disney frozen movie review

Film Review: ‘Frozen’

Chilly scenes of widescreen winter and a scene-stealing snowman are the chief assets of Disney's accomplished but formulaic 53rd animated feature.

By Scott Foundas

Scott Foundas

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Move over, Frosty. A quixotic snowman who longs to experience summer handily steals the show in “ Frozen ,” Disney ’s 53rd in-house animated feature and one of its most classical, with a Hans Christian Andersen pedigree, a full-fledged showtune score and little of the ironic humor that has become the lingua franca of most contemporary toons. But this always enjoyable tale of mysterious magic, imperiled princesses and square-jawed men of action proves longer on striking visuals than on truly engaging or memorable characters. With the family crowd pretty much to itself this holiday season, “Frozen” should generate considerable box-office heat, if not quite the same level of critical and audience affection that attended the superior “Tangled” and “Wreck-It Ralph.”

The result of a decade-long effort by the studio to fashion an animated feature from Andersen’s classic “The Snow Queen,” “Frozen” ultimately bears only the most superficial resemblance to its source, the haunting story of a young girl’s efforts to free her true love from the mind-altering effects of a cursed mirror and the icy lair of the eponymous snow spirit. Instead, writer-directors Chris Buck (a veteran Disney animator with credits dating back to “The Fox and the Hound”) and Jennifer Lee (who co-scripted “Wreck-It Ralph”) give us a more conventional tale of two sisters, younger Anna (Kristen Bell) and elder Elsa (Idina Menzel), heirs to the enchanted Scandinavian kingdom of Arendelle (also a return of sorts to Disney tradition after the dutiful PC dues-paying of “Pocahontas,” “Mulan” and “The Princess and the Frog”).

As seen in the movie’s opening moments, the girls are the closest of childhood friends, their playtime enhanced by Elsa’s unexplained ability to conjure a wonderland of ice and snow at the literal waving of her fingertips. But like Midas’ golden touch, Elsa’s powers soon seem more curse than blessing. When an errant icicle nearly proves fatal to Anna, the King and Queen seal the castle gates, while Elsa further cuts herself off from that circumscribed world, coming of age in solitude even after a shipwreck leaves her and Anna orphans.

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Only as Elsa’s coronation day draws near does she emerge from her seclusion, still uncertain as to whether or not she can control her “gift” (which, like the telekinetic rage of Stephen King’s Carrie, seems to be triggered by intense surges of emotion). Meanwhile, Anna has had all memory of her childhood trauma wiped, “Men in Black”-style, by some friendly neighborhood trolls, leaving her all the more miffed by big sis’ literal and figurative cold shoulder.

These early passages play out pleasantly enough, enhanced by nice detail work showing the bustle of daily Arendelle life and an amusing turn by Alan Tudyk (last seen as “Ralph’s” megalomaniacal Turbo) as the nosy, diminutive Duke of neighboring Weselton (which, to his great consternation, everyone mispronounces as Weaseltown). But the narrative of “Frozen” only really kicks into gear with the palace ball following the coronation, where everything seems to be going hunky-dory until Anna makes the mistake of asking her sister’s permission to marry the dashing Prince Hans of the Southern Isles (Santino Fontana) — whom, admittedly, she only met earlier that same day. To say that Elsa’s reaction puts a chill in the air would be an arctic understatement. (Think Carrie’s prom crossed with the Ice Capades.)

With her secret laid bare for all to see, a devastated Elsa flees into the surrounding mountains, enveloping all of summertime Arendelle in a thick permafrost as she does. Anna gives chase, but proves ill equipped for the rugged and frigid terrain, eventually stumbling upon a small trading post (run by a hulking Swede named Oaken, voiced by “Bolt” co-director Chris Williams) that has wasted no time in jacking up prices on its minimal supply of off-season winter provisions. It’s there that she crosses paths with Kristoff (Jonathan Groff), a flaxen-haired ice seller somewhat lacking in social graces (his best, and possibly only, friend is his trusty, sleigh-pulling reindeer, Sven). But with his own bottom line taking a sizable hit from the sudden climate change, he agrees to help Anna search for Elsa in the hope of once again bringing sunshine to the land.

Which is around the time Olaf enters the picture. An anthropomorphic snowman brought to life by Elsa’s magic, with a row of buck teeth and a few twigs of would-be hair atop his head, this irrepressible optimist (marvelously voiced by “Book of Mormon” alum Josh Gad) likes “warm hugs” and possesses a most unhealthy fascination with the summer — a season he’s never experienced, and whose dangers to his person he seems blithely unaware of. This leads to “Frozen’s” most inspired musical number, “In Summer,” as Olaf imagines himself bounding through blooming meadows, soaking up the sun and engaging in other flights of seasonal fancy, all wryly visualized by Buck and Lee and expressed in playful lyrics by the husband-and-wife songwriting team of Kristen Anderson-Lopez and Robert Lopez (the latter a Tony winner for his work on “Avenue Q” and “Book of Mormon”).

The tactile, snow-capped Arendelle landscape, including Elsa’s ice-castle retreat (imagine Superman’s Fortress of Solitude with a more feminine touch), is “Frozen’s” other true marvel, enhanced by 3D and the decision to shoot in widescreen — a nod to the CinemaScope richness of “Sleeping Beauty” and “Lady and the Tramp.” That’s almost but not quite enough to make up for the somewhat slack plotting and the generic nature of the main characters. Neither princess here is a patch on “Tangled’s” babe-in-the-woods Rapunzel, while both Hans and Kristoff are cut from pretty standard-issue hero cloth until a reasonably surprising third-act twist somewhat ups the ante. Only Olaf is unimpeachable: Get this snowman a spinoff feature to call his own.

“Frozen” goes out accompanied by “Get a Horse!”, director Lauren MacMullan’s utterly dazzling five-minute short starring Mickey Mouse, Minnie, Peg-Leg Pete and other vintage Disney characters in a “Sherlock Jr.”-style adventure that finds their hand-drawn 1930s avatars bursting through a movie screen and into the 3D/CG era. Though the animation is all new (including impeccable re-creations of the black-and-white Disney/Ub Iwerks style), the sound is predominately archival, including Uncle Walt himself as the voice of his iconic alter ego.

Reviewed at AMC Empire 25, New York, October 26, 2013. MPAA Rating: PG. Running time: 102 MIN.

• Production: (Animated) A Walt Disney Studios Motion Pictures release of a Walt Disney Animation Studios production. Produced by Peter Del Vecho. Executive producer, John Lasseter.
• Crew: Directed by Chris Buck, Jennifer Lee. Screenplay, Lee; story, Buck, Lee, Shane Morris, inspired by “The Snow Queen” by Hans Christian Andersen. Camera (color, Deluxe prints, widescreen, 3D), Scott Beattie (layout), Mohit Kallianpur (lighting); editor, Jeff Draheim; music, Christophe Beck; songs, Kristen Anderson-Lopez, Robert Lopez; music supervisor, Tom MacDougall; executive music producer, Chris Montan; production designer, David Womersley; art director, Michael Giaimo; visual effects supervisor, Steve Goldberg; head of story, Paul Briggs; head of animation, Lino Di Salvo; technical supervisor, Mark Hammel; character CG supervisor, Frank Hanner; modeling supervisors, Chad Stubblefield, Jon Kim Krummel II; look supervisors, Michelle Lee Robinson, Hans-Joerg E. Keim; character TD supervisors, Keith Wilson, Carlos Cabral; technical animation supervisor, Mark Empey; animation supervisors, Rebecca Wilson Bresee, Hyrum Virl Osmond, Malcon B. Pierce III, Tony Smeed, Wayne Unten; supervising sound editor/sound designer (Dolby Atmos), Odin Benitez; re-recording mixers, David E. Fluhr, Gabriel Guy; stereoscopic supervisor, Katie A. Fico; associate producer, Aimee Scribner; casting Jamie Sparer Roberts.
• With: Voices: Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad, Santino Fontana, Alan Tudyk, Ciaran Hinds, Chris Williams, Stephen John Anderson, Maia Wilson, Edie McClurg, Robert Pine, Maurice Lamarche, Livvy Stubenrauch, Eva Bella, Spencer Ganus, Jesse Corti, Jeffrey Marcus, Tucker Gilmore.

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From the Heat of Royal Passion, Poof! It’s Permafrost

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By Stephen Holden

• Nov. 26, 2013

A beautiful princess with magical powers that she can’t control; an adorable snowman, with buck teeth and a carrot for a nose, who longs to sunbathe because no one ever told him that heat melts ice; a picture-perfect prince who is revealed to be a scheming, opportunistic cad.

Those are among the unconventional characters in the new Disney 3-D animated movie musical, “Frozen,” very loosely based on the Hans Christian Andersen fairy tale “The Snow Queen.” They are significant departures from tradition in a film that shakes up the hyper-romantic “princess” formula that has stood Disney in good stead for decades and that has grown stale. Treacly, kissy-kissy endings are not enough anymore. Nowadays, a princess has to show her mettle and earn her happily-ever-after stripes.

Allegorically, “Frozen” lacks the purity and elemental power of a classic myth like “Beauty and the Beast,” but at least its storytelling is fairly coherent, and its gleaming dream world of snow and ice is one of the most visually captivating environments to be found in a Disney animated film. There are moments when you may feel that you are inside a giant crystal chandelier frosted with diamonds.

It all takes place in the fictional Scandinavian land of Arendelle, whose king and queen die in a shipwreck, leaving the country in the hands of Elsa (the voice of Idina Menzel), the elder of two daughters. This blond, high-strung princess has a secret problem. If she isn’t extremely careful, everything around her freezes when she takes off her protective gloves and waves her hands. Elsa’s best friend is her impulsive redheaded younger sister, Anna (Kristen Bell), whom she nearly freezes to death by accident.

The sisters become estranged when Anna falls in love at first sight with Hans (Santino Fontana), a too-good-to-be-true prince from a neighboring kingdom, and Elsa forbids them to marry. With one wave of Elsa’s hand, eternal winter descends on Arendelle. She is so horrified by her destructive gift that she retreats to a remote ice palace atop a mountain.

As Arendelle suffers through the deep freeze, the resourceful Anna, who still loves her sister, is determined to track down Elsa, who she believes can reverse the spell. Thus begin Anna’s adventures in mountain climbing. Along the way, she meets Kristoff (Jonathan Groff), a rugged ice dealer who guides a reindeer-driven sleigh. During their “Wizard of Oz”-like quest, they are joined by Olaf ( Josh Gad ), that sweet, wisecracking snowman.

“Frozen,” for all its innovations, is not fundamentally revolutionary. Its animated characters are the same familiar, blank-faced, big-eyed storybook figures. But they are a little more psychologically complex than their Disney forerunners. Its princesses may gaze at a glass ceiling, but most are not ready to shatter it.

