The Magic Kingdom Project: Wish 2023

The Legacy of an Empire

As their expansive year-long Disney 100 celebration finally concludes, Walt Disney Animation Studios is set to deliver their 62nd feature-length animated film nearly ninety years after Snow White and the Seven Dwarfs began arguably the most enduring legacy in the history of cinema. Standing as a loving tribute to everything that makes Disney animation so unique, magical and uniquely magical, Wish is a gem. A wondrous throwback to classic animated musicals of the past, this is easily the best family film of the season.

THE PLOT

Through the combined use of that ancient tradition of the storybook opening, and the Disney Renaissance tradition of a lively opening musical number, we’re introduced to the mythical island kingdom of Rosas, a utopian society established by the charismatic King Magnifico (Chris Pine, making up for his questionable vocal performance in DreamWorks Rise of the Guardians) that welcomes lost souls from all around the world. One such inhabitant is Asha (a perfectly cast Ariana DeBose), a wide-eyed 17-year-old anxiously preparing for her interview with the king to hopefully land the coveted role as his sorcerer’s apprentice. For, of course, Magnifico is no ordinary ruler.

After a dark tragedy in his youth, Magnifico learned the mystical arts to become a powerful wizard capable of granting wishes to those he deems worthy. On their 18th birthday, the citizens of Rosa each make a wish before Magnifico which vanishes from their memory into bubbles for their king to keep safe in his imposing tower. Each month, Magnifico selects one lucky resident to have their wish fulfilled. And, this month, Asha is hoping her beloved 100-year-old grandfather, Sabino (Victor Garber) will be the chosen one.

But that all changes when Asha learns the truth behind Magnifico’s selection process and his true intentions for everyone’s wishes. Desperate for help to overcome Magnifico’s nefarious plans, Asha follows her late father’s advice to “wish upon a star,” leading to a literal, magical ball of boundless energy called Star floating down to Earth. With Star’s magic and the support of her trusty (and, thanks to a sprinkle of stardust, anthropomorphic) pet goat, Valentino (Alan Tudyk), Asha must find the strength to defeat Magnifico and save her beloved town.

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It is obviously no coincidence that this film has been released in conjunction with Disney's centenary; it's been plastered everywhere all year, though, being the hobbit I am, I saw very little of that until really the trailers. It is the very summit of everything the studio has been celebrating this year, and Walt Disney himself, I'm sure, is in some kind of mirror dimension, having watched it all come together, and positively crying with joy. While there are conceptual throwbacks to numerous other Disney animated films, it’s a golden formula that still works after 84 years of films.

Now do not mistake me, this film is SO much more than some irritating little fest of nostalgia that does nothing more than strangle us by the past; we have all the live action remakes for that. There are beautiful little Easter eggs dotted all over the film; most of which made me, one who has seen and owned every single animated film Disney has ever made, giggle like a little fan boy. It begins with the aforementioned storybook automatically opening its pages, reminiscent of some favourites of mine like Sleeping Beauty and Cinderella. The very notion of wishing upon a star is an obvious nod to Pinocchio. Asha has a group of seven friends who each share a characteristic and colour palette with Snow White’s seven dwarfs. Magnifico’s lair features a familiar-looking poisonous apple. And cute sidekicks, an OBVIOUS villain, and a few catchy original songs are the very cornerstones of every Disney classic.

But this film is ultimately how you create a loving homage instead of lazily rehashing it. What really brings back those memories of Disney animated films of yesteryear is the stunning visuals. While it’s not entirely a return to traditional 2D “hand-drawn” animation, it’s the closest we’re going to get for a while yet sadly. Something thought seemingly impossible in an age where 3D photorealistic animation dominates the industry. It’s hugely refreshing to see Disney try something different after years of animated films that all looked marvellous but mostly similar in style.

MY VERDICT

Some people may have expected/wanted this film to actually feature one character from each of the 61 previous films. Methinks this would have been completely superfluous and the characters this film already has, stand perfectly on their own. The music is equal parts nostalgic and current, and really solid. The animation, a mix between 3D and 2D, is personally the stand out of this particular film for me.

Is Wish a Disney Classic? Of course. If not now, then soon. And inevitably.

The Magic Kingdom Project: Strange World 2022

The Charming Little Living Wonder

You probably didn't hear about this one until it was whisked onto Disney+ without even any noticeable promotion, which is very strange for Disney, of all multi billion dollar corporations, to do. You'd think they would want to make as much noise as possible about their attempt to make up for their support of the  "Don't Say Gay" bill in Florida. But, having said that, Disney definitely attempted to make up for that with a charming little piece of multi minority representation that deserves celebration, not crickets.

While its plot is generic, Strange World is a beautifully animated delight with an intergenerational father-son narrative that may just hit you right where you wanna be hit. Elevated by stunning world and character design and a hefty helping of progressive topics major animation studios generally shy away from, it’s an unassuming game-changer that pays tribute to the Disney's centennial legacy while pushing it into uncharted territory.

