emotions behind the same. It’s as if Spielberg is informing us that he knows that we know what’s going to happen, so as opposed to holding back any punches, he goes all out and embraces the inner workings of a musical to create an experience that fully entrances us in the magic of this world.

Never once does the film lag as the camera acts a constant participant to the dances the characters engage in – it’s an active member of the choreography and motivates how set-pieces unfold. The careful precision in getting the dancing right makes us aware of the slight space between fighting and dancing; both actions are physical, kinetic, and capable of creating new configurations upon interaction with other elements. The same hands that throw blows can also hold a partner. When the brutal fights happen, there’s a sense that it’s a dance gone wrong, or rather a dance that could have been; thus, the nature of the romantic musical serves as a powerful backdrop the racialized and institutional violence – a fantasy to aspire towards instead of a reality to fade into.

The minimal difference between these two modes of interaction is made explicit in the way the narrative cuts. Bloody bouts and horrific violence cuts to people joyously singing or acting in utter glee; life is precarious and it can teeter so rapidly in one direction vs another. What better way to demonstrate this than to show how violence and love can operate one after another in spite of the apparent discord; change and hope is always possible even if things look hopeless in the moment. In this effort, the actors, by and large, aid him as they seamlessly switch from cruel and brutal to vivacious, demonstrating the way temperament can radically shift. By infusing this contemptuous ebb-and-flow in every parcel of the film, Spielberg is able to present a vision on how the rhythm of life operates, transporting us to a wonderous world where wonders are possible even if they’re difficult to achieve.

REPORT CARD

TLDR	West Side Story is a captivating tale that grabs you by the wrist on its journey through the ebbs and flows of human emotion. The story of star-crossed lovers hits the story beats you’d expect but does so in such gusto that you can’t help but be invested. Even when the story hits its bumps, the feeling it provides never lets up, captivating you till from start to finish. Talk about the transformative power of cinema.
Rating	10/10
Grade	A+

Go to Page 2 for the for the spoiler discussion and more in-depth analysis.
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2010s, 2018, A+, Art House, Drama, Grade, Horror, Musical, mystery, psychological, Review, review-movie, Thriller, Year

Film Review: Climax – 2018

November 10, 2020 The Critic Leave a comment

Director(s)	Gaspar Noé
Principal Cast	Sofia Boutella as Selva Romain Guillermic as David Souheila Yacoub as Lou Kiddy Smile as Daddy Claude Gajan Maull as Emmanuelle Thea Carla Schøtt as Psyché
Release Date	2018
Language(s)	French, English
Running Time	96 minutes

A woman crawls in the snow leaving bloody markings wherever her body moves. The camera follows her ragged, desperate movement and swirls around her as her body imprints a set of bloody snow angels into the previously white and pure backdrop. The camera slowly pans down passing over a tree, a torrent of branches unfolding in a rhizomatic pattern – an mazelike structure with infinite openings and endings.

The camera moves from the first image to the next in a nice and steady pan down, highlighting that the bloody snow-angel making figure can be interpreted in a plethora of ways, as diverse as the rhizomatic branches of the tree.

Words pop up on the screen informing us the movie is dedicated to “makers who are no longer with us” before indicating that the movie is based on a real event that happened in France, during the winter of 1996. The text “existence is a fleeting illusion” pops up on the screen for a split second, its appearance as fleeting as the message it provides. Then the credits start to play. These first 3 minutes of Gaspar Noé’s climax tell the story of the entire movie while revealing absolutely nothing about what’s to come. A brief impression – violence, beauty, movement, text, beginning, ending, climax – that informs that audience that they are in fact watching a movie, not an illusion of reality.

The postmodern bent continues as the movie cuts to an old fashioned television set , one that you’d see back in ’96, surrounded by a collection of Noé’s favorite books and movies. Titles like Zulawski’s Possession and Argento’s Suspiria are present, letting you know the auteur’s influences and future direction. The screen shows the audition tapes of dancers who are trying out for a troupe. They’re questioned by two off screen presences, one of whom is Noé himself – a director who quite literally places himself in the movie, reminding us that the director’s voice is as part of the movie as anyone else.

Psyché (Thea Carla Schøtt) gives her interview on the TV screen surrounded by Noé’s favorite books and movies on both sides. Media within media – this is postmodern filmmaking that informs the audience that they’re watching a movie and the director is very much involved in it.

