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Watch Tangled with a subscription on Disney+, rent on Fandango at Home, Prime Video, or buy on Fandango at Home, Prime Video.

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While far from Disney's greatest film, Tangled is a visually stunning, thoroughly entertaining addition to the studio's classic animated canon.

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Nathan Greno

Byron Howard

Mandy Moore

Zachary Levi

Flynn Rider

Donna Murphy

Mother Gothel

Ron Perlman

Stabbington Brother

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‘tangled’ – film review.

It would have been nice if Disney's self-touted 50th animated feature were one of its best, a film that could stand with the studio's classics, but the world will have to make do with 'Tangled,' a passably entertaining hodgepodge of old and new animation techniques, mixed sensibilities and hedged commercial calculations.

By Todd McCarthy

Todd McCarthy

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The Grimm yarn of Rapunzel, the girl with the long, golden hair, has been tangled , twisted and extended to get her out of the tower and into the company of a dashing bad boy, musicalized in old-school Broadway fashion and shot through with broad comedy and action rendered in vivid 3D. The Disney name and the studio’s all-powerful promo combined are sure to propel this profitably through the holiday season and beyond, though the question lingers as to the extent of resistance preteen boys will show to this girl-centric romp.

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Walt Disney himself pondered an animated Rapunzel feature as far back as the 1940s, and there are two major elements in the film his studio finally has produced that strongly register as Disney trademarks: the flawlessly prettified rendering of nature and the leading characters as well as the incisive portrait of an evil, manipulative villainess. On the more current side of the ledger are the forthrightly adventurous heroine, egregiously present-day phraseology (“Best day ever!”) and the previously unimagined uses to which Rapunzel puts her 70 feet of golden hair, including as a whip and lasso. So shimmering and lush are the girl’s locks that shampoo commercials never will look the same.

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Transformed from the original tale’s daughter of poor parents into a princess kidnapped by the scheming Mother Gothel for the power the girl’s golden locks have to keep the woman ageless, the story devised by screenwriter Dan Fogelman ( Cars, Bolt ) pivots on the tension between Gothel’s need to keep Rapunzel away from the outside world and the yearning of the captive, who’s about to turn 18, to discover it. “When Will My Life Begin?” — the initial musical number from star Disney composer Alan Menken and lyricist Glenn Slate r — not only enunciates her desires but shows that, during her youthful isolation, she has been extensively exposed to the arts through reading, painting, music and so on.

Still, given the modern take here, it might have been amusing to acknowledge that growing up in solitary confinement might give a girl some complexes, neuroses and misconceptions about life on the outside. Once she absconds with a dashing thief (not a prince) with the unlikely moniker of Flynn Rider, a bumpy learning curve as to the real world could have provided a bountiful extra layer of humor and behavioral interest.

As it is, the film contents itself with charting the inevitable conversion of Flynn from the charming scoundrel who with two hulking highwaymen types steal the royal crown to a domesticated escort suitable for the daughter of the idyllic realm’s king and queen. Along the way, there is a rollicking encounter in a roadside tavern with a band of ruffians who turn out to be as congenial and musically prone as the seven dwarfs as well as the shenanigans of a comically vigilant white horse, all of which reflects the antic showbizzy approach one associates with John Lasseter, the driving force behind Pixar who now also runs Disney Animation.

Although she is sidelined for significant periods, there still is the determined Mother Gothel to reckon with. One can’t quite put her in the pantheon of evil alongside Snow White’s queen or the Wicked Witch of the West, but she’s a formidable first cousin as she stops at nothing to maintain her hold on her prize. No small part of her power stems from the dynamite performance of Broadway star Donna Murphy, who socks over her dialogue and musical vocalizations with insinuating flair.

In markedly blander roles, Mandy Moore and Zachary Levi do agreeably expressive work with utilitarian dialogue that feels too contemporaneously American and sturdy songs in a throwback style. It’s hard to think of a modern film with a more pristine appearance; every frame looks like it’s just been cleaned and polished by Cinderella herself.

The 3D work is excellent, though the discrepancy in screen brightness between what is seen with and without glasses never has been more pronounced, at least at the screening caught; normally, one can expect the image to dim by 25-30% upon donning 3D shades, but here the light of the film onscreen was cut roughly in half.

Opens: Wednesday, Nov. 24 (Disney) Production: Walt Disney Animation Studios Cast (voices): Mandy Moore, Zachary Levi, Donna Murphy, Ron Perlman, M.C. Gainey, Jeffrey Tambor, Brad Garrett , Paul F. Tompkins, Richard Kiel Directors: Nathan Greno, Byron Howard Screenwriter: Dan Fogelman Executive producers: John Lasseter, Glen Keane Producer: Ron Conli Production designer: Douglas Roberts Music: Alan Menken Original songs: Alan Menken (music), Glenn Slater (lyrics) Editor: Tim Mertens Rated PG, 100 minutes

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Common sense media reviewers.

Fantastic princess adventure is fun, with great messages.

A Lot or a Little?

What you will—and won't—find in this movie.

Kids learn the importance of seeing beyond appeara

Sweet messages about honesty, friendship, looking

Rapunzel is curious and perpetually optimistic, lo

Cartoonish action violence includes chases, close

Rapunzel and Flynn flirt, exchange longing looks,

Infrequent rude language like "stupid" and "dumb."

Many licensed dolls, books, and toys that are cons

Characters go to a restaurant where tough-looking

Parents need to know that Tangled is a reimagining of the classic Rapunzel tale and a Disney "princess" movie that's sure to entertain both boys and girls. Rapunzel (voiced by Mandy Moore) isn't the typical princess in need of rescuing; she does her fair share of saving Flynn Rider (Zachary Levi) -- who's no…

Educational Value

Kids learn the importance of seeing beyond appearances -- all those "thugs" in the pub had sweet, generous dreams "deep down inside."

Positive Messages

Sweet messages about honesty, friendship, looking past appearances, and love. Rapunzel sees past Flynn's reputation as a thief to the brave, kind-hearted man she eventually falls in love with, while Flynn realizes that Rapunzel's naive optimism and curiosity are good and inspiring. She sees the best in people, including him, and that helps him act like the best man he can be. Additional messages of empathy, self-control, and gratitude. Also an empowering message for girls: It's not just the boys who save princesses; princesses can do the rescuing, too.

Positive Role Models

Rapunzel is curious and perpetually optimistic, looking for the good in every situation and person. She feels guilty when she thinks she's broken Mother's rules, she gives everyone a chance, and she inspires those around her to act more righteously. She's kind, loving, and selfless. Mother, on the other hand, is the epitome of selfishness and cruelty -- but it's clear that she's in the wrong. Flynn is a thief, but he makes better choices as the story unfolds and demonstrates integrity.

Violence & Scariness

Cartoonish action violence includes chases, close calls, and a lot of escapes -- evading arrows, steadily rising water, fire, and a big group of the king's soldiers. Characters are hit on the head with a frying pan and kicked in the head. Characters hold knives and spears in threatening ways. Mother comes across as creepy and is mean to Rapunzel; she also tries to kill Flynn (he's pierced with a knife and appears dead). A character falls to her death but sort of vanishes before she hits the ground. Some kids may be disturbed by Mother's transformation and her eventual demise.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Rapunzel and Flynn flirt, exchange longing looks, and eventually hold hands and kiss. Mother uses her youthful appearance to lure men to do her bidding.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Many licensed dolls, books, and toys that are constantly promoted.

Drinking, Drugs & Smoking

Characters go to a restaurant where tough-looking characters are eating and drinking, and one character slurs his speech a bit and acts "drunk," but young kids probably won't pick up on that -- to them it will seem as though he just looks and acts silly.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Tangled is a reimagining of the classic Rapunzel tale and a Disney "princess" movie that's sure to entertain both boys and girls. Rapunzel (voiced by Mandy Moore ) isn't the typical princess in need of rescuing; she does her fair share of saving Flynn Rider ( Zachary Levi ) -- who's no Prince Charming. There's a lot of romantic chemistry between them (flirting, gazing, and eventually hand-holding, embracing, and a kiss or two), as well as a couple of creepy scenes in which the youthful-looking Mother Gothel uses her beauty to lure men to do what she wants. Expect some nearly constant cartoon violence -- one character dies, another one nearly dies after being pierced by a knife, and there are plenty of last-minute escapes from arrows, horse-mounted soldiers, fire, etc. Characters are hit on the head with a frying pan and kicked in the head; others hold knives and spears in threatening ways. The movie's messages about girl power and seeing beyond appearances are positive and inspiring; kids will learn that we all have dreams, and we should do everything we can to make them come true. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Community Reviews

• Parents say (210)
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Based on 210 parent reviews

Not for intuitive young viewers-too violent

What's the story.

Based on the Brothers Grimm fairy tale, TANGLED follows the story of Princess Rapunzel (voiced by Mandy Moore ), who -- thanks to a special flower that her mother the queen ate during a difficult pregnancy -- has magical, ever-growing hair with the power to heal and rejuvenate. But it's only used to keep her Mother Gothel (Donna Murphy) -- a deceitful old crone who kidnapped Rapunzel as a baby -- looking young and beautiful. Locked away in a hidden tower, Rapunzel's deepest wish is to see the beautiful "stars" that light up the sky on her birthday every year. When a rogue thief named Flynn Ryder ( Zachary Levi) discovers her tower, she keeps him trapped in her hair until he promises to take her to see the soaring lanterns ... and get her back to the tower before Mother Gothel returns from a three-day errand. In exchange, Rapunzel vows to return the jeweled crown that Flynn stole. On their adventure, the two grow closer and closer -- but Mother Gothel and Flynn's rivals will do their best to keep Rapunzel from realizing the truth.

Is It Any Good?

It's a relief to see that Disney can still conjure up a princess movie to rival its all-time greats. In 2009 there was the lovely, hopeful Tiana in The Princess and the Frog , and now there's another fairy tale heroine who's worthy of adoration: Tangled' s Rapunzel. She's guileless, strong, and beautiful -- and so breathtakingly good that you can't help but weep with her when she thinks all hope is lost. And her chemistry with Flynn is so heart-flutteringly good that you don't even need to use the kids as an excuse to watch: This is a perfect date-night pick. Their relationship is built on mutual respect and trust, something completely missing in many earlier Disney movies. And it's Flynn who nearly dies and requires Rapunzel to save him, not the other way around! What a refreshing turn on the age-old damsel-in-distress meets dashing-prince story.

As for the dramatic tension, it's best in the form of Mother Gothel -- brilliantly played by Murphy, whose signature Broadway voice (on fabulous display in the amazing number "Mother Knows Best") adds the necessary punch to Moore's sweet, airy vocals. Mother is, at least as princess film villains go, a personal favorite. In a youth-obsessed culture, who couldn't extend the tiniest bit of sympathy for an ancient, shriveled old hag who'd rather look like a young Sophia Loren -meets- Cher ? Composer Alan Menken's songs -- from Murphy's show-stopper to Moore's eternally optimistic "When Will My Life Begin," the inspiring "I've Got a Dream," and the love song "I See the Light" -- are all great, as is singer-songwriter Grace Potter's theme, "Something I Want." Tangled has it all -- lovable characters, fantastic songs, and a powerful message about how your life can change if other people believe in you and your dreams.

Talk to Your Kids About ...

Families can talk about the message in Tangled that it's never too late to realize a dream -- whether it's seeing lanterns or becoming a pianist. Do you have any "someday" dreams?

How is Rapunzel similar to and different from other Disney princesses? Is she the typical damsel in distress? How does she show the traits of courage , curiosity , and empathy over the course of the movie?

Kids: What made you want to see this movie -- the story or all the ads and product tie-ins? Do you want a product because the movie characters are pictured on it?

Do you think Mother loved Rapunzel, or was she just using her? What about Rapunzel's feelings for Mother? Why did Rapunzel think Flynn wouldn't love her if she didn't have her magical blond hair anymore?

