Like the Penguins of Madagascar and Mater the tow truck, the Tic-Tac-shaped, banana-colored Minions join the ranks of popular comic sidekicks who have taken over their animated franchises. This is usually a sign of the end, although Cars 3 is on the way, and nobody has said Madagascar 4 isn’t happening.
I’m very much open to fairy-tale revisionism in general, and to feminist critiques of classic fairy tales in particular. As a father of three daughters, I chafe at the passiveness of so many traditional fairy-tale princesses waiting for their prince to come and rescue them. 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.
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?”
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.
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.
He was bad to the bone. Now he’s Dad to the bone. Does his mojo survive the transition? Despicable Me 2: my “Reel Faith” 60-second review.
“Dr. Evil without Austin Powers,” I called Gru in my review of Despicable Me. Turning Dr. Evil into Austin Powers (mutatis mutandis, for a family film) is the best possible way to keep the reformed character from losing his mojo. (Oh, how Mike Myers has influenced this discussion!)
Even monsters need a vacation. I would like to think they’re more discerning than this.
I do take issue, though, with Hollywood’s current obsession with “dark,” “gritty,” “edgy” fare threatening to crush any sense of wonder and fantasy. What a joy, then, that Tarsem Singh’s Mirror Mirror offers a gorgeous, fantastic fairy-tale world bursting with extravagant imagination and splendor.
What’s the last movie you saw that created an imaginary world that was actually beautiful, bursting with color and beauty and inspiration? A world that reminded you of the feeling you had as a child the first time you saw Dorothy open that door on the Technicolor world of Oz? A world you would actually like to enter and walk around in?
An intriguing question posed to me in another forum: “Who is the worst Disney villain? Mother Gothel in Tangled is bad (kidnapping, brainwashing). The evil Queen from Snow White?”
Megamind is a satiric take on the Superman mythos, seen through the eyes of a supervillain who’s part Lex Luthor, part Brainiac. Instead of a rocket ship bearing an infant survivor from a doomed planet to Earth, there are two ships from two planets. Fate deals the infant survivors very different hands: One is a super-powered golden boy who grows up privileged and smugly superior; the other grows up on the fringes of society, an outcast with one asset: his super-brain. It seems the two are destined to battle each other forever … or are they?
To his suburban neighbors, Gru is a grumpy bald guy whose house looks like the Haunted Mansion and whose ride makes the Dark Knight’s Batmobile look like a Prius. He’s the one who makes tasteless “jokes” about killing your dog if it goes on his lawn again and pretends not to be home when girls come around selling cookies. You know the type.
As a tale of female empowerment and male comeuppance, Monsters vs. Aliens might have been provocative, like, 50 years ago. Today, nothing seems more subversive — and unlikely — than a family film with a heroic leading man who’s the equal of the leading lady — one boys can look up to without having to learn a lesson about male weakness. Now that’s a movie I’d like to see.
Shrek the Third continues the deliberate bad taste that is the franchise’s hallmark, with the usual hit-and-miss results… What’s missing is the heart that leavened the first two films.
Ella’s so blindly devoted to the Prince, and so convinced that he’s the one to save the day, that she seems just another swooning groupie rather than a worthy heroine. If she hasn’t any more sense than that, what exactly does Rick see in her? What does that say about him?
Copyright © 2000– Steven D. Greydanus. All rights reserved.