THE PLOT

Intrepid explorer Jaeger Clade (Dennis Quaid), has made it his life’s mission to find a path beyond the treacherous mountain peaks that completely fringe the border of his secluded homeland of Avalonia. Unlike his father, Searcher (Jake Gyllenhaal) has little interest in exploration and is far more invested in science and farming. After the pair butt heads on Jaeger’s latest path found through the cliffs, Jaeger ventures off on his own, never to be seen again.

Fast forward 25 years and Searcher is now somewhat of a hero in Avalonia after discovering a mysterious orb plant known as Pando holds electrical properties and has been utilised to power the entire town. Living blissfully on his pando farm with his pilot wife, Meridian (Gabrielle Union) and their gay teenage son, Ethan (Jaboukie Young-White), Searcher’s life is upended by a visit from Callisto (Lucy Liu), his father’s old exploring pal and current president of Avalonia.

It seems an unknown virus is infecting all pando crops in the land, reaching all the way down to the “heart of pando,” the original source of the plant at the centre of the world. Determined to uncover what’s causing the catastrophic disease, Callisto invites Searcher to join her expedition and lend his scientific expertise. While initially apprehensive, Searcher reluctantly agrees but forbids exploring-obsessed Ethan from tagging along.

Naturally, the mission doesn’t go as planned, with the entire crew transported to a bizarre underground labyrinth inhabited by exotic flora and fauna wherever they look. Things only become more complicated when Searcher discovers Ethan and the family’s trusty three-legged dog Legend have stowed away on board and the unexpected re-emergence of Jaeger, who’s evidently been trapped in this foreign world for more than twenty years.

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OK, So the plot is not at all groundbreaking or original. A mismatched group of characters venturing off into a fantastical world of weird creatures, exotic locations, and dangerous situations is something the animation genre has done to death. Films like Treasure Planet and Atlantis: The Lost Empire have famously travelled this road, and not spectacularly well at that, so there’s nothing about this setup that you haven’t seen before. Screenwriter and co-director Qui Nguyen leans heavily into the familiar tropes of the adventure genre and pays homage to classic films like Journey to the Centre of the Earth and 20,000 Leagues Under the Sea. It’s a predictable experience, and this is what makes this movie beautiful, but not exactly memorable.

But where Strange World differentiates itself from the shallow Disney animated films of the past is its keen focus on character and its commitment to exploring deeper themes. The entire Clade clan feel like fully-fleshed-out characters with complex personalities that often juxtapose with those around them. The father-son narrative is rooted in the universally empathetic notion of wanting to make your parents proud. And vice versa of yearning for your child to be proud of your efforts as a parent and find a common understanding of the choices, decisions, and mistakes you’ve made. And as a side note, there is a shot of a paraplegic boy in the beginning of this movie, and as a disabled person, it always warms me to see a disabled character in any film whether it be animated or not.

That’s a challenge that becomes complicated when father and son are so wildly different and the child isn’t interested in following in their parent’s footsteps, as seen with Searcher’s desire to settle down on the farm instead of heading off on a daring new adventure like Jaeger. If this describes your relationship with your parents, this film will strike you right in the heart. When Searcher begins to realise his son seemingly connects stronger with his grandfather’s adventurous outlook on life, he fears their relationship is headed for a similar fractured territory. It’s in these intimate and relatable moments that Ngyuen’s writing really shines.

Apparently Pixar dabbled with brief LGBTQ representation in Lightyear and the potentially gay subtext of Luca, I say apparently because I never saw either of those films, and I don't think I will see Lightyear. Disney beats them to the punch with an openly gay character at the forefront of one of their animated film. And it’s not entirely subtle about it either. When we first meet Ethan, he’s evidently already come out to his accepting parents and has no problem candidly discussing his burgeoning crush on local boy Diazo. Later, he shares this information with his grandfather who doesn’t bat an eyelid when Ethan uses male pronouns to discuss who his heart desires. In the hands of lesser filmmakers, Jaeger may recoil at this revelation and take a nauseating path to tolerance over the course of the film. He doesn’t and the film is better for it.

MY VERDICT

As someone who isn't part of the LGBTQ community, the rainbow community, I call it; I wasn't sure what to make of this one at first. But now I see that this is a movie that dares to say, despite what the Mike Pences and Sarah Palins of the world would have you believe, that LGBTQ people are normal human beings with thoughts, feelings and hearts. On the other hand, neither is it overtly sexualised or confronting to the point it may be too much for kids. It’s all handled so seriously and sensitively that you might assume queer members of the production team were consulted for their input to get it right. It’s refreshing to see a queer character and a gay romance conveyed in a manner that truly breaks new ground for Disney animation. 

As we’ve come to expect from animated fare this decade, Strange World is a visually dazzling epic that genuinely pounds away at your eyeballs for ninety minutes in the best conceivable way. The worlds and creatures resemble something like a glorious cross between the lands of Avatar‘s Pandora and the underwater marvels of Australia’s Great Barrier Reef. This eccentric luminescent wonderland is filled with creatures and environments that take inspiration from the sea with curious twists that create something staggeringly unique. There’s eventually an explanation as to how and why everything co-exists in this world that suddenly makes everything you’ve witnessed make much more sense. It pushes the narrative into an environmental conservation message that maybe feels a little preachy to some, but personally I think if we've learned anything from Zootopia, it's that even obvious can be obvious enough.