How do the characters in Tangled demonstrate gratitude , integrity , and self-control ? Why are these important character strengths ?

Movie Details

• In theaters : November 24, 2010
• On DVD or streaming : March 29, 2011
• Cast : Donna Murphy , Mandy Moore , Zachary Levi
• Directors : Byron Howard , Nathan Greno
• Inclusion Information : Gay directors, Female actors
• Studio : Walt Disney Pictures
• Genre : Family and Kids
• Topics : Princesses, Fairies, Mermaids, and More , Adventures , Music and Sing-Along
• Character Strengths : Courage , Curiosity , Empathy , Gratitude , Integrity , Self-control
• Run time : 92 minutes
• MPAA rating : PG
• MPAA explanation : brief mild violence
• Last updated : April 20, 2024

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Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Why Tangled is better than Frozen —and deserves more love

Maureen Lee Lenker is a senior writer at Entertainment Weekly with over seven years of experience in the entertainment industry. An award-winning journalist, she's written for Turner Classic Movies, Ms. Magazine , The Hollywood Reporter , and more. She's worked at EW for six years covering film, TV, theater, music, and books. The author of EW's quarterly romance review column, "Hot Stuff," Maureen holds Master's degrees from both the University of Southern California and the University of Oxford. Her debut novel, It Happened One Fight , is now available. Follow her for all things related to classic Hollywood, musicals, the romance genre, and Bruce Springsteen.

I can hear an avalanche of cries of "Let It Go" headed my way now, but I'm here begging you to at last see the light and give Tangled the love it deserves.

Released 10 years ago, Tangled featured the first Disney princess to get the CGI-animation treatment in a lush film that blended computer animation with traditional animation to evoke the feeling of a painting. With a script from Dan Fogelman ( This Is Us ), the stunning result follows Rapunzel (voiced by Mandy Moore ) as she dares to explore life outside her tower with the help of hunky Flynn Rider (voiced by Zachary Levi ).

Hitting theaters only three years before Anna ( Kristen Bell ) and Elsa ( Idina Menzel ) became a global phenomenon, Tangled is a complex tale of a princess on an empowering journey to discover who she really is. While Frozen snowballed into an epic success, Tangled never quite got the love it deserved. Sure, Rapunzel and Flynn Rider got some space at Disneyland, but overall the film never swelled to reach the booming popularity Frozen achieved with its feature-length sequel, holiday shorts, and a Broadway musical.

Some of it is probably down to timing and other intangible factors. Then, there's the fact that Tangled lacks an earworm on the scale of "Let It Go." Plus, it possesses a script more wry and subtle than Frozen— which is great for convincing critics to love you, but not so much small children.

But we've got a dream—that more people will discover what a gem Tangled is. We considered knocking you over the head with a frying pan in true Rapunzel fashion to smack some sense into you, but instead, here are six reasons Tangled is better than Frozen.

A True Disney Villain

The only thing that Disney does better than princesses is villains (hell, they've even got a board game celebrating this fact). Can you imagine pop culture without the likes of Ursula, Cruella de Vil, Maleficent, Jafar, and the O.G. herself, Snow White 's Evil Queen? Tangled offers an excellent addition to the Disney villain canon: Mother Gothel, voiced with delicious Broadway panache by the incomparable Donna Murphy .

Disney villains range from pure, unadulterated evil to those with more complicated motives. Gothel definitely falls on the more nuanced end of that spectrum. She kidnaps Rapunzel and hoards the princess away to keep access to the magical youth restoring power of Rapunzel's hair. But she does seem to have a small degree of motherly love for Rapunzel—even if her ulterior motives are ultimately toxic, narcissistic, and selfish. What's more—their relationship is a complex examination of mother-daughter relationships and the emotional scars that can be wrought by controlling, self-involved parents.

Frozen has this to a degree in Anna and Elsa's parents, but their absence renders it less impactful. The villain of the first film is Prince Hans, but in a sense, also Elsa? In that she's her own worst enemy/the crux of many of the issues at the heart of the plot. That's a new spin on things, but it doesn't really provide the oomph you're looking for from the panoply of great Disney villains.

Tangled manages to combine iconic cartoonish villainy with a more psychologically astute examination of what villains can look like. Plus, Donna Murphy does the MOST with the role, playing with her vocal levels and campily chewing the scenery, especially on her standout song "Mother Knows Best."

A hunky hero

Honestly, most Disney movies tend to give more credence to either their hero or heroine. But Tangled gives due measure to both in Rapunzel and Flynn Rider (real name: Eugene Fitzherbert). Zachary Levi makes Flynn charm incarnate with his vocal performance, and his caddish bag of tricks, including his patented "smolder" are good-hearted, goofy send-ups of the square-jawed hero. He's all bluster, but really just a scared kid on the inside, looking for love and security in much the same way Rapunzel is.

Flynn, inspired by cinema's greatest swashbuckler Errol Flynn , is the most irresistible of hero tropes: the rogue with a heart of gold. They nail his evolution from mercenary thief to caring love interest with aplomb, making him one of the most attractive characters Disney animation has ever created. His journey to achieve his "dream" and the shift in what that means places him on equal footing with Rapunzel, rendering their love story far more potent. Flynn is prepared to make the ultimate sacrifice, as a testament to how much Rapunzel has changed him. That ending ranks with Beauty and the Beast for yanking at the romantic tear ducts.

Look, I don't want to suggest that every Disney movie needs a love story. And they especially don't all need a cis-het love story. I know a lot of people appreciate that Anna's romance with the dorky Kristoff ( Jonathan Groff ) is secondary to the relationship between the two sisters. That's absolutely worth celebrating (it'd be even more amazing if they could go all-in on Elsa's sexuality). But at the same time, Disney has long been in the business of selling us love stories and happily-ever-afters—and few of their films do it as well and movingly as Tangled.

Rapunzel did naïve and earnest first—and better

Rapunzel's two most defining characteristics are her naiveté, a result of being cooped up in a tower her entire life, and her earnestness. When she breaks out of her cozy prison, she waffles between extreme guilt and elation at her newfound freedom in one of the most hysterically relatable montages Disney has ever crafted. But her lack of awareness about the world around her and her genuine joy in discovering everything from the delights of dancing in the village to the floating lanterns is infectious. It never seems forced or overly played for humor, but just genuine to her situation.

Frozen seems to draw on the Tangled model with Anna, who bursts with similar zealous enthusiasm, but hers purposefully can verge on feeling over-the-top. I'll take this more subtle version any day.

Those lanterns

People talk about the Beauty and the Beast ballroom scene as a breathtaking game-changer. And it is. But Tangled ranks up there for me with its lush depiction of floating lanterns. It's one of the most romantic images they've ever crafted, and I'm in awe every time I see this scene. It's just sheer beauty, a true work of art brought to life. The rich interplay of the purples and darker hues of the night sky with the glowing warmth of the lanterns is extraordinary. This scene alone should put Tangled in the record books for how eye-catching and luminous it is. I dare you not to gasp in wonder while watching it.

The silent animal sidekicks

Disney gives a great sidekick, but I'm going to voice an unpopular opinion here: Olaf ( Josh Gad ) is only enjoyable in very small doses. Conceptually, a snowman who is obsessed with summer is hilarious, and he's absolutely endearing. But after about five minutes his oblivious shtick doesn't melt my heart, it freezes it.

In contrast, Tangled features two blissfully silent sidekicks: Rapunzel's chameleon Pascal and noble steed Maximus. Pascal is watchful and protective of Rapunzel, a loyal companion, who also offers loads of whimsy in his color-changing hues. Maximus is a dog in a horse's body, at first hell-bent on hunting Flynn down and then his most ardent supporter. Their humor and fanciful nature are all conveyed through the animation of their body language, and it makes them so much more engaging and delightful.

A great score

There is no escaping the power ballad that is "Let It Go." And rightfully so. It's a fantastic song. But beyond that, the rest of Frozen's score pales in comparison. Tangled, in contrast, bops along to a more even-footed set of songs composed by Disney legend Alan Menken and lyricist Glenn Slater. From Rapunzel's playful "When Will My Life Begin?" to Mother Gothel's operetta ditty "Mother Knows Best," the score is consistently delightful. "I Have a Dream" is a classic Disney track that abounds with hilarious sight gags. Our only real complaint is that Levi doesn't get enough chances to sing.

Tangled's best song is its love ballad, "I See the Light," mellifluously rendered by Levi and Moore as their characters float among a sea of the aforementioned gorgeous lanterns. It deserves to be as well known as "A Whole New World" when it comes to romantic Disney duets. It's both intimate and soaring in scope and provides the emotional weight for Flynn and Rapunzel's relationship in a single song.

It's hard to ignore Frozen when it's literally as widespread and intractable as one of Elsa's snowstorms, but let down your hair and consider why its predecessor might actually be superior. Or at least worthy of the real, lasting kind of love that Rapunzel and Flynn share.

Related content:

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• Mandy Moore's Best Pop Culture Moments
• Disneyland reveals possible development: Are Frozen and Black Panther coming soon?

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Movie review: ‘Tangled’

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For “Tangled,” the studio’s 50th feature-length cartoon, the team at Disney has taken a deep breath and tried to be all things to all animation-loving people. There are some hiccups along the way, but by the end there is success.

Whether you like stirring adventure or sentimental romance, traditional fairy tales or stories of modern families, musicals or comedies, even blonds or brunets, “Tangled” has something for you. Sampling so many animation touchstones has its risks, but once “Tangled” calms down and accepts the essential sweetness of its better nature the rewards are clear.

As directed by Nathan Greno and “Bolt” co-director Byron Howard, one of those rewards is a gorgeous computer-animated look that features rich landscapes and characters that look fuller and more lifelike than they have in the past.

“Tangled” can be forgiven if it takes some time to find its footing. It is after all a story of a lost princess that does a lot to appeal to boys, a retelling of the Rapunzel fairy tale that (in this country at least) decided it was wiser to avoid the name itself, and a movie with five Alan Menken songs that doesn’t call itself a musical.

That initial shakiness is amplified by the irritating and overly glib nature of co-protagonist Flynn Rider (voiced by Zachary Levi), a devil-may-care bandit who is introduced spewing more smart remarks than a Comedy Store regular. Like a refugee from a “ Shrek” sequel, Flynn calls Rapunzel “blondie” and says “I don’t do back story” when asked about his past.

This comment notwithstanding, it is Flynn who fills us in on Rapunzel’s history. The daughter of a king and queen (honest!), she was spirited away as an infant and raised by a devious woman named Mother Gothel (brassy theater veteran Donna Murphy) who keeps the girl in the dark about her real parents and locks her up in a tower because contact with Rapunzel’s magical hair keeps Mother G. eternally young.

As envisioned by Disney hair technicians Xinmin Zhao and Kelly Ward (who devoted 10 years of her life and a PhD thesis to pondering how to computer animate hair), that mane is quite the force of nature, 70 feet long and capable of many things, including tying people up and batting them down.

Rapunzel, it should be emphasized, is hardly defined by her hair. As voiced by former tween idol Mandy Moore, this is a very modern young woman, about to turn 18 and, with only a wise chameleon (is there any other kind?) named Pascal as companion, especially anxious to get out of the tower and see the world.

What Rapunzel is especially eager to see up close are a group of floating lanterns filling the sky that she’s only observed from a great distance. It’s the one thing she wants for her 18th birthday, but for Mother Gothel anything that takes Rapunzel out of the tower is a non-starter.

A guilt-tripping, overprotective, super-manipulative parent from hell, Mother Gothel is given to saying things like “skip the drama, stay with momma.” Though given to sugarcoating her tyranny, Mother Gothel declares in a weak moment, “You’re not leaving this tower, ever.”