Is it significant that Jennifer Lee, who directed “Frozen” with Chris Buck, is billed as the first female director of a Disney animated feature film? Perhaps. Ms. Lee is credited as the screenwriter of a story that she and Mr. Buck developed with Shane Morris. That screenplay cautiously incorporates some slangy contemporary argot, but its tone is never desperately hip in the manner of the “Shrek” movies. Most of what fun there is revolves around Olaf, a classic Disney sidekick.

If “Frozen” still has one foot planted in 19th-century children’s literature, good and evil are not so clear-cut. The title character of the original fairy tale was evil. Her 21st-century descendant is merely confused and scared. As always, love is the solution to everything. When nothing can thaw the icy heart of the frightened Elsa, love does the trick, but in this case it is sisterly loyalty and devotion rather than romantic attachment.

“Frozen” has eight original songs by the married team of Kristen Anderson-Lopez and Robert Lopez, musical theater veterans whose blend of playful wit and sentimentality here comes closer than any score for a Disney animated film to capturing the charm of the Alan Menken-Howard Ashman collaboration in its glory days. One song, “Fixer Upper,” sung by a bunch of trolls promoting the charms of an imperfect eligible bachelor to a picky princess, is genuinely amusing:

So he’s a bit of a fixer-upper,

So he’s got a few flaws.

Like his peculiar brain-dear.

His thing with the reindeer.

That’s a little outside of nature’s laws!

It can’t be accidental that “Frozen,” with its two female leads, one voiced by the original Elphaba in “Wicked” (Ms. Menzel), has a lot in common with that Broadway juggernaut and seems ready-made for theatrical adaptation. For this journey, instead of a broomstick, take mittens, snow boots and steaming hot chocolate.

“Frozen” is rated PG (Parental guidance suggested) for some action and mild, rude humor.

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Frozen: film review.

Kristen Bell, Idina Menzel and Josh Gad voicestar in Disney's first widescreen fairy tale since "Sleeping Beauty."

By Todd McCarthy

Todd McCarthy

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You can practically see the Broadway musical Frozen is destined to become while watching Disney’s 3D animated princess tale. Shrewdly calculated down the the smallest detail in terms of its appeal factor, this smartly dressed package injects a traditional fairy tale, Hans Christian Andersen ‘s The Snow Queen , with enough contemporary attitudes and female empowerment touches to please both little girls and their moms. Energetic, humorous and not too cloying, as well as the first Hollywood film in many years to warn of global cooling rather than warming, this tuneful toon upgrades what has been a lackluster year for big studio animated fare and, beginning with its Thanksgiving opening, should live up to box-office expectations as one of the studio’s hoped-for holiday-spanning blockbusters.

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As an added bonus, Frozen is fronted by one of the wittiest and most inventive animated shorts in a long time, Lauren MacMullan ‘s Get A Horse! d ebuted to rave responses at the Telluride Film Festival over Labor Day weekend preceding the screenings of Gravity , Horse begins as an early black-and-white Mickey Mouse cartoon but then bursts its boundaries into color and 3D in marvelously antic ways that call to mind the stepping-off-the-screen techniques of Buster Keaton ‘s Sherlock Jr. and Woody Allen ‘s The Purple Rose of Cairo . It’s a total winner.

The Bottom Line Disney has loaded on the TLC to make sure this becomes one of its big ones.

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Frozen , which will use the Andersen tale’s original title in many foreign territories, was in development with numerous different writers, directors and songsmiths for more than a decade, as Disney hoped to strike gold with another Andersen story after the great success of The Little Mermaid . As even reasonably successful recent girl-aimed films, such as Pixar’s Brave and Disney’s own Tangled , have shown, it’s not all that easy to recycle the well-worn princess format without being hopelessly retrograde on the one hand or knee-jerk revisionist on the other. But one can feel that extra effort was expended to try to get the formula right this time. Directors Chris Buck (co-director of Tarzan and Surf’s Up ) and Jennifer Lee (co-screenwriter of Wreck-It-Ralph , who also wrote this script and here becomes the first female director on an in-house Disney animated feature) do a pretty decent job of hitting the required cues for youngsters’ dream-come-true expectations while also introducing darker tones by way of a mentally tortured youthful queen and a two-faced royal suitor.

No question about it, this is also a full-fledged musical, with eight original songs (augmented by some reprises), which make it ready-made for the stage when the time comes. Frozen may not have the inexhaustible potential of Beauty and the Beast , but the reasonably agreeable score and, especially, the possibility of spectacular visual effects for the ever-changing ice world setting, indicate strong theatrical prospects.

PHOTOS: The World’s Most Notable Princes and Princesses

As drastically refashioned from the Andersen yarn, this is the tale of two sisters, the older and brooding blond Elsa and younger and dizzier redhead Anna. Raised in the splendid isolation of an enormous castle, they lose their parents to a shipwreck, forcing Elsa to take the throne in her late teens. Long aware that she possesses the sort of “dark powers” ever-popular in this sort of thing, Elsa has always heeded the warning not to let them show. But when, during her coronation, she removes the gloves that keep them in check, her capacity for sorcery becomes evident to all.

It’s not evil, in the fashion of a wicked witch, that she unleashes, merely calamity that dooms her small Nordic kingdom of Arendelle to a bleak fate of eternal winter. Wherever she goes, she can’t help but turn everything into snow and ice. Instead of just putting her gloves back on, Queen Elsa embraces her status–”No rules for me!”–and runs off to splendid isolation on North Mountain singing her self-liberating “Let It Go,” while her subjects shiver back home.

Eager teen Anna has had her head turned by handsome young Prince Hans but soon departs in pursuit of her older sister. Not exactly cut out for the rigors of a laborious solo trek, she soon gains the services of big blond mountain guy Kristoff, his trusty reindeer Sven and, before long, buck-toothed snowman Olaf, whereupon this not-so-coincidentally Oz-like contingent makes its way through perilous forest and snow towards the the craggy regal sanctuary.

The duplicitous Hans and a greedy foreign duke organize their own expedition to turn things in their own mercantile favor via insidious means that trigger a nasty plot twist that’s as unexpected as it is welcome in this context. The wrap-up delivers large-scale action, some humor and a feel of some haste, as some rather convoluted means are employed to pull everything together before the running time pushes any further past 100 minutes.

The most consistently annoying aspect of Frozen is the screenwriter’s insistence upon putting banal and commonplace teen Americanisms in the mouth of Anna in a clear sop to that major component of the film’s intended audience. Anna’s dialogue is full of “you know” and “freaked out” and many other phrases her parents and sister never use; where did she pick them up? More than do the other characters, the two sisters have a plastic, big-cheeked, tiny-upturned-nose cherub appearance that looks fake and inexpressive and requires getting accustomed to.

Compensating are the vigorous vocal performances from Kristen Bell as Anna and Idina Menzel as Elsa, who share the big number “For the First Time in Forever” that’s the centerpiece of the original songs written by the married team of Kristen Anderson-Lopez and Robert Lopez , the latter the musical co-creator of the Broadway smashes Avenue Q and T he Book of Mormon . Good character work on the male side comes from Jonathan Groff as the supportive Kristoff, Josh Gad as goofball Olaf, Santino Fontana as the smoothly conniving Hans and Alan Tudyk as the scheming diplomat.

Visually, Frozen is a pleasure, makes good, unforced use of 3D and is the first widescreen Disney fairy tale since Sleeping Beauty .

Opens: November 27 (Disney) Production: Walt Disney Animation Studio Voice cast: Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad, Santino Fontana, Alan Tudyk, Ciaran Hinds, Chris Williams Directors: Chris Buck, Jennifer Lee Screenwriter: Jennifer Lee, story by Chris Buck, Jennifer Lee, Shane Morris, inspired by The Snow Queen by Hans Christian Andersen Producers: Peter Del Vicho Executive producer: John Lasseter Art director: Michae Giaino Production designer: David Womersley Editor: Jeff Draheim Original songs: Kristen Anderson Lopez, Robert Lopez Music: Christophe Beck Visual effects supervisor: Steve Goldberg PG rating, 101 minutes

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clock This article was published more than  10 years ago

‘Frozen’ movie review: Kristen Bell and Idina Menzel dazzle in Disney’s latest

Remember when Disney was a powerhouse of animated musicals? In the 1980s and '90s, movies such as " Beauty and the Beast " and " Pocahontas " didn't just win the box office, but songs from Disney movies stormed the Billboard charts, too. There was Elton John's " Can You Feel the Love Tonight " from " The Lion King " and " A Whole New World ," a No. 1 hit from " Aladdin ." An entire generation of youngsters tormented their parents, playing the taped soundtrack from " The Little Mermaid " on a never-ending loop.

Disney is back in the game with " Frozen ." The movie might not have potential pop hits — the songs sound much more like musical theater show tunes than Miley Cyrus auto-tuned — but the animated comedy-adventure has a sweet and very modern message, plus strong characters. More important, the movie blends the music-minded mentality of yore with the more recent ambition (thank you, Pixar) of truly appealing to all ages.

The story was inspired by " The Snow Queen " by Hans Christian Andersen, although it bears little resemblance to the fairy tale. "Frozen" follows sisters Elsa and Anna, who are princesses in a Nordic region, Arendelle. Elsa has a secret power: She can fill a room with snow and ice with a few shakes of her hand. Only she hasn't mastered her ability, and one day she accidentally injures the younger Anna with a shot of ice to the head. After that, Elsa mostly hides in her room for fear of hurting people, and the girls become estranged.

But on Elsa’s coronation day, the new queen becomes frightened — one of her triggers for spontaneous ice creation — and she accidentally freezes the fjord around the castle as she sends Arendelle into an eternal winter. Elsa flees amid accusations of witchcraft, and the majority of the movie is spent with Anna, who has always adored her sister, as she sets out to find the queen, bring her home and get her to cancel the permafrost. Along for the ride are the burly Kristoff and his pet reindeer, Sven, plus one of Elsa’s creations, a talking snowman named Olaf.

Anna is much more of a contemporary rom-com heroine than an Ariel-the-mermaid type. She’s clumsy, awkward and a bit of a dork (although she does a mean robot). But, refreshingly, she’s no damsel in distress, not even during the film’s late scenes, when she finds herself in a desperate situation.

Kristen Bell, who shot to fame as the spunky detective in " Veronica Mars ," feels like the perfect pick to voice such a character. And she can sing, too, although not quite as transcendently as Broadway star Idina Menzel, who voices Elsa and has no trouble hitting the high notes in the sometimes cheesy, always soaring soundtrack . Rising star Josh Gad also does memorable voice work as Olaf, the brainless rube of a snowman who's always wanted to go to the beach.

