Whatever you may think of it, Frozen (2013) was a cultural phenomenon. Even now, six years on, the impact the film had can still be felt. It was only going to be a matter of time before a sequel happened, so here we are. Chris Buck and Jennifer Lee return to direct, with Robert Lopez and Kristen Anderson-Lopez returning to write the songs. Idina Menzel, Kristen Bell, Josh Gad and Jonathan Groff reprise their voice roles from the first film, with Evan Rachel Wood, Sterling K. Brown, Alfred Molina, and Jeremy Sisto joining the cast.
Three years have passed since Elsa was crowned queen of Arendelle. But when she hears a mysterious voice calling to her, she unintentionally awakens ancient elemental spirits which attack the kingdom. With Anna, Kristoff, Olaf, and Sven at her side, she makes the journey north to the Enchanted Forest to find the truth behind the voice and the kingdom's past...
Frozen II is one of those rare sequels that doesn't just try and rehash the original. This isn't a cynical, rushed-out, by-the-numbers, cash-in sequel. There's been six years between Frozen and Frozen II, and there's been a lot of thought put into the story. Linking to Arendelle's past, the history of Elsa and Anna's family, and the expansion of the world beyond the city are all done very well and- whilst it may not exactly be a surprise when you find out the truth behind what happened in the Forest- the reveals never feel signposted or too obvious. There isn't much I want to say about the cast, apart from the voice acting is as superb as it was for the first film.
Proving that "Let It Go" wasn't just a one-off fluke, Lopez and Anderson-Lopez provide several anthemic numbers for Frozen II [and thankfully there's nothing as twee or as saccharine as "Do You Want To Build A Snowman?" this time round.]
For me, the best song is "Into The Unknown" where Elsa explains being torn between the temptation of following the voice or staying where she is and where things are settled (which also has an absolutely belting cover over the end credits by Panic! At The Disco; of all the musical numbers, this stands the best chance of getting an Oscar nod for Best Original Song). Other standout songs are "Show Yourself" (when Elsa gets to the Forest to confront the mysterious voice) and "Lost In The Woods"; having not had a big number in the original film, Jonathan Groff gets to flex his vocals in a deliciously 80's power ballad where Kristoff explores his feelings for Anna, calling her his "one true north".
Just as a side note, the script continues to show Kristoff as a thoroughly positive character and frankly one hell of a role model for any young boys who might be in the audience (so massive kudos to Jennifer Lee for writing such a decent character). Not only does he get a song where he is open about his emotions, he's always shown as supportive and encouraging; at one point, when Anna is charging in to help Elsa, he doesn't take over or try and muscle in, he simply asks her what she needs from him. Also, later, after Anna has a freakout about how things have gone, he reassures her that his love "isn't fragile". And it's all done naturally, isn't overemphasised or pointed out.
Frozen II is an ideal family film: there's heart, there's humour, the occasional thrill of danger, some great songs, and some truly superb animation. There's also a very cute end-credits scene which doesn't add much but is still worth sticking round for. So do the next right thing, take a step into the unknown and show yourself to Frozen II. You won't regret it.
Rating: 4 out of 5
Tez
One of Agatha Christie's best known and best-loved novels, Murder On The Orient Express was first published in 1934. Forty years later, an all-star cast brought the story to life. Now, 43 years later, another all-star cast assemble to tell a new version of the story, with Kenneth Branagh pulling double-duty as director and as the famous Belgian sleuth Hercule Poirot.
After solving a case in Jerusalem, Poirot is asked to return to London and asks his friend, Monsieur Bouc, to find him a berth on the Orient Express. There's one place available which Poirot takes. Whilst on the journey, he is approached by Samuel Ratchett, an American businessman, who asks Poirot for protection as he has been receiving death threats. Poirot turns the offer down. That night, the train gets stuck during an avalanche whilst travelling through Yugoslavia. The following morning, Ratchett is found dead. Stabbed to death multiple times. With many suspects and only a short amount of time before the avalanche is cleared and the Yugoslav authorities get involved, Poirot must follow the clues and find out who wanted Ratchett dead- and who struck the fatal blows.
This is going to sound like a very backhanded compliment but I was pleasantly surprised at how enjoyable I found this new version of Murder On The Orient Express. I had my doubts that this would be just a pale imitation of Lumet's star-studded 1974 film (and comparisons are inevitable). This film beats its own path- sometimes successfully, sometimes not.
Branagh's Poirot is a very different one than any seen before; he doesn't try and ape Ustinov or Finney or Suchet. Poirot's famed fastidiousness is played up here (expecting exactly the same sized eggs at breakfast or asking people to straighten their ties) but he provides a thoughtful and occasionally funny performance. Sadly though, the massive walrus moustache is a misstep. It's a little distracting.