The dancers are asked a series of questions involving their relationship to dance, the meaning of what they do, what experiences they’ve had, what they look forward to, and so on. Each dancer only talks for a few moments, giving the audience a brief impression of them and their interests, as their answers reveal the importance of dance as a method of experiencing life and joy – a survival mechanism that lets the body transform into something else. They talk about drugs, sex, sexuality, and the way those elements permeate the dance scene turning the discussion and interview into one about dance as an assemblage – a mechanization of multiple moving parts interacting with the desire of the dancers. Like the tree shown in the introduction, dancing is a rhizome that’s infinitely malleable.

As if to demonstrate this thought the movie cuts from the interviews to a beautifully choregraphed dance sequence that showcases the talent of the dancers. Energetic music pulses through the background setting the stage for the wonderous number that’s about to commence. The camera glides and dips around from multiple different angles without ever cutting, reflecting the way bodies move in an constant ebb and flow among and within each other. Multiple bodies coalesce into a singular entity showcasing the transformative power of dance as a way to break down ones barriers. Finally the group breaks and the pseudo-protagonist of our movie, Selva, proclaims “God is with us”, indicating that the creativity and beauty of the dance piece is a form of spiritual praxis.

These two stills from the fantastic dance sequence show the body as an assemblage as each individual gives way and comes together to create a moving, writhing entity that feels entirely whole. The camera deftly navigates the dance troupe showcasing them from multiple angles to highlight this idea of difference in and out of sameness.

Now that the main piece is done, the dancers mingle about one another celebrating their achievement with a festive and joyous party. They drink sangria from the punch bowl and engage in celebration at their accomplishments. The camera follows members of the party (primarily Selva) as everyone interacts with one another. The movie takes the time to cut between different characters conversing with one another, giving the audience a chance to let their impressions of the characters from earlier fill out and grow. There’s an impromptu nature to the dialogue which gives it an earnest realness and helps serve as a contrast to the more extreme intrusions the movie has forced/will force upon us. After a while, the movie cuts to a long individual dance montage, where the dancers show themselves off as their peers crowd around them in a circle cheering whoever is dancing on. This will be the last reprieve before the terror of the movie sets in. At the end of the dance, the credits play again- another beginning, another ending, another climax.

The movie births a new scene that comprises the brunt of the run time and zooms in on a cup of sangria being taken from a pitcher. The focus on the drink is important, because unknown to the characters, the sangria is spiked with LSD and turns the peaceful and energetic party into a chaotic hellscape.

The sangria is a player in the process , helping each dancer lose their mask to reveal another self within. The camera showcases it’s a key agent in the depravity that unfolds.

Characters start to lose any and all inhibitions as they become increasingly prone to acting on emotion as opposed to any semblance of reason. They realize something is wrong and a group of them desperately try and figure out who spiked the sangria. The ensuing witch hunt is horrifying to watch, as characters are brutalized by mob style accusations and judgements. Meanwhile, other characters drift off in the background, some of them dancing as though the events occurring in other portions of the dance hall are of no importance to them while others wander aimlessly, struggling to keep an internal coherence.

All the while the neon colors bursting through every shot become threatening as opposed to comforting, highlighting the chaos of the setting. The dance music which previously felt so upbeat and energizing transforms into a pulsating terror, not because the songs or their tempo themselves change, but because the situation they’re playing in is so radically different. At one point, Sofia Boutella channels her inner Isabelle Adjani and performs her own rendition of the infamous Possession subway scene – one of the instances of Noé’s earlier winks to the audience coming to life in his own movie.

Selva (Sofia Boutella) channels Isabelle Adjani in this homage to Possession by Andrzej Żuławski. The chaotic way she throws her body around fits with the energy and mood of the movie once the sangria hits and also serves as a nice callback to the opening audition scene.

As her character struggles to find footing in the topsy-turvy environment, the camera suddenly turns upside down. The dancers who looked so majestic earlier turn into hellish figures, evoking images of gargoyles and other creatures of the night. A heaven turned into hell.

Bodies seem like demonic entities when filmed upside down and dancing, fully lost in a rhythm and energy that assaults the senses. The world is as upside down as everyone feels and the embrace of chaos transforms the dancers.