Is Strange World a Disney Classic? In time, perhaps it might be, but not yet.

The Magic Kingdom Project: Encanto 2021

The Celebration of Cultura Colombiana.

It’s been quite a year for Lin- Manuel Miranda. Does this man ever sleep? From a big-screen adaptation of his Tony Award-winning musical In The Heights in June to his directorial debut with the stellar triumph Tick, Tick… Boom! in November (plus an Emmy win in September for the Disney+ live recording of Hamilton), Miranda wraps up 2021 by collaborating with Walt Disney Animation Studios and the Oscar-winning directorial duo behind Zootopia.

Considering the mighty pedigree behind Encanto, expectations are naturally rather high for Disney’s canonical 60th animated feature film. The fusion of Colombian culture with the beautiful visual magic of Disney animation proves to be a real winner. One of the best family films of the year, Encanto is gorgeously animated and fueled by a story with so much heart. Its narrative may be familiar, but its heartwarming message is timeless and its characters are magical in more ways than one.

THE PLOT

Deep in the mountains of Colombia, in a secluded valley, lives the Madrigal family, lead by Abuela Alma. By the power of an ever - burning candle, the Madrigals have been gifted with a sentient "casita" as refuge after a terrible personal tragedy. To help protect the family and their neighbours, the candle also imbues each new family member with a special power. Alma's three children, for example, Julieta, Bruno and Pepa, are gifted respectively with the powers to heal with food, to see premonitions, and to control the weather with her emotions. 

When the next generation of Madrigals each turned five, the casita would present a new door that reveals their gifts. Dolores has the hearing of a fox. Camilo can shape-shift. Antonio, the newest recipient, can talk to animals. Luisa is female Heracles. Isabela can make beautiful flowers blossom at will. And then there’s Mirabel, who stunned her entire family by getting the gift of, as my late grandfather would put it, sweet Felicity Arbuckle.

Thus Mirabel feels like an outsider and a disappointment all the time, especially to Alma. So when Mirabel starts noticing cracks in Casita's walls and floor, she realises the magic that’s blessed her family may be failing. Terrified at the very idea that her family may be losing their gifts, not to mention their home, Mirabel is determined to at least attempt to save both. But is Mirabel the answer to this problem or the cause??

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In many ways, Encanto is not typical animated fare. It’s comparatively low stakes are centred on a familial drama rather than some daring adventure. More concerned with exploring these characters than plonking them in bombastic set-pieces. There’s no surprise dastardly villain, nor sign of a gooey love story for our protagonist. As with most animated heroines of late, the decidedly “ordinary” Mirabel does not fit the archetypical Disney mould of yesteryear. She’s awkward, insecure, and feels wildly inadequate compared to her “perfect” sister, Isabela. Only decades ago, Mirabel’s gorgeous sibling would have the central character. Mercifully those days are over.

Though, of course, decades ago, no dang Disney movie would ever have been set anywhere like Colombia, and even if it were you'd never know, because the movie would never feature the locals anywhere but the background, to say nothing of the fact that the voice cast would be composed entirely of white people trying to sound Latinx. Mercifully, again, times have changed. As with Raya and the Last Dragon earlier this year, Disney is attempting diverse representation in animation by way of an authentic depiction of chosen set country, it's culture and people. And, like Raya, it sets another landmark moment for a studio with a questionable history that it has atoned for about three times over within the last ten years alone.

Obviously it is not for an ageing white man who knows next to nothing of Colombia to determine the accuracy and authenticity of what has been created here; but for the money of said ageing white man, Encanto is as joyous a celebration of Colombia as Pixar's Coco was of Mexico. They both almost literally leap out of the screen. It also shows how committed they are to presenting an accurate depiction of the country they present to the world when you see the different skin tones of all the characters; added again to that, the fact that these characters have no big names providing their voices, simply choosing the right actors for the right parts, most of them actually Colombian.

And then there are Lin - Manuel Miranda’s eight original songs that highlight his penchant for zippy wordplay. There’s only one immediate earworm of a song, but they all fit the typical roadmap that comes from the melding of Broadway sensibilities and Disney animation we’ve come to expect since the days of the late, great and powerful Howard Ashman. The toe-tapping opening number “The Family Madrigal” introduces us to the entire clan and their unique abilities. Mirabel and her sister Isabela are each given the staple “I Want” numbers in the forms of “Waiting On A Miracle” and "What Can I Do?" respectively.  And everything wraps up with a lavish celebratory ensemble number in “All Of You.”

MY VERDICT

Encanto is a STUNNING creation. 84 years and 60 films since Snow White and the Seven Dwarfs in 1937, the magic of the kingdom and the house that Walt built is still clearly as strong today as it was then. This film is a joyful ode to the power and spirit of family and Colombian culture.

Is Encanto a Disney Classic? Now? I doubt it. Later? Only time will tell. For me? Without question.