Not to worry. An on-the-run Flynn Rider appears, and circumstances conspire so that he agrees to take Rapunzel to see the lanterns. Though both are clearly destined for each other, the movie has the good sense not to force that realization on them, or us.

Once Rapunzel gets out of the tower, Flynn Rider thankfully calms down and the film, written by Dan Fogelman with song lyrics by Glenn Slater, gets both funnier and more adventurous by taking on more of Rapunzel’s sunny personality.

The young lady charms a bossy, overzealous army horse named Maximus (the film’s funniest character) and disarms a gang of bloodthirsty ruffians by asking them about their dreams: A murderous gentleman named Hook Hand ( Brad Garrett) is, as it turns out, a would-be pianist who would rather be thought “deadly for my killer show-tune medley.”

Busy as it is, “Tangled” also finds time to include enough action and adventure sequences, including wild chases, hairbreadth escapes and an enormous flood, to allow even the fussiest small boys to feel it’s worth their time.

It takes a bit of doing, but when “Tangled’s” core sweetness asserts itself and the film dares to wear its heart on its sleeve in a climactic scene featuring 46,000 paper lanterns, it’s been worth the wait. Mother Gothel may have a point when she insists that “the world is dark and selfish and cruel,” but that’s why we’re so grateful for films like this.

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In 'Tangled,' A Fairy-Tale Princess Unleashed

Kenneth Turan

Rapunzel, voiced by Mandy Moore, and Flynn, a wanted man voiced by Zachary Levi, encounter many an adventure as they journey through the kingdom. Rapunzel wants to reach a festival, but doesn't realize she might also find true love. Disney Enterprises Inc. hide caption

• Director: Nathan Greno, Byron Howard
• Genre: Animation/Comedy/Family
• Running Time: 100 minutes

Rated PG for brief mild violence.

With: Mandy Moore, Zachary Levi, Donna Murphy, Ron Perlman, M.C. Gainey

Watch Clips

'Come On, Fleabag!'

Credit: Walt Disney Pictures

'I'm Just Teasing'

'He's A Bad Horse!'

Tangled , the new film from Disney, is that studio's 50th animated feature. Has the company learned anything in all that time? It sure has.

Tangled tries to be all things to all animation-loving people: It's a princess story based on the fairy tale Rapunzel , but it adds in lots of stirring adventure for the boys. The film samples so many animation touchstones that it takes a while to find its footing, but it will win you over by the end.

Tangled starts by putting its worst foot forward -- in other words, by introducing Flynn Rider. He's a devil-may-care bandit who spews more glib remarks per minute than a Las Vegas regular.

It's Flynn who fills us in on Rapunzel's history. She's the daughter of a king and queen -- honest! -- who was spirited away as an infant and raised by a devious woman named Mother Gothel. She keeps Rapunzel locked in a tower with only a wise chameleon for company, because contact with Rapunzel's magical hair -- all 70 feet of it -- is what keeps Mother G. eternally young.

Rapunzel, it should be emphasized, is not defined by her hair, as in some versions of the tale. This is a very modern young woman, about to turn 18, and she's especially anxious to get out of the tower and see the world. She and Flynn Rider are clearly destined for each other, but the movie has the good sense not to force that realization on them, or us.

Once Rapunzel gets out of the tower, though, Tangled 's core sweetness comes into its own. Animated movies overflowing with smug, hipster dialogue have become a real glut on the market, so it's a holiday treat to find one with the confidence to wear its heart on its sleeve.

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Movie Review: Tangled (2010)

• Mariusz Zubrowski
• Movie Reviews
• 2 responses
• --> November 28, 2010

Based on a popular Brothers Grimm fairy-tale and helmed by Nathan Greco and Byron Howard (screenplay by Dan Fogelman), Tangled is the simple yet elegant tale of a young princess named Rapunzel (voiced by Mandy Moore), who is born of a mysterious and all-healing flower, whose abilities have transferred over to her golden hair. But, as an infant, she is kidnapped and forced to live in a tower which was built by Gothel (voiced by Donna Murphy), an old-hag who insists on keeping the hair’s power to reverse the aging process all for herself. Once Rapunzel grows up to a teenager, though, she yearns for the outside world, particularly to see an annual festival in which lanterns are released into the night sky (unknowing that these are meant as a message from her parents). However, Mother Gothel refuses to let Rapunzel leave, claiming that there are evil beings on the outside. Rapunzel soon finds her solution in Flynn Ryder (voiced by Zachary Levi), a bandit on the run from royal guards (she uses the royal crown which he stole, as a bargaining chip). Nevertheless, she falls in love, which leads the duo to some hairy (pun intended) situations (all of which involved Mother Gothel chasing them).

The simplicity of Tangled is a double-edged sword. In one respect, this allows the story to maintain the classic Disney spirit, without being bogged down with the stereotypical army of evil, tyrannical king, etc. However, this also leads to some incredibly predictable scenes. More often than not, though, the film’s characters, namely Flynn and Rapunzel, are fleshed out enough for Tangled to remain not only entertaining, but also relevant.

It too feels like it’s been too long since the original spirit and ingenuity of Walt Disney have been exemplified. Tangled serves as the antidote to the ever-evolving, and increasingly cheap, array of tween-pop icons that strut the Disney name. It will entertain all of those disapproving former-fans, who feel personally affected by what has become a mainstream example of the demonic presence of profit in media — let’s call it the “Anti-Walt” for dramatic effect.

The thing about Tangled , which was generally dismissed as garbage, pre-release, is that instead of having plenty of pop-culture references, and amateurish slapstick, it features an abundance of heart, that is present in all of the film’s characters. Additionally, the story, which appears bare-bones at first glance, is quite potent thematically, with ideas such as selfishness and triumph over oppression — perhaps being a subtle allegory for Nathan Greno and Byron Howard’s need to rekindle the Disney name.

But a story this elegant requires an equal amount of visual beauty, and this film delivers. Character models and landscapes are done with textures and colors that seem to be hand-drawn, but instead were created by the New-Age technology that we’ve all become accustomed to: computer graphics. However, this mix of classicism and technology never clash, in fact, they produce fantastic chemistry. Though Tangled does have a few kinks in visual department; the 3D is too gimmicky and there are a couple of headache inducing sequences, such as when we get an up-close and personal look at Rapunzel’s beloved lanterns. This particular scene is straining in that it emits an almost blinding wall of lights.

The musical numbers are also a tad weak. Lyrically, they aren’t impressing, and some border on being superfluous. However, even the weakest songs are catchy, and aren’t quite damning to the overall product. (It is surprising how well Moore, Levi, and Murphy can sing, though).

Nathan Greco, Byron Howard, and Dan Fogelman strike gold with Tangled , which is fresh and entertaining for both kids and adults. But based on the fact that Rapunzel could pull people up using her hair, the film did leave me with one question: What conditioner does she use?

Eventually I'll put something nifty here. Until then, know that I'm watching you. Closely.

Movie Review: Justice League (2017) Movie Review: My Scientology Movie (2015) Movie Review: The Magnificent Seven (2016) Movie Review: Creed (2015) Movie Review: The Green Inferno (2013) Movie Review: Sicario (2015) Movie Review: Terminator Genisys (2015)

'Movie Review: Tangled (2010)' have 2 comments

December 10, 2010 @ 6:23 pm Tucker

Tangled is good but not one of Disney’s best animated features. I could have done away with the horse who thought he was a dog (wtf??) and the chameleon. Why does Disney always have to have the animal sidekick???

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January 2, 2011 @ 12:50 pm Katy

I took my daughter to see this..it was absolutely adorable. It had enough action and story line to make up for the song sequences. I actually teared up..yes, lame, I know..at parts. I can’t wait for it to come out on video..LOL.

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• DVD & Streaming
• Animation , Comedy , Kids , Musical

Content Caution

In Theaters

• November 24, 2010
• Voices of Mandy Moore as Rapunzel; Zachary Levi as Flynn Ryder; Donna Murphy as Mother Gothel

Home Release Date

• March 29, 2011
• Nathan Greno, Byron Howard

Distributor

• Walt Disney

Movie Review

The witchy Mother Gothel knows one thing for sure: You’ve got to grab magic wherever you can find it … and hold on tight. So when she finds a magic flower that can heal and keep her perpetually young, well, she’s determined to keep that thing hidden away. Unfortunately for the artificially rejuvenated crone, the kingdom’s pregnant queen becomes ill and the townspeople search out the glowing blossom for a healing potion.

When the now-revived royal gives birth to a baby named Rapunzel, Mother Gothel can’t help but notice that the infant’s golden locks shimmer with a familiar glow. So she kidnaps the child in the dead of night and smuggles her away to a secret tower to raise as her own.

Through 18 years of frequent hair brushings and lilting songs of renewal, Mother G stays young. As long as Rapunzel’s hair remains uncut, why, this extraordinary enchantment could go on forever! There’s only one problem: The girl with the long shimmering hair isn’t a little girl any more.

Rapunzel is now a restless young woman who longs to venture beyond her doorless tower. She dreams of seeing the nearby kingdom up close—especially the glowing paper lanterns that float skyward from the castle every year on her birthday. What can they mean? Who can be sending them aloft?

The wicked mommy dearest keeps Rapunzel’s dreams in check with frightening tales of a world full of ruffians and thugs who desire nothing more than to hurt young defenseless girls. So when a roguish and rather handsome thief unexpectedly climbs in through Rapunzel’s tower window, things start getting, uh, hairy.

Positive Elements

This is a music-sprinkled story of heroism and self-discovery. And there’s plenty here to like. Rapunzel is an innocent who has been raised without knowledge of her royal heritage. She only knows a tower prison and a self-focused, borderline vindictive, overly controlling mother. Yet in spite of it all, the young girl is a loyal daughter who tries to make her world as sun-filled and pleasant as possible.

At one point, the movie clearly compares Rapunzel’s desire to leave her tower to a coming of age struggle with adulthood. The thief Flynn even says, “This is part of growing up—a little rebellion and a little adventure—this is healthy.” But while Rapunzel is overjoyed at truly being free, she worries over the rightness or wrongness of defying the authority of her “mother.” This is all handled well and could be used as a solid parental discussion point about growing up and becoming your own person.

Flynn Rider discovers quite a bit about himself as well. Thanks to Rapunzel, he realizes that he’s far more than the traveling thief persona that he long ago adopted from a favorite childhood novel. In fact, Rapunzel makes it clear that she prefers the average guy Eugene over his adventurer Flynn alter ego. In the end, Flynn/Eugene transitions from quasi-bad guy to a hero willing to do what’s right—even if that means giving up his life for the one he loves.

Ruffians and thugs sing about following secret dreams of being important and respected.

[ Spoiler Warning ] The never-dying hope and love of parenthood is well represented in Tangled . Rapunzel’s anguished parents never give up on somehow finding their beloved child. And when they are all reunited in embraces and tears, the royal family readily welcomes Flynn as one of their own.

Spiritual Elements

The power of the magic flower and Rapunzel’s glowing hair is said to have been derived from a drop of pure sunlight. It makes her hair near sentient, and it’s used several times to either heal or rejuvenate.

Rapunzel sings an incantation to the magic flower to unleash its healing properties: “Flower gleam and glow, let your power shine/Make the clock reverse, bring back what once was mine/Heal what has been hurt, change the Fates’ design/Save what has been lost, bring back what once was mine.”

Sexual Content

Mother Gothel wears a formfitting dress that also reveals cleavage. During one musical theater number, an old bearded thug wears nothing but a diaper and wings, swinging about as a cupid-like figure. Rapunzel and Flynn kiss.

Violent Content

There’s all sorts of comedic peril and bam-boom. When Flynn climbs into Rapunzel’s window the young girl responds by thumping the intruder on the head and knocking him out with a frying pan … several times. In fact, she ties him up in a chair with her hair, and he ends up falling over and crashing down face-first a couple of times.