The story of Climax is the story of the Earth – a place of beauty and wonder that goes through bouts of chaos. The dancers represent the different facets of humanity – the good, the bad, the ugly, and the sublime. Their introductions at the beginning of the movies are their representations of themselves – a persona they inhabit and may genuinely believe is indicative of who they are. Dancing is their method of engagement, a way of living among and with each other. It can be beautiful and a sight to see or horrifying and something the eyes want to avert away from. The dancers’ deterioration is not so much a comment on drugs as it is on the hidden desires that lay buried beneath the masks we place. For some of us those desires are ugly, violent, and brutal. For others they’re beautiful, quiet, and loving. Noé ensures this message is clear by ensuring that some of the characters do not partake in the sangria. Their behavior matching those of their peers reflects that these transformations in personality are not substance based, but rather another side, a birth of a new self marked by the death of some other self. The movie even tells us this directly. Near the start of the movie the words “birth is a unique opportunity” pop on the screen. Near the end of the movie the words” death is an extraordinary experience” show up. Life and death- two sides of the same coin – an interplay everything and everybody constantly goes through because stability is fleeting.

The image on the right says “Birth is a unique opportunity” , while the image on the left says “Death is an extraordinary experience” albeit upside down. Slides with expressions constantly interrupt the movie like this to offer some poetic aphorism before disappearing and letting the narrative run its course. Each is individually stylized to bring home the point of the message being presented.

The constant interruptions of sections of the movie by either the words or by the presence of new credits tells the audience that every act should be seen as the birth of a new story. Every story has a beginning, middle, and end with its own respective climax. As the movie demonstrates near the end of its runtime, the scene we see at the start of the movie is really the end- a story that starts with a climax and ends with a climax. For what is a climax? A culmination and development of a thread into something spectacular. But if everything lives and dies, if every moment is the birth of something new and the death of what came before, then every second is a climax of its own sort. This is the beauty of the movie – it demonstrates this idea in every way possible, from the structure of the story to the way scenes play out. It’s all a climax and as such it’s all open to the possibility of creativity and/or chaos.

Dance is the vehicle by which the movie explores this idea and Noé uses his impeccable technical skill to translate this idea into an experience. One does not walk away from Climax without going through some intense feelings, whether those feelings are of excitement at the beauty and creative explosion present or disgust and misery at the pain that’s on display. The focus on the movement of the dancers and the constant and energetic soundtrack makes the movie a feast for the eyes and ears. There’s always something visually interesting happening on screen, even if it terrifying. The neon color palette is breathtaking and drips through every single frame.

The color palette shifts from neon blues to greens to reds without ever feeling boring or played out. This is Noé paying homage to *Suspiria* and using its evocative color scheme to his advantage. Along with the way bodies move, the color keeps every shot visually arresting.

The incredibly long takes keeps the experience continuous, never giving the audience a moment to breathe or think. This is experiential filmmaking at its finest. I can totally understand people who dislike this movie and see it as a series of random events and dialogue that seemingly proceeds in a haphazard manner. Likewise, I can understand people who hate the movie because of how miserable it ends up feeling. It goes to some dark and disturbing places. But to me, that’s life. It’s a random scattered set of experiences with some semblance of order that is then constantly interpreted by us as we move along its path. There’s good and bad and everything in between. This is a movie that captures that essence and makes everything from the structure of the movie to the narrative proper reflect that feeling.

None of the movie would be possible without the cult of personalities presented by the actors, most of whom have never acted before this. Obviously Boutella is excellent and serves as a kind of character anchor the audience follows to help keep them from getting too lost in the chaotic world Noé creates. Anyone who can do Adjani’s chaotic acting from Possession justice deserves kudos and Boutella nails it. But she’s an actor. It’s no surprise that she can act well. What is surprising is a large majority of the primarily dancer cast is able to keep up with her energy and ability to flip a switch the moment shit hits the fan. The cast is huge, but every single member of it exudes their own unique set of traits that makes them all interesting to follow in their own right. Maull nails a constant anxiety and fear that makes her character seem jumpy and unconfident. Schøtt brings an apathy and an off-kilter vibe that makes Psyché feel like a force of nature more than an actual person. Smile brings a sense of comfort and authority to his aptly named character, Daddy. I could go on and on, but the point is every actor brings something new to the mix giving Climax a surprising amount of depth. In fact, every time I watch the movie I focus on another one of the characters and follow whatever they’re doing when the movie pans to them. Are they embracing creativity or chaos ? How are they acting compared to their previous interview and/or conversations from the earlier acts of the movie? Because of how much time is spent letting the actors breathe life into their characters, you can come away from movie having gotten a plethora of different “narratives”, showcasing the themes mentioned above.