The Magic Kingdom Project - Raya and the Last Dragon 2021

The Semiprecious Gem in Disney's Crown

After a slight release date delay and a change in release strategy, Walt Disney Animation Studios is finally ready to unveil their 59th animated feature film. In what will stand as one of the first big blockbusters of 2021, Raya and the Last Dragon is the breath of fresh air we all need after months of lockdown. With all the hallmarks of classic Disney animation, it’s a dazzling, entertaining delight that gifts the world a courageous new Disney heroine for the ages and a hilarious, loveable sidekick who takes her place amongst the best there’s ever been.

THE PLOT

“How did this world get so broken?” asks our titular protagonist, Raya (Kelly Marie Tran). It seems her mythical ancient Asian homeland Kumandra wasn’t always the desolate dystopia we see before us. 500 years ago, Kumandra was a utopia where humans and dragons lived in harmony. The dragons protected the inhabitants from evil forces and brought peace and prosperity to Kumandra. When catastrophic plague monsters known as the Druun threatened to destroy Kumandra and turn the humans into stone, the dragons sacrificed themselves to save humanity. The last of their kind, Sisu (Awkwafina) placed all her energy inside a gem to defeat the Druun and disappeared from existence. But possession of the gem caused in-fighting amongst the citizens of Kumandra and the land split into five separate factions, each named for a part of a dragon: Tail, a harsh desert land home to a band of fierce mercenaries; Spine, a floating market filled with sneaky thieves; Spine, a lush bamboo hinterland inhabited by booming warriors whose weapon of choice is an axe; Fang, which boasts angry assassins and their angrier cats; and Heart, the land from which Raya herself hails and where her family has guarded the dragon gem for generations. After hundreds of years of fighting, Raya’s father, Chief Benja (Daniel Dae Kim) attempts to unite the lands and re-establish Kumandra to its former peaceful glory. But when jealousy and betrayal cause the Druun to return, Raya and her pet pill bug Tuk Tuk (“voiced” by the sound effects stylings of Alan Tudyk) must journey afar in an attempt to locate Sisu and vanquish the Druun once more. Hot on Raya’s heels is Namaari (Gemma Chan), a warrior princess of Fang whose mother, Chieftainess Virana (Sandra Oh) has plans of her own for the dragon gem.

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The key to the success of such a concept lies in the voice casting, particularly that aforementioned scene - stealing sidekick. Mulan had Eddie Murphy. Frozen had Josh Gad. Moana had Dwayne Johnson. And Raya and the Last Dragon has Awkwafina. Selecting her as the goofy water dragon is a piece of ingenious casting perfection. From the moment Sisu bursts onto the screen, Awkwafina’s sublime performance grabs your attention and refuses to let go. Overflowing with endless humour and gorgeous heart, Awkwafina’s sensational vocal work is reminiscent of the late, great Robin Williams in Aladdin. Much like Genie, Sisu is a deeply empathetic soul, filled with a sweet naïveté, yearning loneliness, and an insatiable spirit that’s impossible to resist. And this is a change of pace for me because Awkwafina usually irritates me or at least, she did in Crazy Rich Asians.

With the brave, plucky Raya, Disney continues its impressive determination to offer modern animated female protagonists that break the tired damsel in distress mould Frozen effectively shattered in 2013. Raya isn’t waiting for her prince to come which is lucky because there is no semblance of a love interest for the titular character in sight, unless, like me, you count the sexual tension between Raya and Namaari that may one day be fully realised when Disney stops being afraid of the army of bigots and homophobes who make up a heavy portion of their audience. This story is of one young woman’s journey of self-discovery and enlightenment. Burnt by a wicked betrayal in her youth, Raya is a sceptical misanthrope who will soon learn the power of friendship, trust, and unity. Voiced with the perfect balance of strength and vulnerability by Tran, Raya is a fresh, intelligent new icon for young viewers to emulate. And she’s like an Asian Xena to boot. Blessed with impressive fighting skills and natural ability with a sword, Raya swashbuckles her way through numerous thrilling set-pieces, overflowing with exciting fight choreography that taps into ancient martial arts with impressive precision. While she was apparently woefully underused in those Star Wars films I never saw, Tran showcases an ability to lead a film with tremendous energy and endless warmth. Her earnest chemistry with Awkwafina is almost sororal and it becomes the film’s true heart. Throughout Raya’s epic journey, she’s joined by a cast of characters that each steal focus when given the opportunity including Benedict Wong as Tong, a booming Spine warrior with a heart of gold, Thalia Tran as Little Noi, a cheeky toddler con artist aided by a trio of monkey-like ongi, and in a slightly lesser way, the incorrigible Izaac Wang as Boun, a scrappy, fast-talking young entrepreneur with the best shrimp dishes in Tail. And, of course, Tuk Tuk is another sublimely adorable Disney animal creation who’s part pill bug, part armadillo, and a dash of pug. 

MY VERDICT

In another huge step forward for diversity in Disney animation (though it took them seven years to do it), the locations and characters retain their distinctive Asian features without feeling too “Disneyfied.” Unlike Mulan, the voice cast is composed entirely of Asian actors, highlighting the progression of the Disney production and casting process. What this song lacks in ear worms, it makes up for with animation that rivals Sleeping Beauty and a score that rivals Aladdin. Plus an excellent plot which, though familiar in places, is still overall new and very creative. My one gripe would seem quite trivial to many but it’s not trivial to me, I miss my Disney Villains and I want them back.