Once outside the tower, Rapunzel and Flynn encounter a tavern full of thugs—and the drubbing/swashbuckling/thumping continues. (Flynn is the comedic foil who generally ends up being tossed about and pummeled.)

A dam breaks, trapping Rapunzel and Flynn in a cave that quickly fills with water. Flynn receives a gash on his hand from a sharp rock. And in the film’s most intense scene, Flynn is stabbed by Mother Gothel. She stands behind him and we don’t actually see her plunge the dagger in, but we do see her pull back the blade as he crumples to the floor. We’re shown a red stain on his shirt.

[ Spoiler Warning ] Flynn appears to die from the injury, but he’s magically revived. And Mother G withers back to her true, ancient age—falling out of a tower window and literally disappearing as her cape smacks the ground below in a puff of cloth and dust.

Crude or Profane Language

Someone is called a dummy.

Drug and Alcohol Content

Tankards of some kind of strong drink are seen in a crowded roadhouse. A small bearded ruffian appears to be inebriated.

Other Negative Elements

We all know the story, so seeing Rapunzel trick Mother G into leaving her alone and disobeying the woman’s order to stay in the tower doesn’t carry the same weight as, say, seeing your average tween run away from home because her parents won’t buy her an iPad. But Rapunzel doesn’t know her whole story, so her actions still bear the need for discussion.

It’s been said that Walt Disney himself once considered an adaptation of the Rapunzel fable way back in the 1940s. The Brothers Grimm-penned tale, however, never made it to full Disneyfication till now. And going in to the theater, I couldn’t help but wonder just how modernized—or dare I say, Shrekified —the princess with the supersized golden tresses may have become while waiting in the back of Disney’s collective brain for 60-plus years.

I needn’t have worried.

Yes, the old fairy tale has surely been updated. The tower-bound beauty sports a more self-reliant panache then most of her princess predecessors. Her one-liner-popping beau is a bit goofier than yesteryear’s Prince Charmings. And even the story’s title has been rejiggered from an old-school Rapunzel to a more hipster-friendly Tangled.

But the heroine is still wide-eyed and endearing, the hero comes through with charm, the villainess is dealt with and the potentially sad, sad ending pirouettes just in time to deliver a moment of self-sacrifice, a joyful reconciliation and the perfect happily ever after. I guess, then, you could say that the Disney fairy tale formula is still as rock-ribbed as the Magic Kingdom Castle itself.

As always, magic is in the mix. But if anything it’s handled with a lighter flourish than in Snow White or Sleeping Beauty . Certainly it’s less of a concern here than it is in The Princess and the Frog . The floating paper lantern segment is beautiful and romantic, but not so much that young boys in the crowd will groan or start to fidget. The 3-D scenes sparkle. The animal sidekicks made me chuckle. And even though you probably won’t walk away singing any of the Alan Menken and Glenn Slater tunes, they beautifully fit the movie’s emotions.

Parents may soon be sick of hearing pleas for overpriced shampoos or dolls with long knotted-up hair that seems impossible to comb out. But as far as a family movie night is concerned, Tangled is plenty easy to get wrapped up in.

After spending more than two decades touring, directing, writing and producing for Christian theater and radio (most recently for Adventures in Odyssey, which he still contributes to), Bob joined the Plugged In staff to help us focus more heavily on video games. He is also one of our primary movie reviewers.

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Tangled – review

W e are often and rightly said to be living in a new golden age of animation. Just occasionally, though, you get something a bit leaden. Rapunzel gets a very ordinary updating in this Disney picture, raiding duller moments from the Shrek movies for ideas, and sporting a laboured selection of Broadway-style showtunes – signalling that someone, somewhere clearly wants to turn this into a lucrative global franchise on stage, maybe with a cast in each country culled from a selection of hopefuls competing in some reality TV show. Despite the title, Rapunzel's hair stays as lustrous and untroubled as something from a shampoo ad; extreme girliness is of course the order of the day, but those great big doe eyes really are verging on the absurd. Even given that movies like Wall-E, Up and the Toy Stories have probably spoiled us all, this just looks like a cynical money-machine.

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Tangled Review

28 Jan 2011

100 minutes

It seems like an odd thing to mention off the bat, but the light in Tangled is just gorgeous. It glimmers and glows, bouncing off surfaces and gleaming on curves. That’s important when you’ve got a character whose long, shiny golden hair is essential to the plot, but more important is the way the light touches every surface in the film, making this the best-looking Disney since Sleeping Beauty. That, of course, was an almost abstract, medieval art-inspired affair; this appears a dreamier, more Romantic effort, but don’t let that fool you. This is surprisingly action-packed, its tone surprisingly modern and its plot simply surprising – no mean feat for another Disney fairy tale.

After the unspectacular commercial success of The Princess And The Frog, this skews towards the action end of the spectrum, that title change from Rapunzel to the gender-neutral Tangled indicating an impulse away from girliness and tradition. But the studio’s claim — that the new title reflects the fact that this is very much a two-hander, with Mandy Moore’s innocent but (inevitably) feisty Rapunzel and Zachary Levi’s street-wise yet clueless Flynn sharing the lead — is borne out. The pair face off against barbarians and guards and get a few dazzling action sequences. Both get decent character development too, and base their growing love story on more than a single longing glance.

Donna Murphy’s Mother Gothel, meanwhile, provides Disney with its first passive-aggressive villain. She’s a monster of the first order, but the fact that she’s entirely bereft of superpowers and reliant on her considerable wits to keep her going makes her strangely admirable, too.

The other stars are comic scene-stealer and police horse extraordinaire Maximus, who seems to think he’s a bloodhound, and Alan Menken, who composed the songs and score. Yes, this is a Disney musical, with Menken pitching the songs somewhere between the sincere melodies of his Little Mermaid and the comedy of his early work on the likes of Little Shop Of Horrors. It all feeds into a film that is still recognisably Disney, just a little funnier.

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November 24, 2010

Action-Adventure, Animation, Family, Fantasy, Musical

When the kingdom's most wanted, and most charming, bandit Flynn Rider hides in a mysterious tower, the last thing he expects to find is Rapunzel, a spirited teen with an unlikely superpower: 70 feet of magical golden hair! Together, the unlikely duo sets off on a fantastic journey filled with surprising heroes, laughter and suspense.

Rated: PG Runtime: 1h 40min Release Date: November 24, 2010

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The characters.

Rapunzel spends most of her life in a tower with her chameleon friend, Pascal, imagining the world outside. When she meets Flynn Rider, the two of them go on an adventure so she can finally live her dream.

At first, Flynn comes off as cocky, arrogant, and a little self-centered. As an experienced thief, he is skilled in escaping the authorities, hiding out, and stealing right from under people's noses. However, as he begins to fall in love with Rapunzel, he transforms into a more compassionate, chivalrous, and trustworthy person, and changes his priorities.

She locked Rapunzel into her tower when she was a baby. As Rapunzel grows up, she has then believed that Mother Gothel has always been her mother and her motherly figure. However, each year on Rapunzel's birthday, floating lights come from the castle which Rapunzel curiously sees at her tower window and she then wonders what they are and what they mean and why they only come on her birthday.

Maximus is a dedicated guard horse who will stop at nothing to take down the criminal he is after. Maximus is brave, daring, bold and not at all cowardly even being more feared than his captain. Although Maximus can be extremely tough, he has a large heart and even becomes best friends with his former arch enemy Flynn Ryder as they join together to reunite Rapunzel with her family.

Pascal is a true and loyal friend to Rapunzel. Even though he can't communicate verbally, he is one of the driving forces in pushing Rapunzel to leave the tower. Pascal is constantly cheering Rapunzel up, rooting her on, and refusing to allow her to take steps backwards.

Pascal and Flynn Rider don’t always see eye to eye.

Pascal is a lesson in stealth.

When Flynn Rider surprises Rapunzel in her tower, she has some questions.

"They just can't get my nose right!"

Rapunzel and Flynn Rider come up against Maximus... the horse with a weakness for apples.

With her signature weapon in hand, Rapunzel realizes Flynn might be able to help her.

These two try and stand in the way of Rapunzel’s dreams.

Pascal always has Rapunzel’s back.

Though he doesn’t know it at the time, Flynn’s bag holds more than just some jewels.

Flynn Rider discovers more than just a hideout when he climbs up the wall.

Rapunzel’s dream of leaving her tower is about to come true.

Rapunzel discovers that sometimes your destiny finds you.

“Something brought you here, Flynn Rider. Call it what you will... fate... destiny...”

With Rapunzel’s 70 feet of hair to help her, Flynn Rider has no choice but to help the princess on her adventures.

Between the tower and the frying pan, Rapunzel’s world is one surprise after another.

“Let me just get this straight, I take you to see the lanterns, bring you back home, and you'll give me back my satchel?”

Unlike Flynn, Rapunzel and Maximus get along very well.

Maximus and Flynn Rider finally come to an understanding and decide to work together.

Even Pascal finds magic in the lanterns in the sky.

“All at once, everything is different, now that I see you.”

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Disney Princess Sing Along Songs Volume Two: Enchanted Tea Party

Disney Princess Party: Volume Two

Disney Princess Stories Volume Three: Beauty Shines from Within

Disney Princess Stories Volume Two: Tales of Friendship

Disney Princess Sing Along Songs Volume One: Once Upon a Dream

Disney Princess Party: Volume One

Disney Princess Stories Volume One: A Gift from the Heart

Cinderella II: Dreams Come True

The Little Mermaid II: Return to the Sea

Pocahontas II: Journey to a New World

Beauty and the Beast: Belle's Magical World

Beauty and the Beast: The Enchanted Christmas

Tangled (United States, 2010)

Seen in "standard" (non-IMAX) 3-D.

Tangled (which was called Rapunzel until the 11th hour) represents Disney's application of "new" technology to an old format. In many ways that matter, this film recalls the recent classics of the Magic Kingdom's so-called "Second Golden Era" - The Little Mermaid , Beauty and the Beast , Aladdin , The Lion King . However, the hand-drawn animation that was state of the art in the late 1980s and early 1990s (and which was reinvigorated with limited success last year with The Princess and the Frog ) has been replaced by CGI and is being projected in 3-D. Still, despite the need to wear flimsy plastic glasses, watching Tangled reminds one that some brands of storytelling never go out of style, whatever that style may be.

As if often the case with Disney, a well-known fairy tale represents the foundation for a story that softens the edges and grafts on a happy ending. That's not a criticism - Disney knows its audience and is adept at molding fables for maximum appeal. Here, we're introduced to Rapunzel (voice of Mandy Moore), a princess stolen from the palace nursery while an infant and raised by the dastardly Mother Gothel (Donna Murphy). Imprisoned in the gilded cage of a tower because her hair has the power to continuously restore Mother Gothel's youth, Rapunzel dreams of the day when she will be allowed to roam free alongside her faithful chameleon companion. Her chance comes on the occasion of her 18th birthday, while Mother Gothel is away. The rogue Flynn Ryder (Zachary Levi), seeking escape from a variety of pursuers, climbs Rapunzel's tower with the goal of finding a hiding place. Instead, he encounters a determined young woman with an iron frying pan who knocks him out and ties him up. Then she bargains with him - if he acts as her guide for a sojourn in the world below, she'll return to him the contents of a satchel he had on his person when he invaded her room.

All the "Disney elements" are in place: a plucky princess; a chaste, star-crossed romance; a cute animal sidekick; songs by Alan Menken (and his lyricist partner, Glenn Slater); a diabolical villain; and, of course, a happy ending. The CGI is not an impediment to enjoying the tale - it's done with elegance and an attention to detail and is rendered as well as anything out there. The 3-D is another matter. It falls into the category of "somewhat distracting" by muting the brilliance of the colors (which are eye-popping in the 2-D trailers and not so in the 3-D feature). There are also instances when blurriness is evident away from the center of the screen. Gimmickry occasionally intrudes, as when a floating lantern drifts toward the audience. (The little girl sitting next to me stood up and reached for it.) I'm comfortable recognizing that nearly all future animated movies will be released in 3-D, but I expect better quality from any endeavor bearing the "Disney" trademark.