The rest of the cast are also very strong. Michelle Pfeiffer is excellent as the flighty and flirty Mrs Hubbard, whilst Derek Jacobi provides a strong supporting turn as Ratchett's butler Mr Masterman. Daisy Ridley is great as former governess Mary Debenham and there's an interesting casting choice with Leslie Odom Jr. as Dr (not Colonel) Arbuthnot. Despite a slightly strange English accent, he's pretty good- and it also shows some of the period's attitude to race (which adds an extra dimension). Penelope Cruz is good as missionary Pilar Estravados (changed from Greta Ohlsson), whilst Josh Gad adds a fine turn as Ratchett's secretary McQueen. Johnny Depp is oleaginous and unpleasant as Ratchett- so does his job well of getting the audience to hate him before he's offed. Willem Dafoe is also good as Gerhard Hardman, a stuffy Austrian professor.
Several of the characters are not sketched out as well, which is a shame- Judi Dench hasn't got much to do as the aged Princess Dragomiroff (but what she does, she does well; hell, she's Judi Dench- she could make a takeaway menu sound like Keats). Similarly, the brilliant Olivia Colman doesn't get a lot as the Princess' dour ladies-maid. The Count and Countess Andrenyi (played by ballet dancer Sergei Polunin and Lucy Boynton respectively) barely feature, although both are strong when they do appear. There's also been some jiggery-pokery with some other minor characters, like the car salesman (who now goes by the name of Marquez).
This is a handsome-looking film. The production design, the costumes, and the cinematography are all to be commended. There are some lovely long sweeping takes of the train as it travels through the countryside and there's some interesting shots which follow characters walking through the coach. There's an over-reliance on a few types of shot (they seem keen on showing people reflected through glass) and some intriguing decisions made on some shots (for instance, you don't immediately see Ratchett's body when it's discovered).
There's quite a few bits that have been added which don't really serve much of a purpose except to break up what must have been considered the monotony of people talking in a room. So there's a section where one suspect flees the train to burn some incriminating evidence, another confronts Poirot with a gun; none of it needed and- if anything- for me, it detracted from the film. You've got scintillating actors, a strong story, a pretty good script- you don't need to add these bits in! Not everyone who goes to the cinema has the attention span of a fruit-fly.
The solution to Murder On The Orient Express is one of the best-known in all of crime fiction (pretty much second to 'the butler did it') which can rob the denouement of some of its power. That said, even if you know the solution going in, the performances as Poirot lays out the facts are very strong even though (another baffling decision) it takes place in a railway tunnel.
There was a lot I liked about the film, and a few things I didn't. There was a lot of unnecessary tinkering which was a bit irksome, but the opulent design of the film and several of the performances win over. All said though, it's a pretty decent stab at a thrilling story.
Rating: 3.5 out of 5
Tez
Disney's 1991 animated version of the classic French fairytale Beauty And The Beast is widely considered to be one of the best of Disney's output, as well as being the first animated film to be nominated for the Best Picture Oscar. It won two Oscars- both for its sublime music- and was turned into a hit stage musical. Unsurprisingly, it's now had a live action remake.
Directed by Bill Condon (Dreamgirls, Mr. Holmes), it's a very faithful adaptation of the animated film with a couple of added character bits and a few new songs. It follows the same story as the animated film: Belle is a beautiful but educated and headstrong young woman which puts her at odds with the people in her small provincial town. When her father is imprisoned by a ferocious beast in an enchanted castle in the woods close to the town, Belle offers herself in her father's place and becomes the Beast's prisoner. Gradually though, the relationship between Belle and the Beast begins to soften and perhaps there's something there that wasn't there before...
Disney's Beauty And The Beast is one of my favourite films of all time. So it was with a little trepidation that I went into the cinema. Were they about to butcher one of my most beloved films?
No. No, they weren't.
Simply put, the live action version is an absolute gem. Visually, the entire film is absolutely stunning. Jacqueline Durran's costumes are just sumptuous; everything from Belle's iconic yellow ball-gown down to Gaston's blood-red jacket looks perfect. Everything from the production design to the set decoration, the art design and the visual effects come together to create an absolute feast for the eyes.
The songs from the original animated film are included (written by Alan Menken and the late Howard Ashman) with new ones written by Menken and Sir Tim Rice. It's just a shame that they couldn't use songs from the stage musical, although the songs that have been added are good and entirely in keeping with the original. Menken also composes the score, by turns melancholic, jovial, and spine-tingling. All of the singing is good; some singing is better than others, but nobody is in a Pierce-Brosnan-in-Mamma-Mia or Russell-Crowe-in-Les-Miserables situation.