Is Raya and the Last Dragon a Disney Classic? With a terrific cast, stunning animation and a plot that is both familiar and new, I will gladly put this film in the Disney Classic category.

The Magic Kingdom Project: Frozen 2 2019

The Renewal of a Phenomenon 

After 2013’s Frozen became the highest-grossing animated film of all time, a genuine cultural phenomenon, the calls for a seemingly inevitable sequel began to grow. Fellow animation studios like Pixar and DreamWorks had been crafting successful follow-ups to their most popular animated films for years, but Disney had long resisted the urge to greenlight theatrical sequels for any of their 21st-century films, namely due to the mistakes of the past.

In the 90s and early 00s, Disney had actually been consistently churning out sequels to their successful animated titles, which were handled by the studio’s straight-to-video department, DisneyToon Studios. Produced inexpensively with less extravagant animation and simplistic narratives, hugely popular films like The Little Mermaid, Aladdin, The Lion King, The Jungle Book, Cinderella, and Bambi were given subpar sequels released directly to VHS and DVD.

While these releases often performed well, particularly around the holiday retail period, many animators and fans felt their existence ultimately cheapened the legacy of the original films. When Pixar executives Ed Catmull and John Lasseter took creative control of Walt Disney Animation Studios in 2006, they were concerned the cheap sequels were undercutting the value of the studio’s major releases. As such, Catmull and Lasseter cancelled all DisneyToon projects currently in development, including sequels to Dumbo, Chicken Little, The Aristocats, and Pinocchio, and the studio instead focused on spinoffs projects such as Tinker Bell and Planes.

Despite the unprecedented success of Frozen, Disney was still reluctant to leap into a sequel, with CEO Bob Iger refusing to simply mandate a follow-up and force the filmmakers to craft a story for financial reasons. However, the studio was happy to mine the brand for all it was worth, with a seemingly endless line of merchandise, theme park appearances, a Broadway musical adaptation, and two short animated films, Frozen Fever and Olaf’s Frozen Adventure, which were shown in theatres before the live-action remake of Cinderella and Pixar’s Coco respectively.

During the production of Frozen Fever in late 2014, directors Chris Buck and Jennifer Lee realised how much they had missed the characters and began initial story discussions for a sequel. It was during this preliminary planning stage that Buck and Lee agreed how they wanted the second film to end. They just needed to determine a satisfying journey to reach this intended conclusion. Buck and Lee were keenly aware fans of the original film were left with numerous unanswered questions the sequel must address, namely surrounding the mysterious origins of Elsa’s magical powers and where her parents, King Agnarr and Queen Iduna were heading when their ship tragically sank. With this intention in mind, the directors crafted an outline that explored Arendelle’s past and how the mistakes made by the town’s ancestors were affecting the future of the kingdom.

THE STORY

King Agnarr of Arendelle tells a story to his young daughters, Elsa and Anna, that their grandfather, King Runeard, had established a treaty with a neighbouring tribe of Northuldra by building a dam in their homeland, the Enchanted Forest. However, a fight occurs, resulting in Runeard's death and enraging the elemental spirits of Earth, Fire Water and Air, of the forest. The spirits disappear and a wall of mist traps everyone in the Enchanted Forest. Young Agnarr barely escapes due to the help of an unknown saviour.

Three years after her coronation, Elsa celebrates autumn in the kingdom with Anna, Olaf the snowman, Kristoff the ice harvester, and Kristoff's reindeer Sven. One night, when Elsa hears a mysterious voice calling out to her, she follows it and unintentionally awakens the elemental spirits, which forces everyone in the kingdom to evacuate. Grand Pabbie and the Rock Troll colony arrive and Pabbie informs them that they must set things right by discovering the truth about the past.

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As expected, Disney enlisted original cast members Idina Menzel, Kristen Bell, Jonathan Groff, and Josh Gad to reprise their roles of Elsa, Anna, Kristoff, and Olaf respectively, with each receiving a major boost in their salaries from the first film. Emmy Award-winner Sterling K. Brown was cast as Mattias, while veteran actor Alfred Molina was chosen for the role of King Agnarr. After auditioning several actors, the filmmakers selected Evan Rachel Wood for the role of Queen Iduna after noting her warm, inviting voice echoed the voices of both Menzel and Bell.

MY VERDICT

Frozen 2 does not reach the grand heights of its predecessor, but it still stands as an entirely worthy follow-up that offers everything a sequel should. Frozen II expands on what came before, while still delivering everything that made the original such a success, namely stunning animation, plenty of fun, flashy musical numbers, and a handful of tear-inducing moments. Its narrative plays it all a little too safe, but when the storyline is so utterly entertaining, it’s easily permissible.

By ending the film the way they did, Frozen II succeeds as a necessary sequel by expanding on the origins of its tale and filling in the gaps its predecessor left behind. Even if this sequel was somewhat financially motivated, Lee’s screenplay refused to fall into the trap of just rehashing everything previously seen, delivering a new chapter that never once feels anything but a natural and earnest evolution and continuation.