The genius of Climax is despite being unabashedly artistic, experimental, in your face, and provocative it still manages to have time to answer the mystery of who spiked the sangria – saving the reveal for the very last moment of the movie. Based on all previous information, the reveal is poetic and gives the movie a neo-giallo kind of feeling behind all the music and dance. There’s a “masked” killer (the mask being the persona the killer use) whose plans end up causing tremendous amounts of violence, characters desperately try to figure out who the character is with no real success, and the movie ends on the killer’s reveal without ever giving away their motivations, leaving that interpretation up the audience. Having a narrative that ends with an actual answer on top of doing everything else in between is testament to Noé’s strength as an auteur. He doesn’t forget to deal with the main plot despite seemingly not being all at that interested in it.

Now while I think of Climax as an audio-visual poem that uses its dancers as different stanzas in a tale about life, I don’t think the movie is for everyone. I do think those who dislike Noé’s earlier works might find something interesting in this. However, I don’t think those who like a conventional narrative will enjoy this. There is a story. There is a buildup. There is a conclusion. But the movie is more focused on feeling like an experience than giving you a coherent tale. It’s very much inspired by the French New Wave (the movie even tells the audience in one of its text/phrase cutaways that it’s a French film and it’s proud of it) and doesn’t hesitate to let the audience know that this is a movie. It intentionally wants to get a rise out of you. Noé is a provocateur and wants you to feel uneasy and miserable. A lot of people call this movie an exercise in style as opposed to substance and while I disagree as evidenced by my adoration above, I can understand that point of view if you’re coming into it expecting a well-structured story with a clear plot. If you’re someone who enjoys art house proclivities and want an experience that ferociously comes at your sense this is the movie for you. If not, go watch something else. The world is open to infinite possibilities. Go and embrace whatever suits your fancy.

REPORT CARD

TLDR	Climax is an audio-visual experience that demonstrates that style can absolutely be substance. It’s a cinematic poem that explores the multiplicity of life in both its creative splendor and its ability to fall into depravity. The narrative eschews tradition in favor of embracing its themes in every way possible from slides of words that interrupt the action to constantly playing a different version of the credits at interesting points in the movie. All of this is done in service of demonstrating that life is a constant process of birth and death- an infinite series of climaxes where anything can happen. The dance sequences are mesmerizing and the music is hypnotic. The depravity is heartbreaking and revolting without ever losing its sense of beauty. Shots are draped in neon colors and constant movement which makes every moment visually arresting. The story of a dance troupe falling into disarray after drinking spiked sangria is only a small portion of the movie despite “being” the main narrative. To get the full experience, you have to be willing to take a leap of faith into Noé’s rhizomatic world.
Rating	10/10
Grade	A+

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2006, Comedy, D, Drama, Family, Grade, Musical, Review, review-movie, Year

Review: The Cheetah Girls 2

January 15, 2020 The Critic Leave a comment

Director(s)	Kenny Ortega
Principal Cast	Raven-Symoné as Galleria Adrienne Bailon as Chanel Kiely Williams as Aqua Sabrina Bryan as Do Belinda as Marisol
Release Date	2006
Language	English
Running Time	97 minutes

When you watch one you gotta watch em all- once my sister and I had watched the original movie, I knew we had opened Pandora’s Box. Within a few days we were back at again with the sequel. Thankfully, Kenny Ortega takes all the elements that were enjoyable from the first movie and amps them up to the next level. The musical moments are shot better, each of the “Cheetahs” is given more to do, and there’s a more coherent plot which gives the movie more of a punch.

The plot follows the Cheetah Girls 3 years after the events of the first movie. The girls crash Chanel mothers romantic getaway to Barcelona in an attempt to win a music festival competition. After promising to do their best, the girls embark on their new journey. Each of the characters feels more defined- everyone from Galleria to Aqua gets their own storyline – no matter how on the wayside it feels. Unfortunately, the same cannot be said of the overall character arc the group goes through. The “Cheetahs” feel fairly similar to their previous incarnation in the last movie except Galleria is less bossy. I wish I saw some growth between the girls proper but everything related to the same feels tacked on or hammy.