Performances across the board are superb. Whilst I was a little dubious before about Emma Watson's casting, she's entirely brilliant as Belle. She plays Belle's vulnerability as well as she plays her bravery. It's a very assured performance. Dan Stevens is similarly strong as the Beast; surly and angry yet softening as he gets to know her. It's also nice that they've chosen to make him more educated; he gets a nice moment when he gives Belle the library. One of the added character bits is to see both Belle and the Beast's early life (both losing their mothers at a young age) which shows they have more in common than they first thought. This, on the whole, works.
Luke Evans is suave and charming as Gaston, although this version has his move to out-and-out villain a lot earlier. Josh Gad is great as the faithful LeFou, clearly infatuated with his friend (more on that later). Kevin Kline puts in a wonderfully nuanced and quite moving performance as Belle's father Maurice, more overprotective but still very caring. There's also an important, yet silent, role for Hattie Morahan who plays the Enchantress who casts the spell over the Beast in the first place.
Moving over to the inhabitants of the castle, no complaints: Ewan McGregor is similarly suave as the debonair Lumiere, Ian McKellen is wonderful as cantankerous Cogsworth whilst Emma Thompson adds warmth and homeliness as Mrs Potts. Doctor Who actress Gugu Mbatha-Raw is good as the flirtatious feather-duster Plumette and young actor Nathan Mack is great as Chip, whilst Audra McDonald and Stanley Tucci are a wonderful pairing as Madame Garderobe and Maestro Cadenza (who are turned into the wardrobe and a harpsichord respectively).
I've got to address the elephant in the room. Ever since it was announced that there was going to be an 'exclusively gay moment' in the film, conservatives, evangelists and homophobes the world over have poured bile and vitriol across the airwaves and the internet denouncing this move. I don't know what they're expecting them to show in a PG-rated movie but I think it says much more about their mindset than anything else.
Making LeFou gay is not the greatest leap forward; it's clear in the animated version that he's very devoted to Gaston. So what is this moment? What could possibly be worth such a negative backlash? Well... in the ball at the end, LeFou dances with another man. That's it. That's what the furore is all about. It's as bad as all those idiots foaming at the mouth about Sulu being gay in Star Trek Beyond when, in a real blink-and-you'll-miss-it moment, all you see is him putting his hand on the small of another man's back.
So you have the first canonically gay character in a Disney film here; you also have not only the first, but second, live-action interracial kiss in a Disney movie when Audra McDonald and Stanley Tucci lock lips at the end, as do Ewan McGregor and Gugu Mbatha-Raw. Thankfully there haven't been protests about that.
I truly loved this film. It's quite a different beast to the animated feature but to compare the two is a bit like comparing apples and oranges (as live-action and animation are two wildly different mediums). It's a funny, lively, touching film, beautiful to look at, lovely to listen to, and a pure joy from start to finish.
Rating: 5 out of 5
Tez
Frozen is Disney's fifty-third- yep, fifty-third- animated feature. Princess Anna (voiced by Kristin Bell) sets off on a journey to find her estranged sister Elsa (voiced by Idina Menzel), who has the power to control ice and snow, and whose powers have trapped the kingdom of Arendelle in everlasting winter.
It's based loosely on Hans Christian Andersen's 'The Snow Queen' and, like any good fairy-tale, it's a good deal darker than it first seems- death, betrayal and isolation are all here- but it's all handled well and I wouldn't say there's anything too traumatic for the kids to face (although I did hear a few sniffles at some points). There's also a particularly nice subversion of expectations at the end when it comes to 'an act of true love'.
The voice cast is strong: Kristin Bell and Idina Menzel are excellent as Anna and Elsa, wilst Jonathan Groff is great as mountain man Kristoff who aids Anna in her journey to find Elsa (and, just as an aside, I'm glad they didn't make the reindeer talk) whilst I think the best performance is given by Josh Gad, who voices the utterly adorable snowman Olaf who not only fulfils the comedy relief role but is also surprisingly wise in places.
Some of the songs are a bit twee and a little insipid (like 'Do You Want To Build A Snowman?') but these are balanced out by some of the others, most notably the absolute belter that is 'Let It Go', sung as Elsa decides to embrace her powers. It's one of the best sequences in the film- the construction of the ice palace is a real showstopper- and Menzel's vocals are just sublime.
Before the film was an animated short called 'Get A Horse', featuring Mickey Mouse, which was an elegant blend of old-style animation and CGI.
All said, Frozen was an absolute delight. Well written, some good songs, impeccably animated and a lot of fun.
Rating: 4 out of 5
Tez
