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Rise of the Guardians, film, 2012, dir. Peter Ramsey
Entirely forgettable. Too self-aware to sell to a younger audience; too slight for an older one. The character design is fun, but the worldbuilding is surprisingly shallow and the plot more than predictable. The film's intent is transparent but left no impact on me.
Brave, film, 2012, dir. Mark Andres, Brenda Chapman
As a story of a girl's relationship with her mother, a princess with no prince in the picture, entirely concerned with personal identity and familial relationships, what Brave does right is invaluable. But it's not without flaws: I would have loved to actually see Merida repair the tapestry, so that the film felt less like a condemnation of women's work as well as women's social status. That, and the plot is simplistic, functional but plain. I'm glad Brave exists but except that it does exist it left no lasting impression.
Enchanted, film, 2007, dir. Kevin Lima
Thoroughly predictable but somehow endearing, largely because of the protagonist, whose enthusiasm and optimism isn't played as shallow. The romances are heteronormative, monogamous, competitive—and no one is villainized, and the women aren't pitted against each other. That shouldn't be remarkable, but it is. Enchanted doesn't honestly have much to say about the tropes it purports to invert, but it's just irreverent and authentic enough to be satisfying.
The Maze Runner, film, 2014, dir. Wes Ball
This film fits nice into a niche that I find particularly intriguing: dystopia meets deadly game with a big helping of a trope I can't find a name for, where the setting itself is the mystery and danger. (See also: Hunger Games, Snyder's Insiders series.) A compelling concept, phenomenally executed on film: the maze is massive, terrifying, enigmatic. But the plot is less successful, and the explanation behind the maze is particularly lackluster. I expected as much—it's far easier to create a compelling mystery than provide a satisfying solution—but was still disappointed. To be honest, I adored The Maze Runner, not because it's particularly good but because I find its strengths so appealing.
The Princess and the Frog, film, 2009, dir. Ron Clements, John Musker
Refreshing setting, lovely animation, enjoyable but forgettable music, utterly unremarkable plot. I love the intent here, and it's enough to make for a perfectly watchable film. But it's not profound, not awfully endearing; not in any way memorable, except for finally introducing some diverse representation. But that last, at least, makes it worthwhile.
Entirely forgettable. Too self-aware to sell to a younger audience; too slight for an older one. The character design is fun, but the worldbuilding is surprisingly shallow and the plot more than predictable. The film's intent is transparent but left no impact on me.
Brave, film, 2012, dir. Mark Andres, Brenda Chapman
As a story of a girl's relationship with her mother, a princess with no prince in the picture, entirely concerned with personal identity and familial relationships, what Brave does right is invaluable. But it's not without flaws: I would have loved to actually see Merida repair the tapestry, so that the film felt less like a condemnation of women's work as well as women's social status. That, and the plot is simplistic, functional but plain. I'm glad Brave exists but except that it does exist it left no lasting impression.
Enchanted, film, 2007, dir. Kevin Lima
Thoroughly predictable but somehow endearing, largely because of the protagonist, whose enthusiasm and optimism isn't played as shallow. The romances are heteronormative, monogamous, competitive—and no one is villainized, and the women aren't pitted against each other. That shouldn't be remarkable, but it is. Enchanted doesn't honestly have much to say about the tropes it purports to invert, but it's just irreverent and authentic enough to be satisfying.
The Maze Runner, film, 2014, dir. Wes Ball
This film fits nice into a niche that I find particularly intriguing: dystopia meets deadly game with a big helping of a trope I can't find a name for, where the setting itself is the mystery and danger. (See also: Hunger Games, Snyder's Insiders series.) A compelling concept, phenomenally executed on film: the maze is massive, terrifying, enigmatic. But the plot is less successful, and the explanation behind the maze is particularly lackluster. I expected as much—it's far easier to create a compelling mystery than provide a satisfying solution—but was still disappointed. To be honest, I adored The Maze Runner, not because it's particularly good but because I find its strengths so appealing.
The Princess and the Frog, film, 2009, dir. Ron Clements, John Musker
Refreshing setting, lovely animation, enjoyable but forgettable music, utterly unremarkable plot. I love the intent here, and it's enough to make for a perfectly watchable film. But it's not profound, not awfully endearing; not in any way memorable, except for finally introducing some diverse representation. But that last, at least, makes it worthwhile.