The movie, while dazzling to look at, may be a little long for some small children. But its surprising and poignant ending, which subverts so many fairy-tale stereotypes, feels as though it cancels out the movie’s small flaws and dragging moments. “Frozen” may be a nod to the pleasures of vintage Disney and old fairy tales, but there’s nothing outdated about it.

PG. At area theaters. Contains some action and mild rude humor. 108 minutes.

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Movie Review: Frozen (2013)

• Aaron Leggo
• Movie Reviews
• 2 responses
• --> December 15, 2013

The rescue party.

In a world of ice, Disney finds great warmth. It’s the sort of cutesy irony that sounds like it should be coated in sugar, but with Frozen , Disney takes the sweet concept and transforms it into their most poignant and powerful picture in over a decade. Or nearly even two decades if you consider that the Mouse House hasn’t unleashed such gorgeous tunes and such engaging storytelling since the mid-90s portion of their beloved Renaissance period. That’s tall praise from a Disney fan, perhaps, but Frozen is the kind of whip-smart and emotionally enchanting picture that inspires such crazed, buzzing enthusiasm.

As much a tribute to the hallowed history of Disney princesses as it is a modern revision of Disney’s classic love story, Frozen conjures that special brand of studio magic and applies it to a terrific tale of sisterhood. Elsa (voiced by Idina Menzel), the young heir to the throne of a quaint Scandanavian kingdom, has the power to shoot blasts of ice from her fingertips, something that delights her little sister Anna (voiced by Kristen Bell). It’s a fun power for play, but Elsa cannot control it and so her abilities are more threat than thrill. In order to protect Anna, Elsa locks herself away in her room for years and painfully — though importantly — severs her relationship with her sister.

Based loosely on Hans Christian Andersen’s The Snow Queen , Frozen is about what happens when Elsa comes out of hiding and the two sisters have to interact with years of hurt and loneliness between them. This personal, dedicated conflict is delicately delivered with honest heartache and a refreshing maturity. Anna and Elsa are both partially responsible for this predicament, but they’re also victims of a dangerous power they don’t yet understand. This isn’t some contrived sibling rivalry, but an emotionally enriching spin on the philosophy that love conquers all, even when solitary isolation seems to be the only route to survival.

Anna and Elsa are trapped in a destructive maelstrom of magic and the story asks that Anna bravely trust her sister, reach out to her in order to help, while the conflict dictates that these sisters barely know each other, hardly have anything that connects them beyond the blood that runs cold in one of them. Metaphorically, thematically, dramatically, this is the most sophisticated and roundly artistic animated effort Disney has made in ages.

Both sisters have genuinely rewarding and intertwined arcs, so while Anna remains the protagonist throughout, Elsa is a key part of her sister’s growth and has her own challenges to face as well. She’s a queen and eventually an unintentional villainess, a twist of roles that respectfully references Disney’s earliest work with princess narratives, but she’s not beyond saving, not beyond love. She embraces isolation because it’s all she knows, but instead of taking this assumed fate lying down, she approaches it with a proud courage, a damn-it-all attitude that is revealed in her show-stopping number “Let It Go,” which lifts the onscreen emotions to the rafters as the animators match Elsa’s creativity by crafting a wondrous ice palace before our very eyes.

Much of the perfectly paced plot focuses on Anna, though, who is convinced that she is the only one who can help Elsa. Anna has a habit of impulsively leaping into a situation and underestimating the surrounding dangers, but Bell fills the character with such feisty, feminine smarts that we know she’s capable of making the right decision and that her headstrong stubbornness is a virtue instead of a fault. She first meets handsome Hans (voiced by Santino Fontana) and later recruits the gruff Kristoff (voiced by Jonathan Groff) on her journey to find her recently self-exiled sister. Kristoff comes with a sidekick, a friendly, carrot-chomping reindeer named Sven whose only voice is provided by Kristoff’s ventriloquist act.

Together, the group meets Olaf (voiced by Josh Gad), an obliviously optimistic snowman given life thanks to Elsa’s magic. These new additions provide plenty of comic relief and rather amazingly, the comedy sticks. Olaf is a goofy looking fellow, but Gad gives him a soft, friendly personality that is immediately infectious. He can’t help but look on the bright side of everything and his attempts to be friends with absolutely everyone are so charmingly innocent that it’s easy to enjoy the little guy’s presence. Olaf even gets his own song, all about how much he craves summer and time in the sun, unaware of that pesky melting problem caused by heat.

Reindeer comedy.

Each character is memorable and engaging, an accomplishment that has eluded Disney’s animated pictures for a very long time (entertaining, contributing sidekicks are a rarity on their own as well). There’s so much going on here, but Frozen remains focused at all times, never straying arbitrarily or letting any of the many pieces become a distraction. It’s an astonishing juggling act, so when the story introduces that classically nostalgic princess trope, the true love’s kiss, it’s forgivable in the context of something so impressive.

But screenwriter Jennifer Lee, who co-directed with Chris Buck, is actually in the midst of orchestrating her most beautiful feat yet. Where Frozen leads is a place of such moving grace and imagination that the movie simultaneously adds to the princess canon with tremendous originality and updates the concept of Disney heroines seeking love with a verve and vibrancy that is immensely inspiring. So, I gush. From the carefully conceived visuals to Christophe Beck’s wonderful score to the glorious songs courtesy of Kristen Anderson-Lopez and Robert Lopez, Frozen is a genuine triumph. It’s overwhelming at times, witnessing such a remarkable return to form for the studio. Defrosting has never been so tender. Anna and Elsa haven’t just warmed my heart; they’ve set it aflame.

Tagged: fairy tale , magic , queen , sister

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'Movie Review: Frozen (2013)' have 2 comments

December 16, 2013 @ 2:56 am Rhonda

I thought Tangled was a very good movie too.

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January 28, 2014 @ 4:27 pm Nekomii

I like your reviews. I think ‘Frozen’ is the first new Disney classic I’ve seen since ‘Lion King’.

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Ebiri: Frozen Captures the Classic Disney Spirit

The classic Disney animated films – the really classic ones, like the films made when Walt Disney was still alive – all possessed an uncanny ability to capture childhood emotions that were not-so-secretly also shared by adults. Think of Pinocchio and Dumbo and the feeling of being a constant outcast, too odd to get by; Sleeping Beauty and Snow White and the sense of a cruel universe lying in wait for you. The later Pixar films brilliantly and lucratively stood this idea on its head by reversing the emotional transference – often, they made movies about ostensible adults (even if they were animals, or insects, or robots) and found emotions that kids could then connect with. But it’s hard to match the knowing, earnest sadness of those older Disney movies. I keep thinking back to Peter Pan and Wendy Darling mournfully singing “Your Mother and Mine” to the Lost Boys. It’s a beautifully sad moment, tempered by a gag — even the pirates secretly lying in wait for them outside Hangman’s Tree start to cry. But the gag itself is funny ‘cause it’s true, to quote a more contemporary, non-Disney animated character we all know and love.

Frozen is one of the few recent films to capture that classic Disney spirit. Extremely, extremely loosely based on Hans Christian Andersen’s story “The Snow Queen,” it’s the tale of two princesses raised in the same kingdom under different circumstances. Elsa (voiced by Idina Menzel), the oldest, possesses the rare power to turn everything she touches into ice; unable to control it, she’s grown up in seclusion, a prisoner in her own castle. Anna (Kristen Bell) itches to discover the world, to find adventure and friendship and love. On the day of Elsa’s coronation, one sister trembles at the idea of confronting the populace, while the other is raring to go. Things spin out of control (as they must) and before you know it, Elsa has sent the entire kingdom into an eternal ice age and fled into the mountains, where she builds herself an elaborate, Fortress of Solitude-like ice castle. Anna sets out to find her, with the help of a dashing mountain hunk named Kristoff (Jonathan Groff) and a goofy talking snowman named Olaf (Josh Gad).

From the loneliness of children, and the fright and anticipation it breeds, to the fear of not being able to control your own fears and emotions, Frozen packs a lot of emotional resonance into its story. This is a film about some surprisingly sad characters — Elsa with her unconquerable solitude, Anna with her anxieties about never doing right by the sister she loves. Even Olaf’s best jokes have a veiled edge of hurt to them. Not knowing anything but winter and ice, he’s looking forward to the day the sun finally comes back out; he has a hilarious, slightly creepy song about finally doing “what frozen things do in summer.”

Is it perfect? No. The villains and the romantic elements feel a bit tacked-on, and the songs, which by themselves are quite good, are predictably deployed; the movie feels like it’s already preparing for its inevitable Broadway debut. (I’m assuming Disney’s Frozen on Ice is already in the works.). But maybe some of that predictability simply goes with the territory. Frozen is a fairly old-fashioned movie, even with a couple of the welcome twists it adds to the usual true-love-will-save-you storyline. Watching it, you’d never guess the last couple of Pixar decades ever happened. (Oddly enough, directors Chris Buck and Jennifer Lee were both responsible for two of the more innovative non-Pixar animated films of recent years – he directed Surf’s Up and she wrote Wreck-It Ralph .) Even the 3D animation in Frozen has a certain handmade elegance; it feels more like something out of Sleeping Beauty than the hi-tech, aerodynamic cartoons we tend to get nowadays. (That said, the photo-realistic snow is a wonder.) Maybe it’s not fast-paced or jokey enough for everybody. But something tells me Uncle Walt would totally dig this one. Go see it, especially if you have daughters.

Oh, and get there on time. “Get a Horse,” the 3D short that plays before Frozen , is absolutely eye-popping. It blends the aesthetics of the original Mickey Mouse and savvy use of the proscenium to create what must be the most startling 3D experience I’ve ever had. No joke, it nearly turned me into Uncle Josh at the Moving Picture Show ; I kept taking my glasses off to make sure that Mickey fucking Mouse wasn’t standing right there in front of me.

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Den of Geek

Disney’s Frozen review

Walt Disney Animation Studios finally - finally! - brings The Snow Queen to life. And you never dreamed it'd be this good...

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When I was 16 years old, I took my then-infant cousin to the cinema, notionally as a treat for him. The only thing available for us to see was Disney’s  Beauty And The Beast . He quite liked it, save for an insistence that he needed a toilet break at an inopportune moment. Me? It blew me away. It still does. It’s one of my favourite films of all time, the best Disney animated movie, and the film I’ve watched more than any other. It unlocked a lifelong love (quite often a tough love) of Disney animation, that’s killed my bank account ever since.

The biggest compliment I can thus give  Frozen  is this: somebody watching it is going to feel the same way about Disney’s latest that I felt over 20 years ago when I first saw  Beauty And The Beast . At its peak,  Frozen  is Walt Disney Animation Studios firing with everything, demonstrating why it’s emerged in recent years as the most interesting mainstream producers of feature animation (with terrific features such as  Wreck-It Ralph ,  Tangled ,  The Princess And The Frog  and  Winnie The Pooh ). And this is very much a Disney film, the kind you feel nobody else could make. It’s a fairytale, but co-director Jennifer Lee’s screenplay manages to modernise it, whilst never losing the feeling of tradition. There’s no cheating here – it’s the story itself that’s been made more relevant, rather than any gimmicks attached around it.