Like the last movie- the songs are the best part. Thankfully, they’re shot well and aren’t jumbled and messy like the last movie. I could feel myself actually singing along (as corny as the lyrics were), but this time I could actually look at the screen without being forced to dart my eyes around needlessly.

While the plot makes far more sense than the last movie – it’s still Disney TV movie which means there’s more than one moment that will make you scratch your head. This problem becomes even more prevalent in the 3rd act when everyone acts a lot less intelligent than they really are. There are also some rushed moments and I feel like a more developed 3rd act could’ve given the last musical number more depth.

REPORT CARD

TLDR	The Cheetah Girls 2 is fun and filled with bops to nod your head along to. The plot and characterization leaves a lot to be desired, but it’s a jam packed adventure the whole way through. It brings in all the stuff you loved from the last movie with a more cohesive story and better shot musical moments. If you didn’t like the first one, chances are good you won’t find anything here either.
Rating	6.0/10
Grade	D

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2010s, 2019, Comedy, Drama, F, Family, Fantasy, Grade, Musical, Review, review-movie, Year

Review: Cats (2019)

December 27, 2019 The Critic Leave a comment

Director(s)	Tom Hooper
Principal Cast	Francesca Hayward as Victoria Jennifer Hudson as Grizabella Jason Derulo asa Rum Tum Tugger Juddi Dench as Old Deuteronomy Rebel Wilson as Jennyanydots James Corden as Bustopher Jones Idris Elba as Macavity Judi Dench as Old Deuteronomy Ian McKellen as Gus
Release Date	2019
Language(s)	English
Running Time	110 minutes

I’m someone who normally gives pieces a more positive and optimistic shot than most. My higher than normal review scores are indicative of that. I always try and find something good to latch on in a movie and have fun with it. I saw the reviews for this movie on opening day and realized the potential horror of what I was walking into. I held onto some hope, because I loved Les Miserables, and thought that even a bad Tom Hooper musical would be okay. I was wrong. Not just wrong – horribly mistaken. By the time the first hour had passed I was literally just praying for the movie to end. This isn’t just the worst movie I’ve seen this year – it’s one of the worst I’ve ever seen.

The movie follows a series of horrific anthropomorphized cats as they talk about this vague competition that leads to an eventual rebirth. I’ll be the first to say I never saw or read about the Broadway show, and the plot was near incomprehensible to me. I’m someone who likes subtitles, so the fact that most of the exposition in the movie was sung hurt my ability to comprehend the movie. That normally wouldn’t be an issue but the film never takes a break to develop any themes or ideas. It literally follows the same structure the whole time- introduce cat – have song – maybe Macavity makes a slight cameo- then repeat. The lack of change in editing makes the whole movie drag on and I felt like I was being forced to endure the length of the film. The whole thing would have felt better 30-40 minutes shorter because at least then the absurdity of the film would stop while it was fresh.

Unlike most typical good bad movies like Troll 2, this film takes its sweet time being subpar so you can’t even laugh at the monstrosity at hand because it never stops or changes. There are few movies that have ever made me want to walk out in frustration – this film has joined the not so prestigious list. It’s not just that its bad- it’s that it won’t stop being bad so you can never laugh at how bad it is because you’re constantly being bombarded by worse elements.

The film goes at a breakneck pace but also feels incredibly slow because nothing meaningful ever happens. The movie could best be described as almost non stop exposition followed by an ending that tries to be emotionally resonant but fails on every note. This is because literally no character arcs or emotional bonds are ever set up in a way that could be conducive to any meaningful development. It’s a shame that the “antagonist” feels like a plot device instead of a meaningful character. I love Idris Elba and seeing him being used in such a poor fashion is upsetting. At least let him give the character some personality as opposed to be being a random bad guy. The only characters that give the movie any personality are Old Deuteronomy and Gus . The former takes command of the scene whenever she appears and makes the events feel more justified even though they’re just as haphazard as we think. The latter adds some emotional panache that gives the film much needed personality and actually helped jolt me awake near the end of the second act (or third act it’s confusing). The lack of real character motivation or explanation makes the whole movie feel like it’s a series of meaningful unrelated events. It literally feels unfinished.

Tonal whiplash is the name of the game and experiencing the shift from puns/comedic moments to the more serious nature of the competition the movie sets up(?) feels out of place. James Corden and Rebel Wilson are usually at least kind of funny, but their style of humor and incorporation into this film feels forced and out of place. I can’t take the movie seriously if the characters in it make jokes about it and poke fun at the holes. Normally this tactic would be fine if the movie didn’t take itself seriously – but it does- and worse than that – it tries to be emotionally resonant. That’s a no-no and absolutely took me out of any immersion I had tried to feel.

