Tags :: Disney Redux
A deep dive: The Little Mermaid then and now
There’s something profoundly melancholy about Disney returning, in its present state of creative exhaustion and corporate decadence, to The Little Mermaid — the nucleus from which the entire Disney renaissance exploded, in a way along with everything that has followed.
Mulan (2020)
At this point it seems pretty clear that the kiss of death, creatively speaking, for Disney’s new line of live-action/CGI remakes is a Broadway musical.
The Lion King (2019)
Alas, the mission wasn’t to improve The Lion King, only to mount it as realistically as possible. Favreau wasn’t hired as a creative, but as a taxidermist.
The Lion King Chef (a meme essay)
It’s just like the opening act of Favreau’s Chef: Favreau is literally Carl, and Disney is Dustin Hoffman.
Aladdin (2019)
It’s the story you know already, almost exactly. They say the lines and sing the songs, the same songs, almost exactly. It’s a good story and they’re good songs. There are no spoilers in this review because how could there be?
Dumbo (2019)
The Disney nostalgia train rumbles on with Tim Burton back at the throttle — not quite throttling the iconic tale of the flying baby elephant, but only barely rising to the challenge, sort of like Casey Junior struggling to clear that daunting hill.
![Mary Poppins Returns [video]](/uploads/articles/marypoppinsreturns-vid.jpeg)
Mary Poppins Returns [video] (2018)
And so does Dick Van Dyke — but if you want the return of Julie Andrews, the movie to see is Aquaman.
Mary Poppins Returns (2018)
Nostalgia for the original pervades virtually every aspect of the new film, from the production design of Cherry Tree Lane, where Emily Blunt’s Mary Poppins arrives to look after the next generation of Banks children, to the beat-for-beat exactness with which the sequel follows the original.
The Nutcracker and the Four Realms (2018)
There’s something genuinely depressing about seeing one of the most audacious experiments in animation history used not for actual inspiration, but as a kind of scrap heap for spare parts.
Beauty and the Beast (2017)
Can a realistically computer-rendered French gilt bronze candelabra be debonair? Jaunty? Rakish, even?
Reinventing the Vault: Disney’s classy new remakes
Linking these three terrific family films is a defiantly old-fashioned, almost countercultural lack of ironic revisionism and gritty edginess. Each of them feels in some way like a kind of movie they don’t make any more — if they ever did.
Pete’s Dragon (2016)
I’m almost afraid to say it out loud, or even in writing, but with Pete’s Dragon joining The Jungle Book and Cinderella, Disney may be giving the lie to the old cliché “They don’t make ’em like that any more.”
![Alice Through the Looking Glass [video]](/uploads/articles/alicethroughthelookingglass.jpg)
Alice Through the Looking Glass [video]
Lewis Carroll is now right side up in his grave, having turned over twice.
Is The Jungle Book blasphemous?
A reader writes: “‘The elephants created the jungle’ is not ‘semi-religious’ as you say. It is, in fact, blasphemous. You say such ideas are not ‘often found in a Hollywood family film.’ I disagree. Blasphemy is typical in most Hollywood films.”
The Jungle Book (2016)
Like Kenneth Branagh’s Cinderella last year, The Jungle Book offers a lavish new reimagining of a beloved story, blending elements from the original literary source material with the classic animated Disney version.
Disney’s new Cinderella and the problem of parents in Hollywood fairy tales and family films
There are good reasons for introducing parent-child conflict into family films, depriving child protagonists of a parental safety net, depicting single-parent households, etc. There’s no good reason positive depictions of healthy, intact families in family films should be an endangered species.
Cinderella (2015)
Kenneth Branagh’s Cinderella is such a gallant anachronism, such a grandly unreconstructed throwback, that it offers, without ever raising its voice, a ringing cross-examination of our whole era of dark, gritty fairy-tale revisionism.
How Disney’s Maleficent subverts the Christian symbolism of Sleeping Beauty
Give me princesses like Leia from Star Wars, Merida from Brave or Tiana from The Princess and the Frog any day. But there’s a difference between creative revisionism and simple inversion.
Maleficent, Rape and Sympathy for the Devil
A story like this demands to be seen through the lens of what biblical scholars call “redaction criticism,” which basically means “What was changed, added or deleted in this retelling of the story, and what do those changes tell us about the storyteller’s intentions and outlook?”
![Maleficent [video]](/uploads/articles/maleficent.jpg)
Maleficent [video] (2014)
Angelina Jolie is perfect for the part of Disney’s most iconically evil villainess. If only they’d let her play it for more than one scene.
Maleficent (2014)
It’s fair to say that Disney’s Maleficent plays to an extent as warmed-over Frozen. This is not a good thing, even, I think, if you are a fan of Frozen.
The Sorcerer’s Apprentice (2010)
The first good thing about The Sorcerer’s Apprentice is that it isn’t called The Sorcerer’s Apprentice: Oath of the Dragon Ring or The Sorcerer’s Apprentice: Nesting Dolls of Doom.
Off With My Head!
Out of a few topics I was considering blogging about today, none captured my attention quite like this impassioned email from a young reader who strongly disagrees with my review of Alice in Wonderland, and the issues suggested by the email, at least in my mind.
Alice in Wonderland (2010)
The film is actually a joint evisceration not only of Carroll’s Alice in Wonderland, but also of “Jabberwocky,” with Alice recast as (so help me) a messianic warrior-hero destined to claim the fabled “Vorpal Sword,” don shining armor, and wage an epic battle on the fated “Frabjous Day” against the forces of the Red Queen (Helena Bonham Carter) and the dragon-like Jabberwocky.
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