Tangled occupies a plateau below the one where the best animated Disney movies reside. This is secondary fare - entertaining and enjoyable, but not groundbreaking. Rapunzel, although likeable and energetic, is not as memorable as Snow White, Ariel, or Belle. The chameleon, who does not speak, is among the least recognizable animal sidekicks (although he possesses amusing mannerisms). And the songs, despite being co-written by Alan Menken, the man behind many of Disney's most unforgettable tunes, are neither catchy nor memorable. It's hard to imagine someone humming "When Will My Life Begin" or "Mother Knows Best" when leaving the theater.

The choices for vocal casting hearken back to Disney's approach during the late 1980s and early 1990s, when big name stars where often bypassed in favor of lesser known talents. Mandy Moore possesses a generic female voice and strong vocals that allow her to perform her own singing - she's not immediately recognizable and that goes a long way toward audience acceptance of the character. Similarly, the secondary performers - Zachary Levi, Donna Murphy, Jeffrey Tambor, Brad Garrett - possess similar qualities. They bring life to their characters without forcing the viewer to dissociate an animated avatar from a familiar voice. Often (although not always), anonymity can be one of the greatest assets evidenced by a vocal performer in an animated setting.

Tangled wanders into an animated jungle where Disney is no longer king. Certainly, their Pixar division is at the top of the pyramid, but it's a competitive field with an immense audience. Tangled , which is likely to appeal as strongly to parents as to their offspring, is the kind of movie that should attract the crowds Disney has come to expect with their annual Thanksgiving releases. As a melding of new techniques and technology with old-fashioned methods of storytelling, it's an opportunity for the Magic Kingdom to remind audiences that, when it comes to putting fairy tales on screen, they remain on a higher level.

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• Beauty and the Beast (1991)
• Grave of the Fireflies (1993)
• Shrek (2001)
• Grinch, The (2018)
• Quest for Camelot, The (1998)
• Emoji Movie, The (2017)
• (There are no more better movies of (voices) Many Moore)
• (There are no more worst movies of (voices) Many Moore)
• Shazam! (2019)
• (There are no more better movies of Zachary Levi)
• Shazam! Fury of the Gods (2023)
• (There are no more worst movies of Zachary Levi)
• Star Trek: Insurrection (1998)
• Spider-Man 2 (2004)
• (There are no more better movies of Donna Murphy)
• Jade (1995)
• Astronaut's Wife, The (1999)
• Center Stage (2000)

• Cast & crew
• User reviews

• The magically long-haired Rapunzel has spent her entire life in a tower, but now that a runaway thief has stumbled upon her, she is about to discover the world for the first time, and who she really is.
• After receiving the healing powers from a magical flower, the baby Princess Rapunzel is kidnapped from the palace in the middle of the night by Mother Gothel. Mother Gothel knows that the flower's magical powers are now growing within the golden hair of Rapunzel, and to stay young, she must lock Rapunzel in her hidden tower. Rapunzel is now a teenager and her hair has grown to a length of 70-feet. The beautiful Rapunzel has been in the tower her entire life, and she is curious of the outside world. One day, the bandit Flynn Ryder scales the tower and is taken captive by Rapunzel. Rapunzel strikes a deal with the charming thief to act as her guide to travel to the place where the floating lights come from that she has seen every year on her birthday. Rapunzel is about to have the most exciting and magnificent journey of her life. — Douglas Young (the-movie-guy)
• A long-lost princess with the longest hair imaginable named Rapunzel has spent her whole life in a lonely tower, dreaming of the world, waiting to discover it. When she finally starts to give up hope an escaped prisoner named Flynn Rider approaches Rapunzel's lonely tower and agrees to take her to see the lanterns that appear every day on her birthday if she would return his satchel filled with stolen jewels, including the lost princess's shiny crown. Flynn and Rapunzel embark on a journey that they will never forget and Rapunzel discovers who she really is.
• Childless witch Gothel kidnapped baby princess Rapunzel to raise as her own daughter, locked in a tower to preserve the youth provided by a magically healing flower in her hair, that is still never cut when she grows up as a teenager. Running from both foresters and fellow poachers, lovable bandit Flynn Rider seeks refuge in the tower. After knocking him out in fear, she teams up with Flynn to explore the world she never saw and steal enough jewels to fill his satchel, bonding during the adventure. — KGF Vissers
• A young female has been kidnapped and locked inside of a tower for most of her life. After accidentally meeting a young male, she has the opportunity to experience what the world has to offer. Along the journey, she discovers the truth about who she really is. — RECB3
• The film opens on a Wanted poster for Flynn Rider ( Zachary Levi ) which is mounted to a tree. Flynn's voice narrates: "This is the story of how I died. But don't worry, this is actually a fun story and the truth is it isn't even mine. This is the story of a girl named Rapunzel, and it starts with the sun." Centuries ago, a droplet of sunlight falls from the sky and lands on Earth. When it touches the ground, a radiant, yellow flower blossoms. This flower is said to be capable of great healing power. One day, an old crone named Gothel ( Donna Murphy ) finds the flower and discovers that, when she sings a certain song to it ("Flower, gleam and glow. Let your power shine. Make the clock reverse, bring back what once was mine, what once was mine"), it emits a power that restores her youth. Vain and possessive of the flower, Gothel hides it beneath a woven basket and regularly returns to it to keep herself young. Time goes by and soon a prosperous kingdom is built up nearby. The ruling king and queen of Corona desperately wish for a child and, when the queen finally becomes pregnant, the entire kingdom celebrates. However, the queen soon falls deathly ill. Upon hearing a rumor that speaks of the legendary sun flower, the king spares no time and dispatches his soldiers to find it. Soon enough, the soldiers discover the flower that, in her haste to hide, Gothel forgot to cover. They bring it back to the castle and distill it into an elixir which is given to the queen. To everyone's great relief, she recovers and soon gives birth to a beautiful baby girl who, unlike her brunette parents, has shining golden hair. The royal family marks the occasion by lighting a paper lantern decorated with the emblem of a sun and release it into the sky. Gothel, however, is not pleased. She is determined not to lose the magical powers that gave her eternal youth, so she breaks into the castle late one night and finds the baby princess lying in her crib. She recites the old song and the baby's hair glows just as the flower had. Gothel attempts to cut just enough hair to keep but the clipped hair turns brown in her hands, void of its power. Desperate, Gothel resolves to kidnap the princess and flee with her deep into the forest. She takes the baby to a secret tower hidden in an alcove where she gives her the name Rapunzel and raises her as her own daughter. She teaches the girl to sing the old song to make her hair glow and restore Gothel's beauty and keeps her hidden from the world, telling her that it is for her own safety and that anyone on the outside wouldn't hesitate to steal her magic hair. The only access to the world Rapunzel has is a wide window from which Mother Gothel comes and goes, using Rapunzel's 70 foot long hair as a rope ladder. Despite playing the part as 'mother', Gothel often cruelly teases Rapunzel and guilt-trips her whenever she is upset or disappointed, dramatically proclaiming, "now I'm the bad guy". As the years pass, Rapunzel ( Mandy Moore ) becomes fascinated by an annual event that seems to happen only on her birthday. That night, every year, she witnesses thousands of floating lights in the sky, brighter than the stars and beautiful in all their colors. Unknown to her, it is the releasing of the paper lanterns that her biological parents are making in tradition of their daughter who they hope will return to them one day. Eighteen years later, Rapunzel is a creative young woman, finding numerous ways to keep herself entertained during the day while Mother Gothel is away, including painting, cleaning, brushing, and playing hide and seek with her pet chameleon Pascal. Though she is happy with her life in the tower, she longs to someday explore the outside world and see the place where the lanterns in the sky come from. Within the kingdom, standing on the roof of the castle, young thief Flynn Rider goes over the plans to his latest heist with his associates, the Stabbington brothers ( Ron Perlman ). They use a rope to lower Flynn into the throne room where the missing princess's prized tiara sits on a guarded pedestal. Flynn steals the priceless artifact and is hoisted back to the roof with the palace guards hot in pursuit, led by the Captain of the Guard ( M.C. Gainey ) and his loyal horse, Maximus. The thieves make it outside the kingdom and seek refuge in the forest but soon come to a dead end in a ditch. The Stabbington brothers tell Flynn that, if he gives them the satchel with the tiara in it, they'll hoist him up to the high ledge above. Once at the top, they then command that Flynn help them up. But Flynn reveals that he still has the tiara in a second satchel. Double crossing the brothers, he ditches them and runs into the forest. Seeking refuge, Flynn comes to Rapunzel's tower and climbs the vines to the open window above. Seemingly alone, he takes the tiara out of his satchel to admire it, but Rapunzel knocks him out with a frying pan. She and Pascal step forward cautiously to investigate the intruder. Pascal, using his color schemes, advises Rapunzel to be wary of the young man since Gothel has often told stories of men bearing sharp teeth. However, Rapunzel finds nothing outwardly menacing about Flynn and hides him in her closet as Mother Gothel comes home. Rapunzel decides that she will show Mother Gothel the young man, proving that she can take care of herself, in hopes that she will be let out of the tower for her approaching 18th birthday. However, when Rapunzel plucks up the courage to ask to leave the tower and see the floating lights, Mother Gothel spurns her request. She tells Rapunzel that the world is much too dangerous for someone as naïve as her and that she is never to leave the tower, singing that "Mother Knows Best". Rapunzel solemnly promises not to ask to leave the tower again and, thinking it pointless now, keeps from telling Mother Gothel that she has a stranger locked away in her closet. Instead, she asks if Mother Gothel could restore her white paint by collecting special white seashells for her birthday. Mother Gothel is hesitant about making the three day journey to the shore, but acquiesces and leaves. Once out of sight, Rapunzel takes Flynn out of the closet and uses her hair to tie him up to a chair. When he comes to, she proposes a deal. She will give him his satchel with the tiara back (which she has hidden) if he takes her to see the floating lights and brings her back to the tower before Mother Gothel returns. Flynn reluctantly agrees. Outside the tower, Rapunzel digs her toes into grass for the first time and runs about the forest in bursts of elation and panic while Flynn can only watch. While excited to be out in the world for the first time, Rapunzel feels equally ashamed for having defied her mother. Despite her guilt and confusion, she assures Flynn that she is fine enough to continue the journey. Hoping to dissuade her, Flynn takes her to the nearby Snuggly Duckling Inn, a tavern which is frequented by an assortment of thugs and bandits. Flynn's plan to scare Rapunzel into going back to the tower backfires when the thugs recognize him from wanted posters and attempt to hold him for a reward while one of their associates goes to tip off the guards. Rapunzel pleads with them to release Flynn and asks if any of them have ever had a dream. Her innocence melts their hearts and they all confess their dreams. When the guards arrive at the inn, they stage a distraction to help Rapunzel and Flynn escape through a secret tunnel and encourage her to live her dream. As they make their way down the tunnel, the horse Maximus arrives at the inn and sniffs Flynn's trail to the secret trapdoor. He leads the guards to a large quarry where they corner Rapunzel and Flynn. Maximus unhinges a large wooden beam to try and get to them but this renders the dam overlooking the quarry unstable. It collapses and a wave of water surges into the quarry. Rapunzel and Flynn become trapped inside a cave as falling rocks block the entrance. Water begins to flood into the cave and, realizing their doom, Rapunzel and Flynn each admit a secret to the other. Flynn confesses that his true name is Eugene Fitzherbert. Rapunzel tells him that her hair glows when she sings. However, she realizes that she can use that to her advantage and begins singing. Her glowing hair illuminates a break in the rocks where water flows out and Flynn manages to dislodge the rocks, injuring his hand slightly, and break out the other side. Meanwhile, Maximus the horse jumps out in front of Mother Gothel startling her, she immediately panics that his rider (a palace guard) has located Rapunzel and rescued her. She is shocked to discover Rapunzel gone and even more surprised when she finds the tiara hidden under the staircase with a satchel and a wanted poster of Flynn. Bent on retrieving Rapunzel, Gothel takes the satchel and tiara and sets out to search for her. She manages to track Rapunzel to the Snuggly Duckling, through the secret passage, into the quarry, and through the cave into the forest once more. There, she is confronted by the Stabbington brothers, but uses them to her advantage by bargaining their help for the tiara, revenge against Flynn for double-crossing them, and 'something worth much more'. That evening, Rapunzel and Eugene set up camp and Rapunzel reveals to Eugene that her hair does not just glow as she wraps it around his injured hand. She sings and, as her hair glows, it heals Eugene's injury, to his shock. He asks her not to spread word of his true name for fear that it would ruin his reputation, explaining that he adopted his current pseudonym of 'Flynn Rider' as an orphan, inspired by stories of a thief named 'Flynn'. Growing up, he dreamed of having enough money to travel the world and relished the freedom of it all. Even so, Rapunzel tells him that she actually prefers his real name. When Eugene leaves to gather more firewood, Mother Gothel appears to Rapunzel from the nearby bushes and tells her that they must return to the tower. Rapunzel refuses to leave and tells Mother Gothel that she thinks Eugene likes her. Mother Gothel scoffs at the idea and tells Rapunzel that Flynn is only interested in one thing before revealing the satchel with the tiara. She tells Rapunzel to prove her wrong and test Eugene by giving him the satchel but not to come crying if he takes it and leaves. Unsure but fearful that Mother Gothel may be right, Rapunzel hides the satchel as Flynn returns. They settle down for the night while Gothel and the Stabbington brothers keep an eye on them nearby. The next morning, Eugene wakes to see a soaking wet Maximus glaring angrily down at him. Maximus attempts to carry Eugene off but Rapunzel befriends the horse and convinces him to let Eugene stay with her until after she sees the floating lights. Maximus relents but accompanies the pair as they travel into the kingdom. The marketplace is alive with vendors and townsfolk preparing for the sky lantern festival and Rapunzel's hair is tightly braided to prevent it from dragging. While she and Eugene tour the kingdom, she notices a large tile portrait of the Royal family, including a baby with golden hair. Eugene finds himself growing fond of Rapunzel and, as the time for the lanterns to be released approaches, takes her out on a boat to the middle of the lake surrounding the castle. There, they watch in awe as the lights are released and the sky is filled with a soft orange glow. One lantern with a sun emblem on it floats down and Rapunzel gently pushes it back skyward. She then reveals the satchel she had been hiding to Eugene but, unlike what Mother Gothel predicted, he puts it aside and takes Rapunzel's hands in his. Before they can kiss, Eugene spies the Stabbington brothers on the nearby shore. He rows the boat in, tells Rapunzel to wait, and goes to meet them with the satchel. Realizing that he cares more about Rapunzel than the tiara, he gives the satchel to the brothers but they reveal they're no longer interested in the tiara. While she waits by the boat, Rapunzel is shocked to see the Stabbington brothers approach. They tell her that Eugene betrayed her trust and point to his silhouette in a boat on the lake before attempting to kidnap her for her hair's power. Horrified, Rapunzel tries to run but her long hair gets caught on a tree log. Before the brothers can grab her, Mother Gothel appears and knocks both of them unconscious. In tears and promising to never disobey her again, Rapunzel leaves with Mother Gothel back to the tower. Eugene's boat, meanwhile, docks just outside the palace. Maximus watches from nearby as Flynn comes to, having been knocked out and tied to the mast of the boat with the tiara beside him. The guards on the dock immediately arrest him. Back within the confines of the tower, Mother Gothel comforts Rapunzel and tells her that they shall put this whole experience behind them. As she walks up to her room, Rapunzel notices a recurring theme: all around her, painted on the walls and embroidered on her bed sheets, is the same sun emblem that she saw within the kingdom and on the very lantern she pushed skyward. She remembers the baby with golden blonde hair held by her brown-haired parents and suddenly realizes that she is the missing princess! She confronts Gothel about this who admits the truth but maintains that everything she did was for Rapunzel's protection. When Rapunzel asks what's to become of Eugene, Gothel tells her that he is to be executed. Enraged, Rapunzel goes to leave but Gothel resolves to 'be the bad guy' and approaches her menacingly. As he is led to the gallows, Eugene sees the Stabbington brothers incarcerated in their own cell. He demands to know what has happened to Rapunzel and they admit that they were acting under the promises of Mother Gothel to get Rapunzel back. Eugene struggles to escape, knowing that Rapunzel is in danger, but is unable to. Maximus then arrives with a few of the thugs from the Snuggly Duckling ( Jeffrey Tambor , Brad Garrett , Paul F. Tompkins , and Richard Kiel ) and they help Eugene break out so that he can ride out to Rapunzel's tower. Beneath the tower, he calls out to Rapunzel and her hair is let down for him to climb. When he reaches the top, however, he finds Rapunzel bound and gagged in a chair. Before she can warn him, Gothel emerges from the shadows and stabs Eugene in the side with her dagger. He reels back, falling against a vanity mirror and breaking the glass. Gothel then tells Rapunzel that she will take her far away where no one will ever find her. Struggling against her gag, Rapunzel promises that she will go with Gothel willingly if she is allowed to heal Eugene. Gothel agrees and Rapunzel goes to the dying Eugene. Before she can begin singing he pulls her close and cuts her hair with shard of glass. With the enchantment broken, Rapunzel's hair turns into its normal brown and Gothel staggers back as her skin begins to wrinkle. Horrified by her reflection, she trips over some of Rapunzel's cut hair and falls out the window. By the time her cloak hits the ground, she's rapidly aged into a pile of ashes. With his dying breath, Eugene tells Rapunzel that she was his new dream and she tells him the same. Crying over him, Rapunzel recites her song one last time. A lone tear falls from her eyes into Eugene's and the last bit of magic that remained in her revives him. The two lovers embrace and kiss before traveling together back to the castle where Rapunzel is reunited with her real parents. Eugene, now addressed by his true name, is welcomed into the Royal family. He and Rapunzel are soon married and live happily ever after.