Honestly, the biggest issue with the movie is how unappealing the film is. Forget a boring plot. Forget the uninspired songs. Forget the fact that most of the movie feels like an exposition reel through song. Hell, you could forget about all of that if the movie was at least fun. But it isn’t fun. It’s hollow and feels like a quick cash grab. The characters are one dimensional and just repeat lines with no personality. No one’s motivation is explored. The CGI looks unfinished and terrifying at the same time. Some of the characters literally look like humans with “cat” like additions which feels at odd with other characters and makes the shoddy CGI more apparent. The characters are also all strangely sexual. Parents please don’t take your kids. The way the cats licked the milk, flicked their tails, and stretched themselves had me cringing not only in embarrassment but also sheer dread at how horny the whole thing felt like. I guess maybe if you’re a furry you could get something from these moments- but that’s a pretty niche market group.

REPORT CARD

TLDR	Cats broke me. I used to say “no movie is that bad.” But no – some are. You can’t find something great in every piece of media.If you’re a furry maybe you might like it if you can ignore all the awful portions. If you take a shot every time there’s an awful cat pun or a strange sexual moment you might find something fun – but I can’t guarantee anything. Honestly – there’s not a lot here and I’d recommend staying away unless you really like bad movies. At the very least the movie might make influence the zeitgeist so that a future Cats like movie is never created again.
Rating	1.8/10
Grade	F

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2000s, 2003, Comedy, Drama, Family, Grade, Musical, Review, review-movie, Year

Review: The Cheetah Girls

December 26, 2019 The Critic 2 Comments

Director(s)	Oz Scott
Principal Cast	Raven-Symoné as Galleria Adrienne Bailon as Chanel Kiely Williams as Aqua Sabrina Bryan as Do
Release Date	2003
Language(s)	English
Running Time	93 minutes

Oh Disney Plus, you nostalgia machine. I only bought the service because of Star Wars – baby Yoda was too cute to resist and since I started the journey in November, I’ve been swept up in Star Wars fever. Buying Disney Plus felt like a must the moment I started The Clone Wars (2008) ( look forward to a review of the first six seasons soon). Thankfully, along with the Star Wars goodness, the service is filled with movies I remember watching by myself or with my sister when we were much younger- good old nostalgic times. When I saw The Cheetah Girls pop up while scrolling, I knew I had to watch it – it was one of my favorite Disney-to-TV movies and I wanted to see how much I would like it over a decade later . Even now, this movie entertains. It has great bops, some cute moments, and an utterly ridiculous plot that’ll have you laughing with friends. This is by no means a good movie- but it is a fun one.

The plot follows the titular Cheetah Girls- a group of four high school kids trying to make it big as musicians while living their own Cheetah Way. Raven plays Galleria, the self appointed leader of the group. Chanel, Aqua , and Dorinda fill out the group, each bringing and adding a different element to the musical group. Acting between the girls feels odd at times (though mostly fine) and makes the relationship feel out of place. This impacts tense moments and undercuts a lot of the potential emotional moments. There are still some heartwarming moments but their overall impact falls short of where they could be. One thing I did appreciate about the film was that every girl (sans Aqua) gets a real moment of growth or emotion that feels semi-earned. In a movie as chaotic as this- that’s a huge deal. I wish it was just more applied and followed through on.

The best part of the movie is obviously the songs. As my sister reminded me, “Cinderella” is a bop and I wholeheartedly agree. It’s surprising how catchy some of these songs still are. The over the top elements add to the corny fun of the whole thing, so I was genuinely enthralled by the experience. The only issue is how poorly edited the music videos are. The camera never properly focuses and jumps a lot. Thankfully, these issues don’t plague the final number too much but it really took me out of the earlier two songs.

What the movie lacks in subtlety it makes up in sheer absurdity. Things in the movie just happen out of nowhere and it proceeds at a breakneck pace. In particular, the third act is just a series of events that are more and more ridiculous. I couldn’t stop laughing at how everyone came together. Granted, the last song and the number are great but it literally makes the whole movie feel like some strange joke. It’s a great, entertaining joke to be sure. It’s hilariously bad in the best way.

