Frozen 2 has a difficult task: justify its existence as more than an unnecessary cash grab sequel to a multi-billion-dollar, unexpected-franchise-spawning original that was kind of a rip-off of the Broadway musical Wicked (which was, itself, a watered-down derivative of a much more interesting novel).
And, for the most part, Frozen 2 succeeds. Not unlike this summer’s Toy Story 4, the lack of a predetermined intellectual property roadmap is liberating, yielding a trippy, dark, existential exploration that surprises, delights, and traumatizes.
Frozen 2 (is that REALLY the best title they could devise?) is beautiful and kinda loopy in a New Agey sort of way. Not sure exactly what I sat through, but I loved its messages of inclusion and empowerment, even if its plot line seems to throw Avatar, Pocahontas, The Fifth Element, Wicked, Marianne Williamson’s brain, and Frozen the First in a blender. Songs are fab too.
I’m not sure the world needed an origin story explaining Elsa’s snow queen powers, even if the potential revenue stream to befall the Mouse House makes such a cinematic move unavoidable. That said, I applaud the filmmakers for doing so with a conscience, muddled as the final results may be.
In essence, without spoiling too much, sisters Elsa (Idina Menzel) and Anna (Kristin Bell) discover that their forebears in the Arendelle royal family might not have been as kind as they should have been to the land’s indigenous Northuldra people. In a timely nod to our nation’s own Thanksgiving mythologizing, the first time their grandfather broke bread with the native tribe inhabiting the “enchanted forest” outside Arendelle, he might have had nefarious colonizing motives. It is then up to Elsa and Anna – alongside returning buddies Olaf the snowman (Josh Gad) and Kristoff and his beloved reindeer Sven (both voiced by Jonathan Groff) – to unearth the truth, bring peace to the natural order (reflected in weather patterns run amuck – sound familiar?), and right the historical wrongs. If Disney was ever to offer a populist counterpoint to xenophobic MAGA tribalism it is Frozen 2.
The film doubles down on the zany Nordic fantasy elements suggested by the bizarre rock trolls in the first film, with Frozen 2 offering flame lizards, anthropomorphic wind currents, water horses, bolder giants, and more cryptic hieroglyphs than you could hurl a Rosetta Stone at. It all works better than it should, woven together by our collective fondness for the characters, all voiced with warmth and whimsy by the principals, and for the music.
Songwriting team Kristen Anderson-Lopez and Robert López have outdone themselves on the numbers here, jettisoning any singsong qualities of the first’s films ditties in favor of musical comedy complexity and emotional depth. There are no “ear worms” in this score which is a compliment to the songwriters and the filmmakers who allow more character-driven nuance in. I’ll take this film’s “Into the Unknown” or “When I Am Older” or “Lost in the Woods” or “Show Yourself” or “The Next Right Thing” over the prior entry’s “Let It Go” or “Do You Want to Build a Snowman?” any day, all day long.
As Elsa notes ominously toward the film’s conclusion: “fear is what can’t be trusted.” If Frozen 2 is as inescapable as its predecessor was and successfully socializes themes of inclusion, equality, fairness, and acceptance among our youth (and their parents), then Disney deserves to fill its corporate coffers with a mountain of box office gold ten times over.
BONUS: Honored!! I was quoted by Law.com’s Frank Ready in “5 Challenges Facing Firms Trying to Boost Marketing With Tech,” which includes discussions of app development, podcasts, YouTube/video, social media, and open-source software: https://lnkd.in/em6NSpr (subscription may be required) … excerpt …
“They assume that you’re a good lawyer. They want to see that you’re a decent human being and that you’re engaged in our world,” Sexton said. “We need to put all of that in language that appeals, yes to millennials, but again, to millennials on the way toward appealing toward everyone else. And the manner in which millennials are reshaping our culture and the way we think, we have to keep an eye towards that.” …
Modern audiences are bombarded by content, and for every firm that adopts a video channel or sets up a podcast booth, there’s probably another lawyer out there doing the exact same thing.
To stand out, attorneys may have to emphasize personality over personal accomplishments and perhaps even begin contemplating the true meaning of the words “free of charge.” #lmamkt
Hollywood gets a lot of flak, much of it deserved, but the crime perpetrated by Tinseltown that may bother me the most is when a talented cast is completely squandered in servitude to a lame script and lousy direction.
Daddy’s Home conversely, is the kind of film that seems to hold National Lampoon’s Christmas Vacation as a kind of high art that could only be improved if the “Nancy Meyers’ school of filmmaking” (middle-class characters living amidst-Better Homes and Gardens residential-porn they couldn’t actually afford in real life) had installed a Sub Zero fridge in Randy Quaid’s “the-sh*tter’s-full” Winnebago. Daddy’s Home is the kind of movie where a character cuts down a cell phone tower, thinking it is a Christmas tree, and gets charged $20,000, and everyone just laughs and shrugs and says, “Now, who is going to pay for that?” This inane, unrelatable incident occurs after the cast has engaged in an interminable sequence where they decorate – top-to-bottom, inside-and-out – a vacation home they are RENTING for the holidays. Who does that? In real life, this family would be trying to figure out how to pay the credit card bills they ran up to buy presents nobody actually wants and would end up in both divorce and bankruptcy courts when slapped with a $20,000 bill for destruction of public property. Or maybe they would be in jail. Fa la la la.
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