While Disney remained coy on the budget of Frozen II (it was estimated to be between $150-$175 million), it’s clear from the utterly sensational animation they’ve invested more cash in crafting this sequel. Whether it’s the stunning water rendering or the gorgeous landscapes, the animation reaches new heights for the studio, offering a sumptuous treat that’s visually dazzling and downright beautiful to behold.

With a cavalcade of spectacular visuals, a wildly entertaining narrative, and all the uplifting moments Disney do so well, Frozen II is a terrific follow-up well worth the six - year wait. For all the anticipation and hype, this could have been a total disaster, so kudos has to be given to Lee and Buck for actually making this work. You’ll laugh, you’ll cry, and you’ll love revisiting the majesty of this unstoppable franchise. And just try to leave the cinema without wanting to belt out, “Show yourseeeeeeelf” On the other hand, while being only a little annoying in the first film, Olaf becomes a comedic gunpoint. By which I mean, he becomes filler to make the kids laugh and grind the story to a halt.

Is Frozen II a Disney Classic? This sequel easily could have been a total disaster, but Disney rightly refused to rush into producing a follow-up that existed as nothing more than a cash grab. Frozen II is a natural evolution of its predecessor, which deftly proved a sequel was entirely necessary. It’s been a year since this film was released and it’s still just as popular now as it was then, so I would definitely call this a Disney Classic.

The Magic Kingdom Project: Ralph Breaks the Internet 2018

Disney Doing Self - Deprecation

Sequels are a dime a dozen in the animated genre. From Shrek to Toy Story to The Lego Movie, if an animated feature film performs even remotely well at the box office, a follow-up is all but assured. But in their eight-decade history, Walt Disney Animation Studios had essentially ignored this practice, with 1990’s The Rescuers Down Under oddly standing as the only animated sequel in their canon (I don’t consider Fantasia 2000 and Winnie the Pooh to technically be sequels and neither should you).

When the studio announced in 2017 that Wreck-It Ralph would become only the second Disney film in history to receive a sequel, it seemed like a rather odd move for the studio, given films like Zootopia, Moana, and Big Hero 6 had all performed better at the worldwide box office. Still, the $471 million total Wreck-It Ralph had earned was nothing to sneeze at, and the expansive video game world Ralph, Vanellope and co. called home lent itself perfectly to more adventures.

Shortly after the release of Wreck-It Ralph in 2012, director Rich Moore was already crowing about the possibility of a sequel, with the filmmaker feeling they had barely scratched the surface of the video game world. After production of Zootopia wrapped in 2016, which Moore co-directed with Byron Howard, Disney officially announced a Wreck-It Ralph sequel had been greenlit, with a preliminary release date of March 2018. Moore had been signed to co-direct with screenwriter Phil Johnston, who had co-written the original film, while original voice actors John C. Reilly, Sarah Silverman, Jack McBrayer, and Jane Lynch would all return to reprise their roles.

During the announcement, Moore also teased the plot of the sequel, which would find Ralph leaving the safety of the video game arcade for the chaotic world of the Internet, which, unsurprisingly, he would subsequently wreck. In late 2016, Moore, Johnston, and screenwriter Pamela Ribon began development of the sequel’s script, which was now known as Ralph Breaks the Internet: Wreck-It Ralph 2. However, the initial idea for the film’s concept was ultimately wildly different from the final film.

In the original working version of the script, Vanellope became a social media influencer/Internet celebrity, causing the playful princess to become self-absorbed and conceited. After Ralph finds himself stuck in jail for daring to challenge Vanellope’s overzealous fans, he would band together with a search engine entity named Knowsmore to help save Vanellope from the perils of fame. But the team felt the concept cast Vanellope in a negative light and the script was ultimately becoming overly negative and dour.

The entire concept was abandoned in favour of a narrative that focused on the friendship of Ralph and Vanellope, as the pair realise their paths are going in different directions. 

THE STORY

Six years since they first met, Wreck-It Ralph and Vanellope von Schweetz have stayed best friends, hanging out after work in Litwak's Arcade. One day, Vanellope expresses how bored she has become of Sugar Rush's tracks, so Ralph sneaks into the game and makes a new track for her. The arcade player fights Vanellope's control, causing the cabinet's steering wheel to pop off. Mr. Litwak attempts to reattach the wheel to the console, but accidentally breaks it in half. As the company that made Sugar Rush is defunct, and the cost of a replacement wheel on eBay is too high, Litwak decides to scrap Sugar Rush, and unplugs the game. With Fix-It Felix and Tamora Jean Calhoun's help, the Surge Protector finds homes for all its citizens as a short term measure as they figure out how to save the game. After talking with Felix, Ralph decides to grab Vanellope and travel to the Internet via Litwak's new Wi-Fi router. Inside the Internet, depicted as a place where websites are geographical locations, users are represented by traveling avatars and programs are people.

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In a major coup for the production, the filmmakers were able to secure all the original voice actresses of the Disney Princesses for the film, except for Adriana Caselotti as Snow White, Ilene Woods as Cinderella, and Mary Costa as Aurora, as Caselotti and Woods had both passed away and Costa had retired from acting in 2000. In their place, Jennifer Hale and Kate Higgins were enlisted for Cinderella and Aurora respectively, as the pair had been voicing the characters in various Disney media for over 15 years. Ribon performed the voice of Snow White for temporary reference recordings, but Moore and Johnston ultimately loved her performance and kept her voice in the final film.