But I’m racing ahead. This is, as longtime Disney geeks (guilty as charged) will happily tell, the final realisation of the many, many attempts to bring Hans Christian Andersen’s  The Snow Queen  to the big screen in animated form. Many brilliant Disney people have tried before, most notoriously when a fascinating-looking hand-drawn venture fell apart just over a decade ago. But the team this time around, led by co-directors Jennifer Lee and Chris Buck ( Tarzan ), have utterly cracked it.

They’ve done it by adjusting the story, and making it the tale of two sisters, Elsa and Anna. This single switch, of making the lead two characters related, has immense pay-off. Courtesy of an excellent opening sequence, we learn that both have magical powers, but an accident puts in place what looks like a lifelong division between the pair. This is most wonderfully demonstrated by the tremendous, moving song ‘Do You Want To Build A Snowman?’ And to zoom in on that for a second, it’s that one song bundles together so much of what  Frozen  gets right.

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Firstly, it demonstrates that this is a film with personal – rather than world-ending – stakes at heart, that matter all the more as a consequence of being so contained. It’s a song ostensibly about a physical door between two sisters – giving nothing away – that symbolises them being driven apart.

It’s also a song that sees Disney heading back to Broadway – just as it did in the late 80s/early 90s – for its muscial spark. And it finds it, not least in the firm of  The Book Of Mormon  and  Avenue Q  songwriting pairing of Kristen Anderson-Lopez and Robert Lopez, who penned the tunes here (backed by a gorgeous Christophe Beck score). They prove inspired choices, as does the lead voice pairing of Kristen Bell and Idina Menzel, with Disney’s casting department eschewing huge movie star names for absolute musical talent and appropriateness for the key roles (further examples: Alan Tudyk, Josh Gad and Jonathan Groff. There’s not a weak link in the voice cast).

It’s a big series of decisions, and pretty much every one of them is bang on. Disney ran away from songs sung by characters as a storytelling device for a while, but in  Frozen , it demonstrates that when done properly, that approach can result in something really rather special. It’s back to the old adage of economical storytelling through terrific songs. At least three of the numbers here are flat-out excellent, and one of them – ‘Let It Go’ – will be winning an Oscar next year. You can put me down for a quid or two on that.

Still, it’d be remiss not to note that there are moments in  Frozen  when you wonder if it’s veering a little bit too close to  Beauty And The Beast , or possibly taking an ingredient from one or two other features (which I won’t name for fear of spoiling the film). Furthermore, as much fun as the supporting characters are – Disney Stores will sell a lot of Olaf toys – we’re not  quite  at the level of Sebastian or Cogsworth here. That said, when the focus is firmly on Anna and Elsa, as it is for most of the film,  Frozen  is just terrific. Much will be made of the fact that we get two female leads powering a Disney movie here (heck, two female leads powering a blockbuster movie full stop), but that overlooks something even more fundamental: the two main characters are both superb creations, who you can’t help but care about and, to varying degrees, root for.

Directors Buck and Lee have clearly approached the whole project with real intelligence. They’re adept at spotting when to pull back on the songs, they put some gorgeous cinematic sequences on the big screen – the animation really is something to behold – and they generate more than one goosebump moment in the sublime telling of the story.

Furthermore – crucially – they get that it’s the small things that matter, and by getting so many of those less showy moments spot on, the big moments soar. To their further credit,  Frozen ‘s also not scared of taking a few interesting left turns, which again, we won’t spoil here. That the film’s a virtually seamless marriage of comedy, action, drama and music is some achievement as well.

It’s an almost pinch-yourself moment when you realise that  The Snow Queen  has burst out of a sustained term in development hell and ended up as good as it is. It’s not a faithful telling of the story by pretty much any measure, and if you’re a Hans Christian Andersen purist, chances are you’ll be setting up a Tumblr or Facebook protest page in the coming weeks. But as a mainstream family animated motion picture, it finds Walt Disney Animation Studios in incredible shape, the peak of a turnaround that started quietly with  Meet The Robinsons , and has been building for years.

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Frozen ‘s brilliance isn’t good news for everyone, though. Right now, if I was one of the team making Walt Disney Animation Studios’ fascinating-looking 2014 release,  Big Hero 6 , I’d be breaking out in a cold sweat at the thought of following it into cinemas. For everyone else? This is the best Walt Disney Animation Studios movie in a generation, and the best family movie – by a considerable distance – of the year. It’s an astounding piece of work, and the kind of film that we’ll still be buying on whatever’s replaced DVD in 30 years’ time.

Just wonderful. In the sage words of Marty McFly, “Your kids are gonna love it…”

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Simon Brew | @SimonBrew

Editor, author, writer, broadcaster, Costner fanatic. Now runs Film Stories Magazine.

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"Frozen II" has an autumnal palette, with russet and gold setting the stage for an unexpectedly elegiac tone in the follow-up to one of Disney's most beloved animated features. Even the irrepressibly cheerful snowman Olaf ( Josh Gad ), now permafrosted so even the warmest hugs don't melt him, is worried about change as the leaves turn orange and float down from tree branches. He is confident, though, that as soon as he gets older he will understand everything. After all, that's what he expects from Elsa ( Idina Menzel ), Anna ( Kristen Bell ), and Kristoff ( Jonathan Groff ). Anna reassures him (in song, of course) that yes, some things change, but some things are forever. She tells him that even when you don't know the answers you can always just do the next right thing, and that will help. 

"Frozen II" is funny, exciting, sad, romantic, and silly. It has great songs and a hilarious recap of the first movie, and then it is all of that all over again. Plus an extra scene ALL the way at the end of the credits. This sequel can seem overstuffed at times, and tries a bit too hard to replicate the magic of the first film, but it is impressively willing to engage with some complicated issues in a frank manner that is accessible to children and insightful even for adults. 

It throws a lot at us, like rock monsters, a cute fire salamander, and a magnificent water horse (the latter two likely to appear on holiday gift wish lists). The settings are gorgeously imagined and wonderfully inviting. Anna has a sensational new wardrobe. We learn family secrets, some comforting, some painful. Characters confront some of the most daunting human questions about loss, change, trust and how we can best heal the wounds of the past.

In a charming flashback, we see the princesses as little girls, playing together happily and being put to bed by loving parents. The king tells them a bedtime story from his own childhood about visiting an enchanted forest with his father to celebrate the completion of a dam the Arendellians built to help the indigenous people. But the gathering turned into an attack. The king was killed, and only the young prince survived, rescued by a mysterious character. Ever since, the enchanted forest has been barricaded by a powerful mist. The girls learn from their mother's lullaby that the river may hold some answers about what happened. "Dive down deep into her sound, but not too deep or you'll be drowned," the Queen sings. "When all is lost, then all is found." It's surprising how dark lullabies can get, a character points out.

In the present day, the sisters live happily in the castle, enjoying family time (Olaf is the Charades MVP) and caring for their community. But Elsa hears voices calling to her from the enchanted forest. She is afraid, but also thrilled. It is an invitation she struggles to admit that she wants to accept, leading to this film's belter ballad, "Into the Unknown." "I've had my adventure/I don't need something new ... don't you know there's part of me that loves to go into the unkn-ow-ow-own."  

And so, after a warning from Kristoff's "love expert" friend Pabbie ( Ciarán Hinds ) and Olaf's not-always-helpful fun facts commentary along the way, they reach the enchanted forest. There, they meet new characters, sing some more songs, sort out some misunderstandings and try to protect each other. They confront the consequences of bad, even tragic choices made by their family. 

Parents often ask me why children, especially preschoolers and middle-schoolers, like to watch the same movies over and over. I tell them that when everything around you seems to be drastically changing on a daily basis and you barely know yourself anymore, it can be a great comfort to have a movie friend that's the same every time. "Frozen II" is destined to be one of those movies children will want to see dozens of times. It will reward repeat viewings with both its reassuring messages about responding to change with courage and curiosity, and its challenge to understand the mistakes of the past so we can begin to work on "the next right thing" together.

Nell Minow is the Contributing Editor at RogerEbert.com.

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Frozen II (2019)

Rated PG for action/peril and some thematic elements.

104 minutes

Kristen Bell as Anna (voice)

Idina Menzel as Elsa (voice)

Jonathan Groff as Kristoff (voice)

Josh Gad as Olaf (voice)

Sterling K. Brown as Lieutenant Mattias (voice)

Evan Rachel Wood as Iduna (voice)

Ciarán Hinds as Pabbie (voice)

Jason Ritter as Ryder (voice)

Rachel Matthews as Honeymaren (voice)

Alfred Molina as Agnarr (voice)

Jeremy Sisto as King Runeard (voice)

• Jennifer Lee

Writer (story by)

• Kristen Anderson-Lopez
• Robert Lopez
• Jeff Draheim
• Christophe Beck

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FROZEN (2013)

"much more than a princess movie".

What You Need To Know:

(CCC, BBB, V, M) Very strong Christian, redemptive, moral worldview stresses love is sacrifice, family, scenes in a church with a church choir, a song about loving people even with their faults, trolls ordaining a marriage with a book (book does not have wording), with some magical elements, but magic is seen as bad; no foul language, one mention of being “gassy”; some animated violence, including woman hitting man in the face, men fighting a large snow man, characters fall from great heights but are not harmed; no sex but one kiss; no nudity; no alcohol; no smoking nor drug use; and, the villain lies.

More Detail:

When Queen Elsa accidently freezes the entire town, her sister, Princess Anna, must convince her to bring summer back, in FROZEN. FROZEN is not only a funny, entertaining movie, with incredible animation, it also shows that true love is sacrifice.

Princess Anna and Elsa are best friends and sisters. One night Elsa gets Anna up to go play in the snow. Elsa has magical powers to create the snow. When Anna and Elsa get too excited, Elsa hurts Anna badly. Elsa is saved, but Elsa is forbidden to come out of her room until she can control her powers. However, Anna doesn’t understand why Elsa will not come out because her memory about the accident has been erased.

All Anna’s life she believes that her sister has ostracized her, though they once were best friends. Tragically, Elsa and Anna’s parents die, the King and the Queen, and the gates of the castle are closed until Elsa can be crowned Queen. Elsa is thrilled about her coronation, but she’s nervous because she can’t control her powers yet.

The coronation goes well. However, when Anna meets Prince Hans and decides she wants to marry him, things get out of control. Queen Elsa doesn’t want her sister marrying someone she just met, but Anna fights with her. This leads Elsa to become enraged. She freezes the entire kingdom and runs away.