There’s some decent buildup for some of the characters but the overarching story of the whole group feels haphazard and out of place. The film doesn’t do a great job at establishing why the girls are together or why they care so much about each other outside of just exhibiting cheetah-ness??I think? So when conflict comes up, it’s hard to understand how the dynamic should be playing out besides the basic way the movie presents itself in. Add on to this to the heavy handedness of certain character traits and absurd resolution of the groups tensions and you have a strangely unsatisfying story that’s fun enough to sit through.

REPORT CARD

TLDR	The Cheetah Girls is a fun ridiculous time. The music is fun, the energy is great, and there’s more than one moment of pure comedic absurdity. If you liked the movie growing up chances are it’s infectious energy will get to you even now, even if you cringe at the plot.
Rating	5.7/10
Grade	F

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2010s, 2019, Adventure, Animation, C+, Comedy, Family, Fantasy, Grade, Musical, Review, review-movie, Year

Review: Frozen 2

November 22, 2019 The Critic 2 Comments

Director(s)	Chris Buck Jennifer Lee
Principal Cast	Kristen Bell as Anna Idina Menzel as Elsa Josh Gad as Olaf Jonathan Groff as Kristoff/Sven
Release Date	2019
Language(s)	English
Running Time	103 minutes

When I saw the first trailer for Frozen II drop I felt one part entranced by the visuals, one part curious on where the story could go, and two parts nervous that this movie would be a cash grab with no substance. Although Chris Buck and Jennifer Lee don’t reach the same heights as they did thematically, musically, or story wise in Frozen, there are still more than enough gorgeous and fun moments in their sequel to satisfy the fans and entertain kids.

The story picks up some time after the ending of the first movie and follows our makeshift family unit of Elsa, Anna , Olaf , Kristoff , and Sven. They’re domesticated and having fun, but Elsa has been hearing a call beckoning her to leave her homeland and find her true calling. If the story sounds weird that’s because it is. It feels lazily written and almost feels like a series of excuses meant to guide characters from one set piece to another. It’s frustrating because the movie is supposed to be dealing with Elsa and her powers and had a real potential to explore the lore in interesting and philosophical ways to help develop the themes from the previous movie. Instead, it focuses on hashing out these really basic character arcs that either feel like they were better resolved in the previous movie or they just feel out of place overall.

Thankfully, the set pieces in this movie are absolutely breath-taking. Elsa has a lot of amazing action moments that serve to demonstrate how mind-blowing her powers are. Even though I thought the plot was absurd, I was left stunned with how cool and gorgeous a lot of her moments ended up looking. The color palette is distinct and vibrant and makes these moments that much prettier. There are gorgeous autumn leaves and amazing snow effects. The water looks and feels alive and fluid. The lighting is immaculate and everything feels imbued with vitality. There are a few scenes where the background felt like it was actually straight ripped out from reality. It all comes together to create one of the most stunning movies I’ve ever seen. I already know I’m going to re-watch the movie to see some of these moments again. If nothing else, this movie knows how to look near perfect.

The music is also good, even though it doesn’t reach the heights of the first movie. The title song is incredible, however, and I loved how it was incorporated throughout the movie. Into the Unknown probably won’t get as many plays from me as Let It Go did, but it’s a great song and I know I won’t be able to get it out of my head for a bit. Menzel and Bell are also still great, and each of their characters had at least one musical solo scene that I enjoyed. This film more so than the last felt like it had a few too many songs. In particular, Kristoff’s song felt misplaced and actually ended up making me like his character less. I appreciate how funny the song is supposed to be and thought the editing and feel of it was great. However, it makes him feel like he’s less mature than we’re led to believe and also interrupts the action in an non-ideal way.

Thematically, the movie attempts to do cool things but just falls on its face. Certain ideas are explored on a surface level which is a shame because of how interesting they could have been. There’s a lot of discussion about growth, but we rarely get to see it explored because the characters don’t feel like they actually change that much. There’s also this really neat idea of water in relation to time that feels Taoist in nature but outside of a cool visuals and interesting thoughts never reaches the potentials of what it could have been.