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Tangled : Disney's Ripping Rapunzel

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A scene from Tangled

Ever since Walt's day, Disney animators have thought that a musical film could be made from the Grimm brothers' story. It has the skeletal plot — yearning heroine, wicked overseer and male savior — of Disney cartoon epics in the studio's early years (Snow White, Cinderella) and its '90s renaissance (The Little Mermaid , Beauty and the Beast) . As of 2005, Rapunzel Unbraided , as it was known, was to be the first feature directed by honored Disney animator Glen Keane. Five years later, in a history as long and twisted as its heroine's hair, there's finally a movie, with Byron Howard and Nathan Greno directing and Keane back in his customary role as character animator supreme.

The title was changed to Tangled because The Princess and the Frog was no great shakes at the box office and because Disney wanted to make the project seem less ... girlish. The trailers suggest that the movie is an action comedy about a roguish guy (Flynn) whose mission is to storm the tower and free the girl inside. But no: this is your basic, and very enjoyable, Disney princess musical, an empowerment tale to teach bright, dreamy girls how to grow to maturity — and outgrow the adults in charge.

In the Grimm version, the husband in a childless couple sneaks into the garden of Gothel the witch to steal a flower that guarantees fertility; the witch catches him and demands the couple's firstborn, whom she raises as her captive daughter until a prince shows up, etc. (Ignored in all versions is this question: If Rapunzel can secure her tresses to a hook to allow the witch to climb up and down, why can't she hook the end of her coiffure and climb down it?) Here Gothel discovers that the girl's hair somehow brings eternal youth, or at least chic middle age, to an old witch. She can swan around as long as her victim stays locked up. Gothel knows the secret that many American parents act out but are slow to acknowledge: that confining their teens in enforced preadolescence helps them feel younger too.

As if uneasy at being left behind by the competition, this Disney near classic wades into the DreamWorks style of sitcom gags and anachronistic sass. ("Sorry, Blondie," Flynn tells Rapunzel at one point, "I don't do backstory.") But the visual palette is more sophisticated, especially in the scenes where sparkling nocturnal lanterns illuminate Rapunzel's birthday, and the film gradually achieves the complex mix of romance, comedy, adventure and heart that defines the best Disney features. The inevitable animal friends — a horse for Flynn and a chameleon for Rapunzel — radiate plenty of personality without speaking. Moore does well by her slightly underwritten role, while Murphy, a treasured musical-theater diva for a quarter-century (The Human Comedy, Song of Singapore, Passion, The King and I) ) makes Gothel one of the most potent schemers in the Disney canon. Visually, the character suggests Bebe Neuwirth in her Morticia Addams get-up, but no one can summon the malice in humor, and the fun in pain, like this prima Donna.

The songs, with lyrics by Glenn Slater, don't sound on first hearing like top-drawer Menken, but they smoothly fill their functions. The opener, "When Will My Life Begin," is the heroine's "I wanna" song, a Disney tradition that stretches back to Snow White's "Some Day My Prince Will Come." The witch's "Mother Knows Best" is a pot of poisoned honey from the killer queen bee. Menken and Slater also contribute a generically tuneful love ballad, "I See the Light," which is sure to be nominated for a Best Song Oscar, and a criminals' chorus called "I've Got a Dream." Proclaiming that every scurvy brigand is at heart just a Broadway gypsy between shows, it's the score's main example of roistering wit. The song will play superbly as the second-act opener in the stage version we're imagining, for which we can also award Murphy a just slightly premature Tony as Best Actress in a Musical.

First, though, the movie version has to be a hit. So give the kids a break from mopey Harry and the dawdling Hallows — give yourself a break too — and get caught up in Tangled .

Movie Review: Tangled

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DVD Cover Copyright Disney

It is golden anniversary time! Based on the Brothers Grimm fairy tale “Rapunzel,” Tangled was theatrically released on November 24, 2010 as the fiftieth full length animated feature in Disney history, an occasion acknowledged through the Walt Disney Animation Studios card prior to the movie.

At 100 minutes in length, Tangled was Disney’s longest animated feature since Fantasia (1940), which clocked in at 126 minutes.

Tangled was the brainchild of Disney animator Glen Keane, who created Ariel in The Little Mermaid (1989) and the Beast in Beauty and the Beast (1991). (1)

Keane’s concept, originally entitled “Rapunzel Unbraided,” was approved in February 2003 with the caveat that the film be computer animated. Keane was initially infuriated at the proposed departure from hand-drawn animation but acquiesced upon encouragement from then-Disney Animation President David Stanton. (2) Keane, however, suffered a heart attack and was unable to direct the film; his role was filled by the duo of Byron Howard and Nathan Greno. (3)

Disney Chief Creative Officer John Lasseter exuded much enthusiasm for Tanged prior to its release. Lasseter said, “This film is as good as a Pixar film, but it’s classic Disney, and I love that: heart, humor, beauty, music, wonderment, the love story. Some people believe audiences today have grown past what is classic Disney storytelling, that they have become too cynical for it. I will never believe that.” (4)

Disney took a pair of gambles in marketing its new feature. As the mediocre box office performance of The Princess and the Frog (2009) was believed to be caused by that film’s obvious princess story not appealing to boys, Disney changed the name of its upcoming film from the overt “Rapunzel” to the covert “Tangled” and deemphasized the film’s significant musical element. Concerning the latter decision, Lasseter said, “I didn’t want people to rush to categorize it—‘Oh, that’s one of those Disney musicals.’” (5)

Coupled with strong critical reviews, these decisions contributed to a successful theatrical run for Tangled . (6)

Plot Summary

Long ago in the Kingdom of Corona, the King and Queen bore a beautiful baby daughter, whose birth culminated a tumultuous yet glorious period. The Queen nearly died during pregnancy and was saved only by the powers of a magical golden flower, which descended from the heavens centuries earlier. In any event, the baby and the Queen are now healthy, so all is good; right? Well, not so much. You see, an evil woman named Mother Gothel had obtained a monopoly on the magic flower such as to survive for hundreds of years, an invincibility that is imperiled when the royal family takes the flower. Fortunately for Gothel, the flower’s magic has infiltrated the soul of the Princess, and our antagonist successfully kidnaps the newborn in the middle of the night to regain her magical monopoly.