Once Elsa is in the mountains, she builds herself an ice castle and enjoys being able to use her powers. Anna knows that her sister needs love. She goes to find her and bring her back, putting Prince Hans in charge in the meantime.

On her way to Elsa, Anna meets Kristoff, who decides to help her. However, it isn’t until Anna meets Olaf, a snowman that her and her sister had made when they were little, does she feel hopeful of her mission to find her sister. Together, Anna, Olaf, Kristoff, and Kristoff’s reindeer go through storms and snow to find Anna and show her she is loved.

FROZEN is one of the best modern day Disney Princess movies. It shows that love is not about lust. When Anna believes she has true love after meeting someone for a day, she’s told that true love is really about sacrifice. Though Princess Anna and Queen Elsa have special powers, the powers are not the conflict in the movie. Anna learns that there is a right and wrong and that you cannot just alienate yourself, but you must help others. Overall, FROZEN has a very strong redemptive, moral worldview.

FROZEN has incredible animation and wonderful songs. There are plot twists that enhance the movie positively. Not only does the movie have an inspiring worldview, great story line and incredible animation, it’s also very comical. FROZEN truly is one of Disney’s best Princess movies.

A short cartoon before FROZEN brings back the old Mickey and Minnie Mouse characters. The villain, Pete, is trying to kidnap Mini. He throws Mickey out of the black and white world into the world of 3D. After figuring out how to use the 3D world to his benefit, Mickey is able to get Minnie back. There is some animated violence in the short. Pete is stabbed in the behind multiple times by a pitchfork. Overall the short is cute, but uses animated violence for comic relief.