MY VERDICT

Ralph Breaks the Internet is every bit as narratively enjoyable, visually ambitious, and gorgeously animated as its predecessor, proving Disney can (and usually does) make exceptional non-Pixar animated sequels. With a whole host of meta-aware humour and, yes, a stack of cameos from the expansive Disney universe, the film never forgets the key ingredient often lacking from other nostalgic-heavy nonsense – its heart.

As entertaining and joyful as all the Easter eggs of pop culture references may be, they’re only part of the magic of the film. What sets Ralph Breaks the Internet apart is its gorgeous beating heart with a narrative that will surely tug at your heartstrings. As Ralph and Venellope’s friendship is tested, there’s a strong message conveyed of the consequences of trying to control your friends and the dangers of suffocating them when you refuse to accept the fact that change is sometimes inevitable. This leads to a conclusion that’s emotionally powerful, as the best Disney animated films often are. Bring the tissues. You might need them. The film’s biggest highlight (especially for Disney fans) is a visit to the Magic Kingdom of Oh My Disney, where everyone from Dumbo to Eeyore, stormtroopers to the Millennium Falcon, Iron Man to Baby Groot (who holds a hilarious Q&A session with overzealous fans), and every single Disney Princess can be found. Is this a moment of self-aggrandising, where Disney is simply showing off how ridiculously vast their catalogue of pop culture icons has become? Well, of course it is. But A) can you really blame them? And B) what makes this sequence so glorious is how pointedly and sharply Disney is able to poke some good-natured fun at itself. It’s self-deprecation we haven’t seen since the likes of Shrek, though that was more of a cheap, shallow dig from a petty former employee rather than loving homage. The self-awareness of each Princess to acknowledge the flaws found in their narratives (“Do people assume all your problems got solved because a big strong man showed up?”) and cliche characteristics they each share (a commonality of a lack of a mother) creates the film’s brilliant satirical showpiece that proves Disney can indeed let down its hair and not take itself so damn seriously. There’s even a cheeky stab at Merida, aka Pixar’s only Princess, who none of the other characters can understand because “she’s from the other studio.” Given the target audience here is children, Ralph Breaks the Internet sadly fails to stretch too deeply into the truly dark and damaging nature of the internet. Outside of a warning to “never read the comments,” and a finale featuring an out-of-control computer virus that threatens to destroy everything around it, the internet is perhaps presented a little too sanitised and positive. Sure, it’s a kid’s movie that decides to keep things relatively light, and that’s entirely fine. But teaching an audience of children about the dangers of the online world could have been a valuable moment that perhaps a studio like Pixar would have been brave enough to explore. With eye-popping animation, a terrific voice cast, a touching and entertaining narrative, some brilliant self-deprecating humour, and a treasure trove of delightful cameos, Ralph Breaks the Internet is everything a sequel should be and then some. It’s heartwarming and hilarious, dazzling and impressive, and a wonderful piece of cinema for the whole family to enjoy. And be sure to remain for the entirety of the credits for a sublime piece of playful internet trolling that delivers plenty of LOLs.

Is Ralph Breaks the Internet a Disney Classic? While Ralph Breaks the Internet is supremely entertaining surprising moving, and one of the best animated sequels ever produced, we’re not quite in Disney Classic territory just yet. It’s hard to know if a video game-centric film will truly stand the test of time like other Disney Classics, but Ralph and Vanellope certainly make a strong case for their legacy to live on for decades to come. 

The Magic Kingdom Project: Moana 2016

The Breath of Fresh Air

When Walt Disney premiered Snow White and the Seven Dwarfs in 1937, he also inadvertently (or possibly entirely intentionally) launched one of Disney’s most successful pseudo film franchises and merchandise lines; the Disney Princesses. In more recent decades, the very definition of what constituted a typical Disney princess character had been pushed outside the limited box of Disney’s earlier princess films.

While the earlier Disney princesses were little more than one-dimensional lovesick damsels in distress like Snow White, Cinderella, and Aurora, the recent crop of new heroines were crafted as more independent, intelligent, and skilful young women who could inspire the next generation of youngsters to challenge the idea of what’s expected of them. We were even gifted with Disney princesses of non-caucasian descent, courtesy of our first Black, and Native American princesses in Tiana, and Pocahontas respectively.

While 2002’s Lilo & Stitch had presented Hawaiian culture and its people in a Disney animated film for the very first time, the film hadn’t blessed the studio with a Polynesian princess to add to its growing lineup, which had recently expanded to add two new white princesses in Tanged‘s Rapunzel and even its first Pixar princess in Brave‘s Merida. Enter directors Musker and Clements, the men responsible for the creation of one-third of Disney’s 11 princesses and the perfect choice to craft another iconic heroine to join the princess roster.