REPORT CARD

TLDR	Frozen II is gorgeous and breath taking, even if it feels like its lacking in substance. It never reaches the same heights of its predecessor, but is still entertaining and sure to give you some fun moments.Fans of the original should check this out, but be wary – the story leaves a lot to be desired and may be disappointing to some.
Rating	7.5/10
Grade	C+

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2010s, 2013, A, Adventure, Animation, Comedy, Family, Fantasy, Grade, Musical, Review, review-movie, Year

Review: Frozen

November 22, 2019 The Critic Leave a comment

Director(s)	Chris Buck Jennifer Lee
Principal Cast	Kristen Bell as Anna Idina Menzel as Elsa Josh Gad as Olaf Jonathan Groff as Kristoff/Sven Santino Fontana as Hans Alan Tudyk as Duke of Weselton
Release Date	2013
Language(s)	English
Running Time	102 minutes

So when this movie first came out, I was completely enamored by it. The visuals were gorgeous. I couldn’t stop singing the songs. I was absolutely into the Frozen craze. Given the news of Frozen 2, I thought it’d be fun to revisit the original – not only to get ready for the sequel but also to see if I really enjoyed the movie or was just caught up in the craze at the time. Happily, I can confirm it was the former. Chris Buck and Jennifer Lee’s story has all the markings of a musical classic and reminded me of the power of Disney magic.

The story follows the royal princesses of Arendelle , Anna and Elsaas they prepare and celebrate the latter’s coronation. However, everything goes wrong and it’s revealed to the kingdom that their newly anointed Queen has supernatural ice powers. Already, the basic premise of the plot has distinguished itself from so many other Disney movies. This time the “villian” is the Queen herself and because of that, the film gets to explore a lot of emotional ideas in beautiful ways.

The discourse on love and the extents of it is touching and gets explored in a lot of cute and emotionally satisfying ways. In particular, the relationship between Anna and Elsa is magnificent and serves as the emotional crux of most of the movie. Watching their interactions and growth is moving and there were genuinely moments that made me tear up. Bell and Menzel do a great job giving the sisters a real emotional depth to their dialogue that helped it hit emotional beats I didn’t expect.

Outside of them, Josh Gad is phenomenal as Olaf. The snowman is charming, funny, and a delight to watch. There are times where his character feels like he over explains some more emotional scenes that takes away from the subtlety of them. It’s not too annoying, but I feel like it made some of the more cathartic moments feel weaker. I enjoyed both of the male characters, Kristoff and Hans , and enjoyed how they served as foils for each other in meaningful ways. The only character I didn’t like that much was the Duke of Weselton. He feels too over the top and I wish he was more grounded. It would have made certain moments more believable and sinister, which is something I would personally have preferred. He’s not awful – I just see wasted potential.

The music is absolutely great and I love most of the tracks. I love how the songs are incorporated into the movie and how much emotional weight they bring. Obviously Let it Go is amazing, but there are just so many great tracks its hard to choose from. Even the more unnecessary songs (like the rock people one) was fun to listen to in the moment. I thought the musical scenes with Menzel and Bell were amazing. In particular, there’s a duet in the second act that’s absolutely mesmerizing from a thematic view but also sounds phenomenal. It’s dark, desperate, and emotionally complex. I absolutely had chills afterwards.

The animation is also gorgeous. The characters all look beautiful, but my favorite moments were when Elsa used her ice powers to fight. The action scene with her is probably my favorite moment in the entire movie. The camera and lighting make it all feel intense and the particle effects of her ice magic makes everything feel more visceral. I honestly forgot I was watching a musical for a few moments and let myself get absorbed into the intensity of the situation.

Honestly, my only major problem with the film is how absurd one plot element feels. I won’t spoil it, but literally two characters make a mention of how ridiculous this element is and no one does anything about it. It felt frustrating because obviously sensible individuals in this universe proved to understand the issue , but it just gets glossed over. Normally this wouldn’t be that big of an issue, but it serves as the main driver for a lot of the conflict in the third act so the issue feels even more apparent. I also think that there should have been more of a consequence for certain actions, but I’ll talk about that in the spoiler section.

REPORT CARD

TLDR	Frozen is fun, funny, and bursting with personality. The songs are top notch and the animation is gorgeous. Outside of a few story issues and some missed opportunities, this tale of two sisters trying to find their place in the world and in each others lives is sure to leave you smiling along.
Rating	9.0/10
Grade	A

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Tag Archives: Musical

Film Review: Shrek – 2001

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Film Review: West Side Story – 2021

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Film Review: Climax – 2018

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Review: The Cheetah Girls 2

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Review: Cats (2019)

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Review: The Cheetah Girls

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Review: Frozen 2

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Review: Frozen

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