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• Fearless optimist Anna teams up with rugged mountain man Kristoff and his loyal reindeer Sven in an epic journey to find Anna's sister Elsa, whose icy powers have trapped the kingdom of Arendelle in eternal winter.
• Fearless optimist Anna teams up with rugged mountain man Kristoff and his loyal reindeer Sven and sets off on an epic journey to find her sister Elsa, whose icy powers have trapped the kingdom of Arendelle in eternal winter. Encountering Everest-like conditions, mystical trolls and a hilarious snowman named Olaf, Anna and Kristoff battle the elements in a race to save the kingdom. From the outside Elsa looks poised, regal and reserved, but in reality she lives in fear as she wrestles with a mighty secret: she was born with the power to create ice and snow. It's a beautiful ability, but also extremely dangerous. Haunted by the moment her magic nearly killed her younger sister Anna, Elsa has isolated herself, spending every waking minute trying to suppress her growing powers. Her mounting emotions trigger the magic, accidentally setting off an eternal winter that she can't stop. She fears she's becoming a monster and that no one, not even her sister, can help her. — DeAlan Wilson for ComedyE.com
• Anna, sister of the queen Elsa, sets off on a dangerous, mysterious journey to bring back Elsa, who has run off after imposing an endless winter upon her hometown. Anna must overcome challenges and meet new friends, such as Olaf, an adorable talking snowman, and face her charming boyfriend to save the kingdom from not only Hans, but from eternal winter. — Frozenfin
• When their kingdom becomes trapped in perpetual winter, fearless Anna joins forces with mountaineer Kristoff and his reindeer sidekick to find Anna's sister, Snow Queen Elsa, and break her icy spell. Although their epic journey leads them to encounters with mystical trolls, a comedic snowman, harsh conditions, and magic at every turn, Anna and Kristoff bravely push onward in a race to save their kingdom from winter's cold grip. — Jwelch5742
• After an inadvertent mistake, Princess Elsa of Arendelle and Anna, her younger sister, go their separate ways. As a result, Elsa, a powerful conjurer of snow and ice, holes up in her ice palace to keep her ever-growing gift, or curse, at bay. However, conflicting emotions and bottled-up feelings threaten to plunge the enchanting realm into eternal winter. Now it's up to Anna to save the day with a fearless team of unlikely allies: the kind Sámi ice-harvester Kristoff, his trusty reindeer companion Sven, and Olaf, the cheerful snowman. But love is fragile. Can things work out for the once close-knit sisters? — Nick Riganas
• The Walt Disney Pictures logo and the movie title appear to the Norwegian song "Vuelie". In a winter landscape, ice harvesters use saws and hooks to cut blocks of ice from a lake, chanting as they work about how ice is a powerful force that's both beautiful and dangerous ("Frozen Heart"). They load the ice blocks onto their sled and ride off. A young eight year old boy named Kristoff ( Jonathan Groff ) works alongside them (not very expertly), accompanied by his reindeer Sven (sounds: also Jonathan Groff ). They try to imitate the ice harvesters with a single cubical block of ice and a small child's sled, and follow them away as the Northern Lights fill the night sky. The camera follows the Northern Lights through the sky, before panning down on a stave castle, located on the shores of a Scandinavian fjord, ringed in by cliffs. That night, Princess Elsa of Arendelle ( Eva Bella ) is fast asleep when her five year old sister Princess Anna ( Livvy Stubenrauch ) tries to wake her up, wanting Elsa to play with her. Elsa playfully brushes Anna off, until Anna asks, "do you wanna build a snowman?" to which Elsa delightfully agrees. Fully awake, the two sisters run downstairs to the ballroom. At Anna's urging, Elsa waves her hands, conjuring up a snow crystal, which she then shoots into the air. It explodes, raining snow down on them. To enhance the winter playground, she then stomps her foot, covering the entire floor with ice. They create a snowman that she nicknames Olaf, who likes warm hugs. The girls play gleefully with Olaf until Anna makes a leap Elsa wasn't prepared for and the blast of power meant to create a pile of snow hits Anna in the head, knocking her out and turning several strands of her hair white. Their parents, King Agdar and Queen Idun rush in, responding to Elsa's cries of anguish. They check on Anna and find her cold to the touch. Agdar and his wife hastily load both girls onto their horses and ride at full speed into the mountains. As the royal family gallops through the forests at full speed, they pass by Kristoff, who is still being dragged on his sled by Sven. He becomes curious about the fact that one of the horses is leaving behind a trail of ice, in the middle of the summer. Kristoff and Sven follow the ice trail to an empty clearing that appears to only be populated by a large assortment of moss-covered boulders. From the edge of the clearing, Kristoff watches as Agdar asks the motionless boulders to help him. Seconds later, all the boulders roll into a large circle around Agdar, Idun, Elsa, and the unconscious Anna. The rocks uncurl, revealing themselves to be trolls. The "boulder" Kristoff and Sven are watching the event from behind is another rock troll named Bulda, who immediately decides to adopt the visitors after Sven licks her. Grand Pabbie ( Ciarán Hinds ), the leader of the trolls, shows up and asks Agdar if Elsa was born or cursed with her abilities. He observes that Anna is lucky she was hit in the head, as a hit to the heart would have been fatal. He advises the family that it might be best if Elsa doesn't use her powers around Anna. He alters Anna's memories so she has no knowledge of her sister's powers, remembering only the fun they've had (for instance, Anna will remember her indoor castle ice rink as a mundane winter day). Grand Pabbie warns Elsa that her powers will grow, and although they are beautiful, they will be a great risk to her if she cannot learn to control them, as fear will be her greatest enemy. So Agdar and Idun take measures into their own hands based on what Grand Pabbie has told them. The palace is closed to most visitors. Staffing is reduced to a minimum. Anna and Elsa are separated, and having no memory of what has occurred, Anna is unable to comprehend why Elsa is not allowed to play with her. She often comes to Elsa's closed door and tries to coax her out by asking her if she wants to build a snowman ("Do You Want to Build a Snowman?"). As a further precaution, the sisters are also kept from leaving the castle. While Anna's life is dull but normal, Elsa's powers grow stronger as she matures. Her father cautions her to wear gloves to keep her icy magic in check, and to conceal her feelings, because strong emotions seem to cause her powers to manifest in unexpected ways. Ten years after the accident, the now teenaged princesses become orphans when their parents' ship capsizes in a storm, drowning them. After the burial, Anna goes again to Elsa's door, pleading for consolation from her only remaining family member. But Elsa, though she sits sadly on the the other side of the door, refuses to communicate with Anna. Three Years Later: Elsa (now voiced by Idina Menzel ) is now 21 years old, comes of age, and the castle prepares to crown her as the kingdom's queen. Dignitaries from around Europe are coming to visit, including the Duke of Weselton ( Alan Tudyk ), who wants to run Arendelle's profits dry. Elsa is nervous about emerging from her seclusion and receiving the many guests. When Elsa gives the order to open the castle gates, Anna (now voiced by Kristen Bell ) eagerly rushes out into the city ("For the First Time In Forever"). As Anna strolls out onto the streets, she crashes into a horse belonging to a charming and handsome visitor, and falls into a rowboat. The visitor apologizes and introduces himself as Prince Hans of the Southern Isles ( Santino Fontana ), in town for Elsa's coronation. Though Anna is angered at first by Hans's clumsiness (after inadvertently falling on top of her in the rowboat due to said rowboat teetering on the side of a dock and being balanced only by a leg from Hans's horse), she seems smitten by him once she has a real good look at him. Anna runs off when she hears the church bells. Elsa remains nervous during the coronation ceremony. The bishop ( Robert Pine ) has to remind her to remove her gloves before she takes up her golden orb and scepter. Holding them, she turns to face the congregation, but almost immediately panics when she sees the gold of the orb starting to frost while the bishop is bestowing her authority on her. She returns the orb and scepter hurriedly to the bishop and puts her gloves back on. At the coronation reception a couple hours later, Kai introduces Elsa and Anna to the crowd. Anna's first friendly interaction with Elsa in years brings quite the delightful feeling to Anna, flustered at first, as well as seeing Elsa so happy instead of serious and preserved boosts Anna's confidence, prompting her to continue on with the conversation. They're interrupted afterwards by Kai introducing to them the Duke of Weselton. The Duke is a buffoon (to the point that a running gag throughout the movie is people calling his home place "Weasel Town"), but an important trading partner. Elsa politely declines his offer to dance with her, but instead playfully volunteers Anna, much to the Duke's delight nonetheless, and the two head off into a comical dance scene. Elsa can't resist chuckling seeing Anna get innocently flustered by the Duke's over-the-top (and incredibly terrible) dancing skills. This causes Anna to feel just as whimsical about the entire matter, for seeing Elsa in such a state hasn't been a sight for years. Anna returns by Elsa's side afterwards, commenting on how well things have been going through the day, and expresses her wishes to have things the way they were that night all the time. Elsa does agree, though her smile quickly fades away as memories of the night she froze Anna's head come floating back to the surface, and she reluctantly denies Anna's wishes all at once despite failing to explain why so. Anna then takes to the floor with Hans. The two of them quickly sneak off to spend the evening together, quickly realizing the mutual attraction between them. The romantic dance eventually leads to an entire date ("Love is an Open Door"), with the entire night of the young couple being spent bonding. Hans, during their time together, learns of Anna's longing of having someone special in her life, with her sister apparently developing a dislike of being around her by suddenly shutting Anna out one day when they were kids. Hans openly relates to this, only furthering Anna's connection with him. Hans then promises to never shut Anna out unlike Elsa, much to the princess' absolute joy. By the end of their tour throughout the kingdom, Hans proposes right on the spot to which Anna immediately accepts. The two head back the ballroom, where Anna asks for Elsa's blessing on the marriage. Elsa's baffled by the shocking news, but Anna and Hans couldn't appear more excited going on to ramble about the wedding arrangements. Elsa ceases the sudden rambling by denying them a marriage license, much to Anna's dismay. Elsa asks to speak to Anna alone in private, likely to finally confess her abilities and why it's not wise to marry someone she just met without causing a scene that would expose her powers, but Anna refuses any private conversation, stating whatever Elsa has to say can be said to both her and Hans. Elsa, becoming impatient and frustrated, outright refuses to let Anna marry someone she just met, indirectly telling Anna she knows nothing about true love. This causes Anna to hiss back, telling Elsa all she knows is how to shut people out. Although Elsa is visibly hurt by this, she continues to refuse, with the argument only worsening when she orders the guards to end the party early and close the gates. Unable to contain her emotions, Elsa makes a violent sweep with her left arm, causing a barrier of sharp icicles to suddenly appear around her. Shocked at the room's reaction to her powers, Elsa rushes from the room. Panicking, Elsa flees with Anna in hot pursuit. As she bolts out the door, she finds a huge crowd waiting for her in the courtyard. She hastily rushes through as men applaud her. A concerned woman asks Elsa if she's all right. She is frightened enough that she backs into an ornamental fountain and freezes it solid when she grabs it with her left hand. The Duke of Weselton comes out the same door moments later. Elsa pleads for people to step back, moments before another bolt of ice shoots from her hands, nearly hitting the Duke and his guards. She keeps running away, sprinting across the waters of the fjord, her feet forming an ice bridge, and vanishes into the forest on the other side of the fjord. Anna calls after her sister, but as she, Hans, and the other guests watch, the waters of the fjord completely ice over and the air takes on an icy chill. Moments later, snow begins to fall. The Duke of Weselton begins to panic, declaring they must take action and put an end to Elsa's curse. Anna, however, refuses and volunteers to seek out Elsa herself and make things right, feeling that it's her fault for pushing her. With Hans being left in charge of the kingdom, Anna sets out on horse to begin her search for Elsa. Meanwhile, Elsa has found her way to a high precipice on the North Mountain, many miles from civilization. It is here she realizes that far away from what she was taught, being on her own, she can begin to control her powers ("Let it Go"). She constructs an elaborate ice palace, changes her confining wardrobe into a shimmering dress, and vows to stay in seclusion, where she feels she can be herself, and harm no one else. The next morning, Anna is seen travelling slowly through knee-deep snow on horseback. Her journey is hindered when her horse is spooked by falling snow and runs off. She is forced to spend the rest of the day trudging through knee deep snow, all the while griping that she wishes Elsa had the ability to cover the fjords in a tropical paradise. She sighs with relief upon seeing a building with smoke coming from a chimney. Just then, Anna slips and falls into an ice-cold creek, which freezes her dress stiff. She staggers the rest of the way to the cabin with the chimney, a place known as Wandering Oaken's Trading Post and Sauna, run by its burly owner, Oaken ( Chris Williams ). Anna quickly staggers into Oaken's store. He doesn't have much winter gear in stock (it's supposed to be the off season), aside from one pair of boots and a single women's mink coat. Anna inquires if Elsa has visited recently, but Oaken tells her that she's the only person crazy enough to be out in a storm like this. As if on cue, Kristoff staggers in out of the storm, seeking to buy some rope, an ax, and carrots for Sven. Oaken can't help but notice that Kristoff is bundled up tightly. Kristoff replies that there's a real howler going on up on the North Mountain. As Anna waits for Oaken to return his attention to her, Kristoff argues with Oaken over the outrageous price gouging on the items he needs (due to Oaken claiming that there's a supply and demand problem since Kristoff is buying from the almost-bare shelves of the winter department), which ends with Oaken roughly throwing Kristoff out into the snow after Kristoff makes the mistake of calling him a crook. Kristoff and Sven take refuge in a barn on Oaken's property, but are soon met by Anna, who has bought Kristoff's supplies for him, on condition he take her up the North Mountain immediately. Kristoff eventually agrees. Anna and Kristoff set off into the night with Sven driving. As the discussion turns to Elsa, Anna explains about her whirlwind engagement to Hans. Kristoff is incredulous at Anna's foolhardiness in getting engaged to someone she just met that day, to the point that he quizzes her about Hans to see how little she really knows about him. Their conversation is interrupted when the sled is ambushed by a pack of wolves. Kristoff is initially reluctant to let Anna assist him, but Anna proves to be useful and manages to take out a few of the wolves by herself. There is a moment of panic when the two see a gaping ravine up ahead. Kristoff hurriedly throws Anna onto Sven's back, then, just as they reach the cliff, he uses his knife to cut Sven's harness. Anna and Sven successfully clear the chasm, and Kristoff does, just barely, but his sled falls to the bottom of the ravine and explodes. Kristoff is at first upset that his sled is gone (as he'd just paid it off), but after "arguing" with Sven (which consists of Kristoff speaking his own opinion in his own voice and then delivering Sven's "counterargument" in a goofy voice), decides to help Anna keep going, worried for her safety. Anna promises she will replace the sled. Early the next morning, Anna and Kristoff enter a frosted-over glen. They suddenly hear a new voice and meet a talking snowman named Olaf ( Josh Gad ). The introductions don't go smoothly, as Anna screams and kicks Olaf's head off upon first seeing him. Anna doesn't recognize Olaf until he gives his name and adds, "and I like warm hugs." This jogs Anna's memories and she remembers building him with Elsa when they were young. Anna and Kristoff mention that they're looking for Elsa so they can restore summertime, and Olaf suddenly grows excited; it's his dream to see what summer is like, and he fantasizes about what he wants to do in the summertime in a Busby-Berkeley dance number ("In Summer"). Anna and Kristoff choose not to reveal that he will melt in the summer heat, but follow him as he leads them to Elsa's ice palace. In the late afternoon, Anna, Kristoff and Olaf arrive at Elsa's ice palace. Sven waits at the bottom of the stairway leading up to the front doors, as his feet can't get a grip on the icy steps. Meanwhile, when they get to the front door, Anna tells Kristoff and Olaf to wait outside, warning them that the last time she introduced Elsa to a guy, she froze everything (making Elsa look like an overprotective sister). The dejected Olaf and Kristoff wait outside and start counting to 60 while Anna heads inside. Inside, Anna is stunned at the glorious interior of the palace and, even more amazed, to see the new ice dress Elsa has conjured for herself. Though Elsa is happy to see Anna and quickly forgives her for the argument that happened at the coronation party, she becomes nervous and suggests Anna leave so she can't do any harm to her. The conversation is momentarily interrupted when Olaf crashes the meeting (having taken Anna's request of "give us a minute" quite literally). Elsa is astonished to find that her powers include the ability to conjure up living snowmen. As it turns out, Elsa is surprised to learn that her entire kingdom is frozen, and Anna is surprised in turn to learn that Elsa doesn't know how to stop it. But Anna insists her sister's powers are no reason why they should be so distant. However, having seen Olaf, Elsa flashes back to accidentally hitting Anna in the head with her snow abilities and grows scared, demanding Anna leave. Elsa retreats to the upper portion of the palace, and Anna follows her, pleading with her sister that they can solve this problem together ("For the First Time In Forever (Reprise)"). But Elsa grows so upset that she unleashes an icy chill, of which a portion accidentally strikes Anna again but this time in her heart. Elsa retreats to the upper portion of the palace, and Anna follows her, pleading with her sister that they can solve this problem together ("For the First Time In Forever (Reprise)"). But Anna's promising to stand by her sister's side and help her, Elsa only grows more agitated and nervous resulting in her magic flaring. Elsa, in desperation to get her sister to safety, creates a giant snow creature (that Olaf calls "Marshmallow") to throw them out. Marshmallow deposits Anna, Kristoff and Olaf on the front steps outside the ice palace. Though he initially leaves them alone, Anna is pissed off and quickly throws a snowball at him. Marshmallow is provoked, and chases Anna and Kristoff into the woods. Marshmallow manages to corner them at the edge of a cliff, though Kristoff immediately begins digging a snow anchor by using a rope to safely guide himself and Anna down the mountain to safety. Marshmallow, however, catches up to them, though Olaf tries to stop him (to comically little success). Marshmallow, annoyed, kicks Olaf over the cliff, and continues his chase for Anna and Kristoff. He pulls them up to his face by the rope, and screams in their face "DON"T COME BACK!". Anna then grabs Kristoff's knife and cuts the rope. This sends the duo into free fall, onto a twenty foot deep pile of fresh snow. With his mission to drive them away complete, Marshmallow returns to the ice palace. As they recover from the landing, Kristoff notices that Anna's hair has started to turn white. Fearful that she may be injured, Kristoff takes her to his family...who happen to be a group of rock trolls -- the same ones that saved Anna many years before. Kristoff explains that as he had no family at a young age, the trolls took him and Sven in. The trolls are overjoyed to meet Anna, and at first they eagerly believe that she is Kristoff's steady girlfriend, so they try to marry them in a dance number ("Fixer-Upper"), and almost get all the way through the vows before being stopped by the accidental participants and Anna faints. However, he tells them that she is injured and needs their assistance. Just as he did 13 years ago, Grand Pabbie comes forward and examines Anna, but concludes that this time her sister's powers struck her in the heart. Pabbie cannot save her; Anna's heart has begun to freeze. Grand Pabbie says "an act of true love can thaw a frozen heart." Anna collapses again and her hair turns more white. She weakly tells Kristoff that Hans can surely help, and they take off for Arendelle. Meanwhile in the city, Hans has been providing shelter and help for Arendelle's people. When Anna's horse returns, riderless, Hans asks for volunteers to join him in bringing Anna back. The Duke of Weselton volunteers his two bodyguards, and secretly tells them to shoot Elsa if they should encounter her. The next morning, Hans's party arrives at Elsa's ice castle. Shortly after they arrive, Hans orders that no harm is to come to Elsa. While everyone agrees, the Duke's thugs quietly disagree, still following the Duke's orders to kill her. The moment they come close enough, Marshmallow reveals himself from the form of snow boulders piled up by the base of the stairs, and jumps right into battle. The archer immediately attack the beast with their arrows, infuriating Marshmallow and causing his ultimate form to be unleashed. Marshmallow is able to hold most of the guards off. Hans, however, proves to be a fierce warrior himself, avoiding each of Marshmallow's attacks and eventually using his sword to slice the snow monster's leg off and cause him to lose balance and begin tumbling over to a large gorge. With Marshmallow wounded, Hans begins heading inside Elsa's castle. Marshmallow, however, doesn't give up, giving one last swing in attempt to drag Hans down with him. Marshmallow fails, and plummets down into the chasm below, apparently to his death. While Hans has been battling Marshmallow, the Duke's two men have managed to use the distraction to barge up the ice steps and into the castle, where they corner Elsa. Despite her pleading for them to not shoot, they shoot at her. She quickly forms walls of ice as shields to block their shots. Eventually, she has the beardless thug pinned to a wall by several icicles and is on the verge of using a wall of ice to shove the bearded thug off the balcony. Hans and his men show up just in time and Hans pleads for her to stop, so she doesn't become the monster people accuse her of being. Elsa settles down a bit at Hans' words, realizing what she's doing. The guy pinned to the wall, still complying with the orders of the Duke, aims his crossbow at Elsa's head and prepares to shoot her. Hans suddenly runs over and deflects the bow. The arrow is released and hits the bolt attaching an icy chandelier to the ceiling, which begins to fall straight for Elsa's head. Elsa tries to run, but the falling chandelier fragments and knocks her unconscious. When Elsa wakes up, she's back at the castle in a dungeon cell, her hands chained and encased in steel mitts. As she looks out over the frozen kingdom, Hans appears, telling Elsa that Anna has not returned, and pleads with her to stop the winter. Elsa claims she can't, and must be let go to keep others from being harmed. Meanwhile, Kristoff and Sven arrive at the castle. Anna's condition has grown worse Kristoff tries to keep her warm by giving her his hat. Several of the castle staff escort her in; she looks back as Kristoff and Sven leave. Anna is brought to Hans and tells him that he has to kiss her in order to save her. The castle staff in the room quickly leave to give them privacy. She explains what happened and she collapses. Hans places Anna in a chair, leans in as if to kiss her... and says "Oh, Anna, if only there was someone here who loved you!" As Anna looks at him in shock, Hans explains that as the youngest of 13 brothers, he had no chance at claiming his family's throne, so he went looking for a royal family he could marry into. Unable to get to Elsa, he made Anna's acquaintance and played on her naivete. He intended to marry her before causing some form of "accident" for Elsa that would clear his path to the throne. However, given Anna's current condition, he plans to simply let her frozen heart overcome her, then stab Elsa, ending the eternal winter. Anna tries to stop Hans, but he extinguishes the fire in the nearby fireplace before locking her in the room. It is then that Anna collapses, her hair now completely turns white. Hans goes to speak with the duke of Weselton and several other dignitaries. He claims that Elsa has caused Anna to freeze to death, but before she died he and Anna recited their wedding vows. This apparently is enough to give him full authority to declare Elsa guilty of treason and sentence her to death. The palace guards go to Elsa's cell, but are detained when a wall of the cell collapses. While they are held up, Elsa freezes her shackles to the point that they shatter, and then breaks through the wall to the outside. Meanwhile, far from Arendelle, Kristoff and Sven are trekking away when Sven urges Kristoff to go back. Kristoff claims he has no need to, but as they look back at Arendelle, a mysterious swirling cloud of snow begins to engulf the kingdom. The two then take off towards the growing danger. Olaf has managed to find Anna in the locked room, and seeing her freezing, quickly lights a fire in the fireplace. Anna explains that Hans wasn't her true love, and that Olaf should leave or he'll melt. However, the little snowman says he will not leave her side until he finds an act of true love that can save her. As they talk, Olaf recalls how Kristoff did so much to get her back to save her, when the wind blows a window open. Olaf goes to close it, but in the distance he sees Kristoff and Sven charging towards them. This gives Anna hope. She realizes that they're in love: maybe Kristoff can save her. Olaf helps her up, but in the hallway, ice springs up to block their path. Going out a window, the two slide down the castle's steep roofs. Anna attempts to make her way across the icy fjord, with Olaf close behind. However, as the wind picks up, Olaf is blown away, and Anna finds her hands are turning to ice and her face is icy. Even so, she continues to move forward, calling out Kristoff's name. Meanwhile, Hans has found Elsa wandering the ice of the fjord. Thinking he's come for her, Elsa tells him to leave her alone, and take care of Anna. Hans lies and says that Anna was killed by Elsa's magic. The pain of this causes Elsa to collapse, the snow in tears and in the air the snowflakes are suddenly hanging in stillness. The clearing of the whiteout enables Kristoff to see Anna, and he runs to her, but as Anna looks around, she sees Hans about to stab Elsa. Even with her own life at stake, Anna rushes in front of Hans, blocking the knife. As she does so, her frozen heart finally consumes her, turning her into a statue of ice, and shattering Hans' blade. Kristoff and Sven arrive seconds later. Seeing Anna turned to ice, Elsa breaks down in tears, hugging her sister. No one is sure what to say, when Anna's icy form begins to change and gain color, and she returns to normal! Anna broke her own spell: saving Elsa was an act of true love. And her hair turns back to normal and her streak is gone. It is then that Elsa realizes what can end the winter: love. And with this realization, she dissipates the ice and snow, and summer returns to the kingdom. Olaf is found, and before he can melt, Elsa creates a perpetual snow flurry above his head, which lets him survive the summer heat. In the aftermath, Hans is taken back to his kingdom by a French ambassador, who promise to see he is punished for his attempted regicide. The duke is as hotheaded as ever and tries to play the innocent victim. But remembering that he sent two men to kill her, Elsa issues a decree to sever all trade with Weselton. To piss the duke off even further, she tells the messenger to call his duchy "Weasel Town." Meanwhile, Anna makes good on her promise and replaces Kristoff's sled. She also tells him that Elsa has appointed him the castle's official ice deliverer. Kristoff is so grateful that he kisses her. If he wonders why a queen who can conjure ice out of thin air needs ice deliveries, he keeps the question to himself. Having come to grips with her powers and learning they can be a blessing and not a curse, Elsa uses them to create a wintry spectacle in the summer sky. She also turns the castle's courtyard into an ice rink, where she informs Anna that the gates to the castle will never be closed again. With the city's people in attendance, the sisters skate around the rink, happy that they are finally together again. After the credits are over, we cut back to Elsa's ice palace, where it's revealed that Marshmallow survived the fall after Hans cut off his leg. Wandering through the empty ice palace, he finds the tiara that Elsa tossed away during "Let It Go", and puts it on his head, smiling to himself, and the spikes and fangs on his back quickly retract.