After completing the Princess and the Frog, Musker and Clements began developing an animated adaptation of Terry Pratchett’s 1987 fantasy novel Mort. After working on concept art and a draft script, the directors ultimately failed to attain the film rights from Pratchett and the project was abandoned in 2011. To avoid further rights issues, the duo pitched three original ideas to Chief Creative Officer of Walt Disney Animation Studios John Lasseter, including one centred on Polynesian mythology.

Musker had recently been studying the history of Polynesia and was particularly struck by the heroic exploits of the demigod Māui, a culture hero and a trickster who was famous for his cleverness and brash attitude, and, amongst other achievements, was credited with bringing fire to the world. The director felt the rich culture of Polynesia and the story of Māui would make the perfect subject and setting for an animated feature, with the director writing a story treatment with Clements to pitch to Lasseter.

While Lasseter loved the concept, he felt Musker and Clements should further familiarise themselves with Polynesian culture and commissioned the duo to take research trips to Fiji, Samoa, and Tahiti. Poor boys. In 2012, the directors spent several weeks on the three islands to meet with the locals and learn more about their culture, which spanned back hundreds of years. It was during the research trip that Clements realised it would be best for the film to focus on the young daughter of a chief, with Maui reworked as more of a supporting sidekick character.

During their study of Polynesian history, Musker and Clements became fascinated by the navigational traditions of Polynesia that actually predated those of European explorers, which strangely came to an unexplained abrupt holt around three thousand years ago. While scholars have surmised this may have been the result of shifting ocean currents and wind patterns caused by climate change, the directors felt it would make the perfect narrative setting for their film, with a more mythological cause behind the cessation of ocean exploration.

THE STORY

On the fictional island of Motonui, the people used to be explorers and voyagers, and they worshipped the goddess Te Fiti, who brought life to the ocean using a pounamu stone as her heart and the source of her power. But when shape-shifting demigod Maui attempted to steal the heart, he is attacked by the volcanic demon Te Kā, causing the heart to be lost to the depths of the ocean. Without Te Fiti’s heart to protect the oceans, the people of Motunui refused to journey across the seas and hid their expansive fleet in a secret cave. When we meet Moana centuries later, Te Kā’s darkness is poisoning her island home, leading to Moana bravely setting off on a daring voyage to find Maui and force him to restore the heart of Te Fiti to save Motunui from ruin.

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In a further bid to strengthen the film’s authenticity, Clements and Musker enlisted a cast of voice actors with Polynesian roots, including part Samoan Dwayne Johnson as Maui, part Maori Temeura Morrison as Tui, part Maori Rachel House as Tala, part Hawaiian Nicole Scherzinger as Moana’s mother Sina, and part Maori Jemaine Clement as Tamatoa. After an exhaustive worldwide search for the voice of Moana, where the filmmaker auditioned hundreds of actors, 14-year-old high school student and Hawaiian native Auliʻi Cravalho won the role. At the point of her casting, the character design of Moana was already complete, making Cravalho’s physical resemblance to the character purely coincidental.

MY VERDICT

Ten years after the studio’s first true foray into the computer-animated world, Moana represented the pinnacle of Disney computer animation. It is a beautifully crafted piece of cinema, with some of the most detailed and photorealistic backgrounds ever seen on screen. From the spectacular water designs to the lush tropical backdrops, Moana is an eye-popping display of the stunning capabilities of computer animation and another example of how far Disney had progressed in only a decade.

If Frozen broke the mould on what a female-centric Disney film should be, Moana shatters it even further. Witness a Disney Princess without a love interest, or any desire to find a love interest, for that matter. Moana is not searching for a prince, but rather for herself and her place in her world. And while she may battle coconut pirates, a giant crab, and a lava god, the toughest opponent Moana must overcome is her own self-doubt. What a bold statement that is for any youngster to take in.

And, much like Frozen, Moana also succeeds by playing to Broadway sensibilities, which are provided by the toast of Broadway in Miranda. His compositions are fresh and lively with plenty of raw emotion, echoing the music of Disney’s renaissance period of the 80s and 90s. But it’s ultimately when Maui enters the film that Moana truly comes to life, thanks to a sublime performance by Johnson, who perfectly captures Maui’s cocky, selfish attitude that ultimately evolves into something entirely endearing. Johnson’s banter with Cravalho is a delight and their evolving relationship is the film’s true heart. To say nothing of the fact that Maui has one of the two best songs in the film, which my aunt is still citing as the world’s greatest ear worm.

Sure, Moana features many typical Disney trademarks; the physical and emotional journey of its heroine, the “I Want” song of yearning, the cute animal sidekicks (Pua the pot-belly pig is beyond adorable and Hei Hei the rooster is a fabulously bizarre little creation), the “all hope seems lost” moment. But Moana sets itself apart by delivering a strong, intelligent, independent heroine children can and should truly hold as an aspirational figure. Moana is a new Disney Princess for the ages and the film was like a refreshing cool island breeze that was so lacking from Disney animation.

Is Moana a Disney Classic? With Moana officially added to the Disney Princess line-up in March 2019 and no signs of Disney relenting on tie-in merchandise, the film remains one of the most popular releases of the last decade. It blessed fans with a new inspiring heroine and played on the musical sensibilities that revived Disney in the late 80s. The animation remains as dazzling as it was four years ago, the film is without question a true Disney Classic.