For eighteen years, Gothel raises the baby, called Rapunzel, as her own child. Gothel treats the girl well superficially, but, fearing the loss of the magic hidden inside Rapunzel, the old lady denounces the outside world and forbids her “daughter” from leaving her bedroom tower.

Then, spontaneously, on the eve of Rapunzel’s eighteenth birthday, a wanted man named Flynn Rider climbs into the teen’s bedroom. The fugitive agrees to grant Rapunzel the one thing she wants for her birthday, a trip to the palace to see the annual unleashing of lanterns.

By leaving the tower, Rapunzel has taken a giant leap forward. Has Gothel permanently lost control of Rapunzel?

A complex personality makes Gothel one of Disney’s greatest villains. Whereas some Disney antagonists, such as Lady Tremaine from Cinderella (1950), are overtly cruel, Gothel masks her evilness beneath a fake kindness. By pretending to care for Rapunzel, Gothel convinces the girl of true love, a sentiment not actually possessed by the old lady.

Though Rapunzel is deceived by Gothel, the latter’s cruelty is obvious to the audience, making one hate her that much more.

One key theme of Tangled is the superficiality of mankind. People often try to act like someone they are not in order to attain popularity. Below the surface, Flynn Rider is the alter ego of a kindhearted young man named Eugene Fitzherbert, while Mother Gothel is a cold and calculating witch.

On a related note, Flynn Rider loves Rapunzel for her heart, not her hair. She is just as wonderful to him as a brunette because she is a good person.

Exciting moments are incorporated throughout Tangled . Such scenes include chases, sword fights, and a catastrophic dam rupture.

Tangled ’s score was composed by Disney legend Alan Menken, who previously composed the music for The Little Mermaid , Beauty and the Beast , Aladdin (1992), Pocahontas (1995), The Hunchback of Notre Dame (1996), Hercules (1997), and Home on the Range (2004).

Unfortunately, I think Tangled is Menken’s weakest effort with Disney. The numbers are, with the exception of “Incantation Song,” largely forgettable. “Incantation Song,” which Gothel and Rapunzel sing while utilizing the magic flower’s power, is incredibly beautiful in its short doses. Its incorporation when Rapunzel heals Flynn Rider’s hand contributes to one of the most heartwarming moments in Disney history.

Flynn Rider exudes bluntness, and he is horrified by his appearance on wanted posters. Indeed, his nose is inaccurate. Darn artists!

Rapunzel excels at many endeavors, including art, astronomy, music, horse training, and hitting intruders in the head with frying pans.

A pair of animals, Maximus the horse and Pascal the chameleon, provides comic relief. Maximus would make a good solider.

Relationship to Other Disney Films

Gothel is similar to Judge Claude Frollo from The Hunchback of Notre Dame in that she feigns kindness and exudes a hatred of the outside world such as to coerce a child to remain in a tower. Additionally, Flynn Rider’s appearance and personality remind me of Notre Dame ’s Pheobus.

A kidnapping of a baby also occurs in Hercules .

Like the title character from Robin Hood (1973), Flynn Rider is wanted by the government.

Flynn Rider swings through the wilderness like the title character from Tarzan (1999).

In the Parks

Part of Fantasyland at Walt Disney World’s Magic Kingdom is themed after Tangled . This locale functions as a rest area and features the tower from the movie. For what it is worth, the bathrooms in this area are arguably the most beautifully themed at Walt Disney World.

Photo Copyright Liliane Opsomer

Guests at the Magic Kingdom and Disneyland Park in California can interact with Rapunzel throughout the day at “Princess Fairytale Hall” and “Fantasy Faire,” respectively.

Its mediocre soundtrack notwithstanding, Tangled is a great movie with an engaging story. You may well cry at points. I did.

1) Holson, L. (2005, September 18). Has the Sky Stopped Falling at Disney?: Goodbye, Pencils. Hello, Computers. A Studio Reanimates. New York Times , p. B1. Retrieved July 12, 2015, from http://0-search.proquest.com.alpha1.suffolk.lib.ny.us/docview/93038254?accountid=35174

2) Ibid., p. B10.

3) Barnes, B. (2010, November 21). Disney Ties Lots of Hopes To Lots of Hair: [Arts and Leisure Desk]. New York Times , p. AR.8. Retrieved July 12, 2015, from http://0-search.proquest.com.alpha1.suffolk.lib.ny.us/docview/807554876?accountid=35174

6) Barnes, B. (2010, November 29). Disney Spins ‘Tangled’ Hair Into Box-Office Gold: [Brief]. New York Times , p. C.3. Retrieved July 12, 2015, from http://0-search.proquest.com.alpha1.suffolk.lib.ny.us/docview/814455252?accountid=35174

What do you think of Tangled? Let me know in the comments!

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Outer range season 2 review: prime video's twisty sci-fi goes deeper down the rabbit hole.

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Grey's Anatomy Season 21 Loses Original ABC Timeslot To Ryan Murphy's New Medical Show

The next court of thorns & roses book can finally subvert a common sarah j. maas trope, suits: l.a.’s disappointing release window update is actually good news for suits’ new spinoff.

• Outer Range season 2 continues the complex patchwork of stories, characters, and conspiracies from season 1.
• The show's multiple timelines can make it hard for viewers to invest deeply in characters' stories.
• The introduction of new mysteries and ambiguous resolutions adds to the show's intriguing yet sometimes frustrating nature.

Just like the show's debut, Outer Range season 2 is a complex patchwork of stories, timelines, characters, and conspiracies. In this sense, season 2 is a worthy follow-up to season 1, one that simultaneously stays true to the original while streamlining some of the series' more ponderous elements. However, by virtue of expanding a story that was already fairly difficult to follow, Outer Range has become even more convoluted in its sophomore season – albeit through a story that is never dull.

Created for Amazon Prime Video, Outer Range is a Sci-Fi and Western television series that began in 2022. The series was created by Brian Watkins and stars both Imogen Poots and Josh Brolin. The premise sees a Wyoming rancher trying to care for his farm and keep his land safe when a strange void shows up in one of his pastures.

• Outer Range remains ambitious in season 2
• There are steps taken to answer the show's mysteries
• The series' cast is still incredible, delivering great moments
• Season 2's story has too much going on
• The layered plot is sometimes too complex for its own good

Outer Range's Twisted Story Continues Season 1's Trend

Too many plot threads leave little room for investment.

Picking up directly after Outer Range season 1's dramatic finale , the story reloads with breakneck speed. Royal Abbott (Josh Brolin) is still trying to figure out how to explain his time-traveling past to his increasingly frustrated wife, while also grappling with the revelation that Autumn may well be his granddaughter Amy. Meanwhile, Cecilia frantically searches for her granddaughter following an unexpected abduction by Rebecca, Rhett has second thoughts about his elopement, Luke Tillerson is traumatized by his own encounter with the void, and the town is stricken by the aftermath of a buffalo stampede. It's as disorientating as plunging face-first through a wormhole.

It's difficult to become too invested in characters when their stories are picked up and dropped in order to address a previous tangent.

In many ways, the problems with Outer Range season 2 repeat the issues with season 1 . The show's multiple timelines provide plenty of opportunities for mystery, but it's difficult to become too invested in characters when their stories are picked up and dropped in order to address a previous tangent. While having characters already established certainly helps season 2's pacing, this is counteracted by the introduction of multiple new timelines, including a trip to the 19th century with Sheriff Joy. Unless the viewer is completely literate in the Outer Range season 1 story , the effect will be a bit perplexing.

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Outer Range Season 2 Delivers On Story

But it isn't without certain caveats.

Fans of the first installment will be pleased to know that many of their most pressing questions will be answered. However, just as Outer Range gives with one hand, it takes with the other, establishing a whole new set of mysteries that often don't receive a satisfying resolution . Part of the show's strength is its unapologetic ambiguity. But with such a plethora of plotlines, settings, and head-scratching concepts, it's inevitable that the show sets out to create cliffhangers that don't always have a neat ending.

As before, the Outer Range cast is ably led by Josh Brolin , who remains a picture of grizzled exasperation as he tries to wrap his head around all the mysterious goings-on affecting his family and his land. Brolin is skillfully supported by Imogen Poots as Autumn , whose character has become much more nuanced and complex following the revelation that she may be a member of the Abbott family. Other cast members, such as Lewis Pullman and Tom Pelphrey, playing a heartbroken Perry Abbott in another timeframe, add emotional depth but sometimes feel short-changed by the story's sprawling scope.

...the fact that Outer Range is moving away from more cerebral territory and towards something more empirical makes it easier to forgive other flights of mysterious fancy.

One aspect that helps Outer Range season 2 feel more grounded is an obvious attempt to address the mystery of what the void on the Abbotts' land actually is . While season 1 left this question deliberately open-ended, a key season 2 story sees Yrsa Daley-Ward's Dr. Nia Bintu attempt to grapple with a quantifiable scientific explanation for what's going on . Unfortunately, the answers aren't as definitive and clear-cut as one might hope. Nevertheless, the fact that Outer Range is moving away from more cerebral territory and towards something more empirical makes it easier to forgive other flights of mysterious fancy.

Because Outer Range season 2 boasts so many stories, it's almost inevitable that some plots work better than others. However, despite some flaws, this remains one of the most ambitious shows on TV, taking real risks with a story that demands viewer engagement. Whether everyone will have the requisite patience remains to be seen. However, for those committed and willing not to interrogate the logic too intensely, Outer Range season 2 is an enjoyable second helping.

All 7 episodes of Outer Range season 2 are streaming on Prime Video on Thursday, May 16.

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Critic’s Pick

‘A Prince’ Review: Let New Passions Bloom

Sex, death and domination fuel this beautifully enigmatic pastoral drama from France, which presents the gay coming-of-age of an apprentice gardener.

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By Beatrice Loayza

It’s not immediately apparent how courtly intrigue figures in “A Prince,” Pierre Creton’s spellbinding French pastoral drama, though sex, death and domination hang palpably in the film’s crisp, Normandy air.

Creton, a veteran director working at the margins of France’s film industry, looks to the divine powers and chivalric codes that fuel swords-and-shields epics like “Game of Thrones,” but whittles these elements down to a mysterious essence. A subtly medieval score — distinguished by the thrum of a lute and composed by Jozef van Wissem — draws out a surreal dimension. Eventually, the film shifts into explicitly sexual and mythological terrain with a B.D.S.M. edge, and the score keeps pace, taking on a folk metal vibe.

The story is slippery by design, loosely tracking the gay coming-of-age of an apprentice gardener, Pierre-Joseph, played for the most part by Antoine Pirotte. Creton, who also works as a gardener in real life, plays the older version of Pierre-Joseph, so “A Prince” also reads as an autofictional memory piece.

Throughout the film, a series of wordless and seductively austere tableaux, Pierre- Joseph forms bonds with various individuals in his rural community. Multiple narrators, including Françoise Lebrun (“ The Mother and the Whore ”), speak in retrospect, as if looking back from the afterlife at the characters onscreen. These connections are tangled: for instance, Lebrun voices Françoise Brown (played by Manon Schaap), the head of a horticulture school. Yet Lebrun also plays the onscreen version of Pierre-Joseph’s mother.