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Frozen (2013)

Hollywood family fare, like mainstream Hollywood fare generally, remains thoroughly boy-centric — dishearteningly so, for this father of three daughters. For every Merida or Rapunzel, there are 10 male heroes or more.

Guys get buddies, too. Mike and Sully, Woody and Buzz, Shrek and Donkey, Lightning and Mater, Manny and Sid and Diego. Girls don’t get buddies. A heroine might be opposed by a villainess or adversary, and Pixar’s Brave broke new ground with its mother-daughter story. Overwhelmingly, though, a major positive female character in a cartoon is the only one. A cartoon like Frozen with two young heroines is practically unheard of.

Artistic/Entertainment Value

Moral/spiritual value, age appropriateness, mpaa rating, caveat spectator.

There’s nothing I’d like more than to tell you, at the end of this year of relentlessly disappointing family fare, that Frozen —  very loosely inspired by Hans Christian Andersen’s The Snow Queen — is a musical fairy-tale triumph: a throwback to the days of Beauty and the Beast , like many critics are saying.

Actually, Frozen is most obviously a soul sister to Disney’s other computer-animated musical fairy tale, the similarly named Tangled . It’s like Tangled with double vision: Instead of one princess growing up imprisoned behind closed doors, isolated, separated from her parents, we have two: Anna (Kristen Bell, Big Miracle ) and her elder sister Elsa (singer-actress Idina Menzel), heir to the throne of Arendelle. In a way, Anna and Elsa are like two halves of Rapunzel: Elsa has a magical gift — cold-bringing powers she can’t control — that has occasioned their imprisonment, while Anna yearns to experience the world outside.

Also, where Tangled had one hunky, action-hero love interest (Flynn Rider) and one domesticated anthropomorphic ungulate (Maximus the horse), now there are two: gallant Prince Hans (Santino Fortana), with his horse Sitron, and scruffy mountain man Kristoff (Jonathan Groff) with his reindeer Sven. Sitron and Sven are like two halves of Maximus, too: Sitron is the dutiful Maximus, while Sven is the playful, doggy Maximus. The joke that everything is a dog is funny, but it’s getting old: The doggy cheeseburger-spider in Cloudy With a Chance of Meatballs 2 was the tipping point for me.

Frozen may be the most tragic fairy tale in the Disney canon, which is saying something. Sure, Rapunzel was stolen from her parents and raised in a tower by a witch, but at least she had her books, her art, her astronomy and her pet chameleon Pascal. Her life was painfully limited, but within those constraints, she achieved some measure of accomplishment, fulfillment and even happiness.

Now consider poor Anna, who grows up literally outside Elsa’s closed door, plaintively singing   “ Do You Want to Build a Snowman?” And Elsa never, ever opens the door to her sister: literally at first, and later emotionally, for pretty much the entire movie.

Throughout the film, Anna talks as if she knows Elsa: “Elsa would never hurt me,” she keeps saying, but all she really has of her sister are childhood memories — and even those aren’t reliable, because they’ve been magically tampered with. You see, Elsa did hurt Anna once, though it was an accident.

More tragic than the accident was the parents’ misguided response, which was to keep the girls locked up and separated, covering up both Elsa’s ice-inducing fingertips and her emotions: “Conceal / Don’t feel / Be the good girl you always had to be” is a recurring lyric.

So Elsa blames herself for her sister’s brush with death, fears to be around her or anyone else and trembles under the weight of her parents’ expectations. She is another victim of Squelched Girl Syndrome : another casualty of a world that won’t let girls be girls, like the heroines of Tim Burton’s Alice in Wonderland and DreamWorks’ Monsters vs. Aliens . I love strong heroines like Merida, but this kind of Reviving Ophelia feminism is so not what I want for my daughters.

Meanwhile, Anna doesn’t understand Elsa’s aloofness because of her memory problems. Have I mentioned that the parents die early in the story?

At last Elsa’s anxieties crystalize, so to speak, and she heads for the hills, exiling herself to an icy fortress of solitude of her own making. This sequence gives Broadway veteran Menzel a chance to belt out a triumphant power ballad, “Let It Go,” celebrating her empowerment and emotional release — though the celebratory tone of the song is jarringly out of step with the larger dramatic context.

Not only has Elsa abandoned Arendelle on her coronation day, she’s inadvertently left the kingdom bound in snow and ice, possibly in perpetual winter. She’s also abandoned her sister. Having grown up in crushing isolation, Elsa’s bid for freedom comes by way of even greater isolation. She might as well be singing about a winter's day in a deep and dark December, building walls of a fortress deep and mighty that none may penetrate. (I’ll leave it to others to ponder the possible homosexual subtext of Elsa being born different, told to conceal her nature, and finally coming out; my concerns are along other lines.)

Fortunately for Anna, who’s left to try to clean up the mess, she has allies. There’s Hans, with whom she had a Meet Cute and a whirlwind romance, and who seems like a totally stand-up guy: chivalrous, humorous, dependable in a pinch, heroically courageous, able to rise to almost any occasion.

Hans is almost too good to be true, though there’s no indication that he isn’t true. Hans and Anna’s whirlwind romance seems no more hasty than the love at first sight of Sleeping Beauty or Snow White , though Frozen jerks us back to reality when a shocked Elsa tells her sister that she can’t marry someone she’s only just met — and Kristoff tells her the same thing. (Hans and Anna’s falling-in-love song, “Love Is an Open Door,” is one of many forgettable numbers, and, like “Let It Go” is emotionally out of step with the larger drama, though that will be most evident on multiple viewings.)

Kristoff is no slouch himself: decent, self-reliant, hardworking and content with his lot in life. With Kristoff’s help, Anna sets out to find Elsa and thaw their relationship, not to mention the kingdom.

For a while, it looks like Frozen might turn out to be a breakthrough for male heroes as well as females. Yes, female protagonists are rare in contemporary Hollywood animation, but so are strong, heroic male leads (more on this in a moment). To have two viable romantic leads, either of whom might make a worthy love interest, is as unheard of as having two female protagonists.

And here’s where we get to Frozen ’s biggest problem. Which of Anna’s three key relationships — with Elsa, Hans or Kristoff — is the movie ultimately about? Is it a traditional fairy-tale romance? Or is it a story about sister love? Either would be fine, if only the filmmakers could pull it off.

Fatally, by the time Frozen decisively answers this question, it’s too late. The movie is over, and there’s no time for the characters to actually have the relationship the movie is ostensibly about. It’s a movie more about the idea of a relationship than about an actual relationship between characters. Rapunzel had two important, complex relationships, with Mother Gothel and Flynn Rider. Anna has none. For that matter, no one in this movie does.

Meanwhile, in one of the most depressing twists of any recent animated film — I’ll try to be vague here, but I can’t avoid spoilers entirely — the filmmakers borrow a trick from Disney’s last flick, Wreck-It Ralph : There’s a Secret Villain. Then, in another bit of misdirection, a character is set up for a heroic climax that never comes, leaving him irrelevant in the end. There’s an act of love that melts a frozen heart, though in a way that may not really make sense of the symbolism of frozen hearts.

Continuing in semi-spoiler mode: I understand that, on some level, Disney is still doing penance for the relentless romanticism and passive heroines of the age of “Someday my prince will come.” It’s okay to say that a heroine doesn’t need a man to complete her. Fine.

At this point, though, Prince Charming is dead. He’s been dead for years. The Shrek franchise killed him, and his heirs are the ridiculous, preening buffoon of  Enchanted  and the various insipid suitors of Brave . Last year’s little-seen  Mirror Mirror offered the closest thing to a bona fide Prince Charming of any family film I can think of in the last decade or more (he was still kind of silly).

Hollywood animated heroes and/or love interests are allowed to be redeemed rascals ( Tangled , The Princess and the Frog , Sinbad ) or they may be seemingly unmanly misfit/underdogs who make good ( How to Train Your Dragon , Kung Fu Panda , Rio , Happy Feet , etc.). But your actual manly hero is practically a thing of the past, alas. (Have I mentioned that I also have four sons?)

Having gotten practically to the end of this review without mentioning Olaf, the talking snowman, why do I mention him now? Because he has, far and away, the movie’s funniest scene and best song, “In Summer.” Once again, the mood of the song conflicts with the reality — but this time that’s the point, and it works.

P.S. I can’t quite recommend seeing Frozen just for “In Summer.” I could almost recommend seeing it just to catch the brilliant animated short that precedes the film, “Get a Horse!”

These days, the shorts are often better than the features that follow them, but “Get a Horse!” is among the most inspired, eclipsing last year’s “Paperman” and Pixar’s “Blue Umbrella” earlier this year. How brilliant? In five minutes, I was reminded of the classic Looney Tunes short “Duck Amuck,” The Purple Rose of Cairo , Pixar’s “Presto” and “Blue Umbrella” — and not in a bad way. And it must be seen in 3-D.

Frozen [video]

Compared to Disney’s last (and only other) computer-animated fairy tale, Tangled , Frozen has twice the princesses, twice the hunky love interests, twice the domesticated anthropomorphic ungulates … but not a fraction of the humanity.

I read with interest your recent articles on the movie Frozen . I found your article on gay themes in Frozen after Googling something like “the movie frozen and gay themes.” As a father, clergyman, and culture junkie, I had noted some of the same things you did when watching that movie, and wondered if I were alone. I guess I’m not. Your introduction, in which you stated that you were torn and frustrated over the movie, expressed my exact thoughts. I wanted to like it; I love the artistry and setting (I am Scandinavian in descent), and especially the Christian elements to which you referred. You referred in your article on the question of Christian themes in Frozen to the Christian, “indeed Catholic,” elements of the movie, citing the rustic church and bishop at Elsa’s coronation. I should offer the gentle reminder that the elements you saw are as Lutheran as they are Catholic — better, they are simply “catholic.” To further underscore this (minor) point: given the period dress of the movie’s characters (nineteenth century), I think it fair to say the setting was post-Reformation Scandinavia, and therefore, Lutheran. The painting of St. Joan of Arc does not vitiate this thought at all, as Lutherans worldwide continue commemorating saints and have many pictures of saints in their churches and homes. Mostly: thank you for speaking up on Frozen . What we see at work there is but a prelude to more troubling things, and I’m glad you wrote about it. God bless you and your family. The peace of Christ be with you.

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Watch Frozen with a subscription on Prime Video, rent on Fandango at Home, Apple TV, or buy on Fandango at Home, Apple TV.

What to Know

Writer/director Adam Green has the beginnings of an inventive, frightening yarn in Frozen , but neither the script nor the cast are quite strong enough to truly do it justice.

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Frozen review – Disney's thrilling but occasionally gluggy stage musical won't let audience go

Capitol Theatre, Sydney Disney’s powerhouse musical makes its international debut on Australian stages – and becomes the only place in the world that it’s still showing

D isney unleashed Frozen onto the world in 2013. Inspired by a fairytale – it’s loosely based on The Snow Queen – Jennifer Lee’s script about sisterly love, sacrifice and loneliness (OK, it’s still Disney: there’s also a talking snowman who’s obsessed with summer) was an instant hit. It was lifted higher by spare but affecting songs, the jewel of which is the anthemic Let it Go by Robert Lopez and Kristen Anderson-Lopez. Frozen is the 16th highest-grossing film worldwide; it was the best-selling musical in the United States (now only surpassed by its own sequel and the 2019 live-action remake of Aladdin).

At Thursday night’s opening, excitement thrummed through the audience. When the first notes of the show rang out, the crowd erupted with full-throated (and fully masked) cheers. Disney is a powerful beast.

It’s no surprise that the show has been adapted for the stage. With strong international appeal and family-friendly story, it was only a matter of time before it landed in Australia – but no one anticipated that it would be the only Frozen in the world when it got here. The show was the first to announce its permanent closure on Broadway in March amid the Covid-19 shutdown, and its US national tour, too, was immediately halted. It was a sudden, stuttering end to a show that was still evolving – just one month earlier, almost two years after it opened on Broadway, the production had added two new songs to deepen the story.

Now, the only place they can be heard (aside from a few bootleg versions online) is in Sydney’s Capitol Theatre.

The musical is a padded-out, sometimes gluggy, often thrilling expansion of the film. The sisterly bond between Elsa (Jemma Rix as an adult, and the remarkably composed Deeana Cheong Foo as her younger counterpart) and Anna (Courtney Monsma as an adult, and the irresistible Chloe Delle-Vedove as a child – who nearly walked away with the whole show) is front and centre here.

Elsa can make magic with snow and ice, and after a young and enthusiastic playtime with Anna ends in disaster, their bond shatters. Elsa, struggling to contain her powers, retreats. Anna, whose memory of the incident has been removed by the Hidden Folk (folkloric elves who replace the trolls of the film), can’t understand why her sister avoids her. They sing together more here than in the film; in musical theatre convention, where singing holds the heart of everything, that means everything: it elevates the strength of their relationship.

At first, all eyes are on Elsa, who has the show-stopper. Let it Go is the act one closer, and the final half of the act occasionally feels like a waiting game for the song that lifts you out of reality into musical elation, but when we get there it’s clear that it was worth the wait. Jemma Rix is a musical theatre powerhouse, whose previous turn as Elphaba in the vocally demanding Wicked (Frozen on stage owes a lot to Wicked, both structurally and musically) is stuff of international legend. She does not disappoint. She takes the song deeper and adds more power than the film version, and the Disney magic that sees her glove and cloak fly offstage to achieve a near-impossible costume change is genuinely delightful. The audience roars. The audience will always roar. It’s a rush.

But this is Monsma’s show. As Anna, who must journey through a pesky eternal winter to save her sister, she is the musical’s momentum. She brings lightness. The instant that her lonely home castle is open to guests for her sister’s coronation, she’s giddy, and so are we; she falls head-over heels for the Disney prince of her dreams (or is he?), Hans (the slick Thomas McGuane), and she banters with mountain man Kristoff (Sean Sinclair, a natural leading man) like she’s right out of an updated screwball comedy. An effortless soprano with energy to spare, her songs seem to tumble out and shimmer in the air. She sparkles.

Everything else onstage is in support of the sisters, like the warm hugs Olaf the Snowman (Matt Lee and puppet, cute) loves so much. The ensemble moves and sings like a dream, and builds out the world of Arendelle with charming secondary characters (we even learn more about the sisters’ mother). Plus Lochie McIntyre, with impossible physical demands to meet, plays Sven the reindeer with more grace and gravity than you would expect.

The scenic ice-and-frost effects (designed by Christopher Oram) are hit-and-miss. Humbler expressions of weather, like snow that rains down in flurries from the hand, are far more successful than the lights and LED effects that carve out ice and feel flat, commercial, compromised; later, in the show’s climatic blizzard scene, the ensemble moves together as a snowstorm, and it’s striking. It’s a shame that Frozen tries too hard.

But there’s plenty to like, and plenty to tug at heartstrings. It does what a musical is supposed to do: it moves you.

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