The effect may seem frustrating at first, but it ultimately feeds into the kind of alternative, communal lifestyle that the film showcases so beautifully.

Pierre-Joseph eventually comes to form a throuple with Alberto (Vincent Barré) and Adrien (Pierre Barray), his mentors. The naked bodies of these much older gentleman appear suggestively weathered next to their younger lover’s sprightly form. Yet there is no mention of taboo. That passion could bloom in such spontaneous and unexpected forms is part of this enigmatic film’s potency.

A Prince Not rated. In French, with subtitles. Running time: 1 hour 22 minutes. In theaters.

An earlier version of this review misidentified an instrument used in the score. It was a lute, not a mandolin.

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Andy Serkis, the star of the earlier “Planet of the Apes” movies, and Owen Teague, the new lead, discuss the latest film in the franchise , “Kingdom of the Planet of the Apes.”

The HBO series “The Sympathizer” is not just a good story, it’s a sharp piece of criticism on Vietnam war movies, our critic writes .

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Review: Oceanside Theatre’s risk pays off with ‘Next to Normal’ musical

The 2008 rock musical about a family’s struggle with mental illness is rarely produced because of its subject matter and the demands it places on its singers

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Over the past few years, Oceanside Theatre Company has become increasingly ambitious with its programming, and that has contributed to a growing and more diverse audience.

At opening night of the Pulitzer Prize-winning musical “Next to Normal” on Saturday, about one-quarter of the audience members in the mostly sold-out theater raised their hands when asked before the show who were first-time visitors.

“Next to Normal,” the second show in OTC’s 2024 season, was the No. 1 most-requested show by audience members. But the 2008 musical — which was nominated for 11 Tony Awards and bestowed with three — is rarely staged because of the demands it places on its singers and its subject matter, which deals with mental illness, grief, attempted suicide and teen drug abuse.

The central character is Diana, a role originated both off and on Broadway by former San Diegan Alice Ripley. Diana keeps up a surface veneer, but she has been barely holding it together due to her decades-long battle with bipolar disorder and manic depression.

Diana goes through the motions in her marriage to the ever-faithful Dan, ignores her straining-to-be-noticed 16-year-old daughter, Natalie, and endures a stream of increasingly invasive medical efforts (drugs, therapy, shock treatment) to stabilize her unbalanced psyche. Ultimately, she opts to go off her medication, because — as she poignantly explains in the song “I Miss the Mountains” — she’d rather be wracked with roiling emotions than placidly numbed by drugs.

Frankie Errington creatively and viscerally directs the production using the theme of “light” to represent hope, the dawning reality Diana must face about her future and her family’s journey toward clarity and healing. Tangled power cords decorate Reiko Huffman’s minimalist set to represent the chaotic thoughts in Diana’s mind, and the actors imaginitively employ light bars and cubes, flashlights and pixie lights strapped to their fingers.

Melissa Fernandes leads the cast as Diana, singing with raw power and pain while at the same time portraying a woman so disconnected from reality that she has shrunk inside her own skin. Berto Fernández is excellent as Diana’s well-meaning but codependent husband, Dan. His strong and precise baritone voice easily pierces through the pulsing rock score, directed by band conductor-pianist Randi Rudolph.

Salima Gangani is an especially impressive singer as Natalie, the 16-year-old “perfect” daughter who begins sneaking her mom’s pills when stress and family troubles get her down. Sweet-voiced Danny Holmes plays Diana’s son, Gabe, who has his own motivation for prohibiting her recovery. Marlon James Magtibay is endearing as Natalie’s easygoing boyfriend, Henry, and Daniel Filippi has funny and not-so-funny scenes as Diana’s sarcastically named physicians, Dr. Madden and Dr. Fine.

On opening night, the sound mix was a little off, with the onstage band often overpowering the singers, but it improved by the end of the show. OTC artistic director Kevin “Blax” Burroughs designed lighting, Andre Buck Jr. designed sound and Zoë Trautmann designed costumes. Alyssa “Ajay” Junious consulted on movement.

“Next to Normal” isn’t for everyone, due to its subject matter, but it confronts the topic of mental illness and its impact on family in unique and thoughtful ways.

‘Next to Normal’

When: 8 p.m. Fridays and Saturdays; 2 p.m. Sundays; through May 24

Where: Oceanside Theatre Co. at the Brooks Theater, 217 N. Coast Highway, Oceanside

Tickets: $40

Online: oceansidetheatre.org

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New musical inspired by ‘Thelma & Louise’ will give famous film duo their ‘queer happy ending’

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Classical Music

San Diego Opera unveils 60th anniversary with season that will look back and ahead

Puccini, Strauss and Verdi classics will highlight the 2024-25 season, with a return to three performances per production

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Puerto Rican nationalist’s story to be retold with a drag twist in Moxie’s ‘Notes’

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Disney Villains Mother Gothel Fashion Doll with Removable Outfit and Basket & Flower Accessories, Inspired by Disney Movie Tangled, Posable

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• Inspired by the wicked Villain from Disney's Tangled, this Mother Gothel doll will do anything to stay young!
• Mother Gothel fashion doll wears a removable, movie-inspired dress with sash and metallic details and removable boots.
• Includes two accessories for storytelling play: a basket and the favorite sundrop flower, the source of Rapunzel's magical healing hair.
• Mother Gothel doll is posable and has long curly hair and an authentic, villainous expression.
• Fans can collect all the Disney Villains fashion dolls and play out their favorite Disney movies from beginning to end! Each sold separately, subject to availability.

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Meet Mother Gothel, the Villain from Disney's Tangled who locks Rapunzel in a tower so she can keep the healing powers of Rapunzel's hair all to herself. This wonderfully wicked fashion doll wears her signature red fashion inspired by the movie and comes with a basket and flower play pieces to complete the storytelling fun. Fans will love playing out their favorite movie moments or creating their own adventures for Mother Gothel. Doll cannot stand alone. Colors and decorations may vary.

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With unforgettable characters and movie moments that inspire kids to dream and grow, Disney Princess toys help kids re-create their favorite Disney stories and imagine new adventures of their own!

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• ​Includes 1 fashion doll and 2 accessories.

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See the Best Movie Promo Posters on Display at Cannes 2024 Including Donny Yen's 'IP Man 5'

Check out images from films like ‘Flash Point Resurgence’, ‘Pretty Crazy’, and some you won't believe.

The Big Picture

• Cannes Film Festival lineup teases major films including Megalopolis , Furiosa , Kinds of Kindness , Ip Man 5 , and more.
• Donnie Yen is pulling triple duty with Ip Man 5 , The Prosecutor , and Flash Point Resurgence .
• A variety of genres are on display at Cannes including romance, comedy, history, action, horror, and animation. Get a sneak peek at the upcoming cinema slate below!

It’s that time of the year again. While Utah may be home to the Sundance Film Festival and Canada hosts the yearly Toronto International Film Festival, springtime is saved for France’s Cannes Film Festival . This year, attendees can catch screenings of major players like Francis Ford Coppola’s return to filmmaking in Megalopolis , a first look at the prequel chapter in George Miller ’s Mad Max franchise with Furiosa: A Mad Max Saga , and Kinds of Kindness — Yorgos Lanthimos ’ follow-up project to his award-sweeping Poor Things . In attendance at the legendary event is Collider’s Steve Weintraub who’s been busy snapping pictures of the posters lining the exhibit halls.

One of the most highly anticipated features to come from last year’s announcements was that of Ip Man 5 , the fifth installment of the film series that stars martial arts legend Donnie Yen ( Rogue One: A Star Wars Story ). This time around, Yen will also be directing the semi-true story about Ip Kai-man , the martial arts Sensei who would train Bruce Lee in the style of Wing Chun Kung Fu. The poster at this year’s Cannes puts a Wing Chun dummy at the center, with numerous — presumably — bad guys knocked out around it. While this doesn’t fully spell out the plot for Ip Man 5 , it reveals that Yen is back to prove that when you mess with the master, you get your ass handed to you.

Donnie Yen: One Of Hollywood’s Busiest Men

Along with the first poster for Ip Man 5 , Yen also has two other movies that have their images predominantly featured at Cannes. Switching gears to a crime thriller, Yen will both direct and star in The Prosecutor , a movie about a man who pours himself into the cause of setting an innocent man free while capturing the true perpetrator. The image sees Yen in full lawyer attire — complete with a wig and black robe. In his bruised and bleeding hands is a scale of justice, which points to his dedication to the innocent convict.

Then, there’s a look at Yen’s Flash Point Resurgence , another high-octane flick in which Yen will both direct and star. At this point, no plot details have surfaced about the movie which will act as a sequel to 2007’s Flash Point , but the poster reveals plenty of punches, kicks, and guns flying in what’s bound to be another action-heavy production.

Cannes Has Something For Everyone

The posters unveiled at Cannes feature a little bit of comedy, romance, drama — just about every genre under the sun. For rom-com lovers out there, a poster depicting Pretty Crazy features the South Korean film’s leading stars, Im Yoon-ah and Ahn Bo-hyun as they lean across from one another engaged in conversation. There’s also a dreamy look at the novel-turned-film , Love in the Big City , which sees the main characters lying down next to one another with smiles on their faces, dreaming off into the distance. Another novel receiving its turn on the big screen will be Daniele Luchetti ’s Trust , with a poster that sees a man and a woman tangled up in one another.

History is also on full display at Cannes with posters for both Jesse Johnson ’s Boudica and Daniel Roby ’s Villeneuve: Rise of a Champion . The former will dig into the life of the titular warrior queen while the latter will tell the story of the racer’s life leading up to his work with Ferrari.

Plenty of Laughs Abound in Comedy Posters on Display at Cannes

There are also plenty of laughs on the way — whether you like them in the action-comedy vein as depicted in the poster for the Jackie Chan -led Panda Plan or in the gore and horror way like in the image for Handsome Guys . Panda Plan sees the iconic martial artist on a rescue mission with the image at Cannes showing him in an all-black outfit ready to snap into action. With a hammer and chainsaw in hand , the leading men of Handsome Guys are ready to fight a sinister entity haunting their new property. An image from Alexis Morante ’s May I Speak With the Enemy brings some levity to the Spanish Civil War with a group of soldiers holding their rifles with dazed looks on their faces.

Lights, Camera, and Loads of Action at Cannes Film Festival

Who doesn’t love a good action flick? And for that, Cannes’ poster lineup has attendees covered. There’s Harbin , a part action, part history flick with a poster that’s brimming with intrigue during a mission for independence , and also The Old Woman with the Knife , another big-screen adaptation of a book but this time about a retired assassin. Piercing a peach with extreme precision , the image shows that, despite her age, the trained killer hasn’t slowed down just yet.

Thrillers like I, the Executioner , Revolver , and In Flight also show off chilling tales filled with intrigue . The I, the Executioner image flashes a man holding handcuffs, while a woman looks out her plane window with a touch of terror in In Flight . Finally, Revolver is riddled with bullet holes and a strong female lead walking into the distance.

Cannes Also Features Horrific Tales and Jaw-Dropping Animation

Sci-fi and fans of all things campy are going to get a special kick out of the image of Killer Witches from Outer Space , as an alien can be seen on top of a spooky log cabin with giant clawed hands gripping either side of the home. Horror fans will be shaken by the shots of The Virgin of the Quarry Lake and Noise , with the former foreshadowing a woman’s terror in the water and the other depicting two women trying to protect their ears from what we presume to be a deadly sound.

There’s also the star-studded poster for Pose which features names like James McAvoy , Aisling Fraciosi , Lucas Bravo , and Almudena Amor , with their faces flooded with pink and blue tones. Finally, a poster of the animated The Light of Aisha is on display teasing the fireworks that are to come from the life of its 13-year-old protagonist.

Check out the posters throughout the article and stay tuned at Collider for more news out of Cannes Film Festival.