Tag: Disney

REVIEW: Disney’s Snow White

Sappy Leave a comment

In this 2025 live adaptation of Disney’s 1937 film Snow White, Rachel Zegler plays the part of Princess Snow White, a young woman who is mistreated by her evil stepmother, known as the Evil Queen. The Evil Queen is jealous of Snow White for her beauty and kind heart, and thus sends her outside the castle to be killed. However, Snow White escapes and goes on an adventure in which she meets seven dwarves and a group of thieves led by a young man named Jonathan, and eventually confronts the Queen herself.

One aspect that I admired about this film was Rachel Zegler’s musical performance. The emotion she puts into performing is captivating, as one can clearly tell she puts her heart and soul into singing to really bring Snow White’s character to life. Gal Gadot also does a good job portraying the evil queen. Her subtle facial expressions and movements really convince the audience of the queen’s evil nature.

Although this film had many endearing parts such as the cute forest animals that Snow White befriends and the characteristic catchy Disney songs, there were some aspects of the film that I thought were lacking. The overall pacing of the movie felt very inconsistent. Some scenes were drawn out and felt almost boring, while others felt choppy and rushed. There were some key moments that felt a lack of buildup in emotional intensity, leading to abrupt scene changes. However, this could be due to the director wanting to market the movie towards more younger audiences, and so they may have decided to cut out any scenes that would be too intense. I enjoyed how there were a couple instances in which the Seven Dwarves made jokes more catered to adults but were innocent enough that it could be included in a children’s movie.

I also noticed that the costumes on both Snow White and the Evil Queen were noticeably tacky and looked out of place from the film. They looked similar to the Halloween Costumes found in retail stores for children to wear. However, I realize that this is not that important to the overall plot of the film, and is just something that I noticed.

The film kept to the original in some parts but strayed from the original in others. For example, the seven dwarves and their iconic personalities were kept in, as well as the Evil Queen’s magic mirror and poison apple. However, they added the young thief Jonathan and his group of bandits as a replacement for Prince Charming. I thought that made a lot of sense to do because in the original, Prince Charming does not have much of a role in the film.

Although Snow White (2025) was not a tear-jerking, awe-inspiring film, it also was not terrible. The two main actresses did a phenomenal job and the movie still kept its feeling of having Disney magic. However, the film lacked a more deep and thoughtful plot and had an inconsistent flow to it, and so would likely be more enjoyed by young children and their families for a light-hearted movie night.



REVIEW: Mary Poppins

Sappy Leave a comment

I had fond feelings but not much memory of Mary Poppins (1964), so when the Michigan Theatre showed this iconic, classic film, I was excited to re-explore the magical wonders and musical adventures the movie took me on in elementary school. At first, I feared the story would be too childish to enjoy, but I had a rather pleasant experience even as an adult.

The story takes place in early 20th-century London and around Jane and Michael Banks, the troublesome and ill-mannered children of George and Winifred Banks. Though wealthy and of respectable status, George and Winifred are emotionally distant parents. After Jane and Michael keep chasing away the nannies Winifred hires, George decides to take matters into his own hands and find the strictest nanny possible. Against his expectations, Mary Poppins arrives and immediately captures the innocent hearts of Jane and Michael with her rosy cheeks, magic items, and mysterious background. With Bert, a cheerful and kind street musician who works multiple odd jobs, Mary Poppins brings the children on unimaginable journeys while instilling discipline and moral principles through fun songs. Though written for children, the musical quality and melody of the songs in Mary Poppins, such as “A Spoonful of Sugar,” “Feed the Birds,” and the legendary “Supercalifragilisticexpialidocious,” captivate audiences of all ages.

I was most surprised by Mary Poppins’ stoic, strict, and prideful personality because I imagined a nanny to possess a more soft-spoken and gentle quality. However, actress Julie Andrews’ portrayal of confidence and quiet kindness brought to life the perfect nanny for Jane and Michael, who did not have a consistent adult figure in their lives. In contrast to Mary’s authoritative demeanor, Dick Van Dyke’s character, Bert, is goofy and nurturing in his own way. His Cockney accent and regular fourth-wall-breaking antics bring a lighthearted energy and make each scene more immersive.

I can see why this movie made such a deep impression on me as a kid. For younger audiences, Mary Poppins is a film that fosters imagination in the mundane scenes of daily life, inspires hope for a more exciting future career, and helps children identify the simpler joys in even doing chores. On the other hand, for adult viewers, this movie serves as an example of good parenthood and an exploration of family dynamics, specifically highlighting how misunderstandings and emotional neglect can influence children. This thematic element encourages adult viewers to evaluate the method and significance of nurturing emotional bonds within their own families.

Although the storytelling starts strong while setting the scene and introducing the main characters, the plot grows frustratingly slow without much character development or world-building, which is when I had to remind myself that children are the target audience. Even though this movie does not demand a re-watch, Mary Poppins deserves its name as a beloved classic and enjoyed best as a leisurely, nostalgic experience.

REVIEW: Mufasa: The Lion King

Sappy Leave a comment

Despite the many negative reviews surrounding the musical drama film Mufasa: The Lion King, I actually really enjoyed it. The storyline acts as both a prequel and a sequel to the original animated The Lion King. While it’s not life-changing or particularly essential, it’s a fun film that adds to the world-building of the original in an endearing way. Perhaps it’s because I had low expectations and didn’t know exactly what to expect, but I found the online reviews overly harsh for a movie primarily directed toward children.

The plot begins with the lion cub Kiara, Simba’s daughter, who is frightened by a large thunderstorm. She doubts her capabilities and expresses that she could never be brave like her grandfather, Mufasa. In response, Rafiki, an elderly and wise mandrill, tells her a story to encourage her. He recounts how Mufasa was at her age and how he grew up to become the great king we saw in The Lion King. Mufasa, who we originally see as proud, confident, and courageous, is depicted as more vulnerable and dispirited in his youth. He struggles to believe in himself or accept praise, which seems hard to believe given his personality in his adult form. Through the animals Mufasa encounters on his journey, the film explores themes of family, belonging, and love. His journey proves his worthiness as king and highlights the qualities that make him a true leader. The plot is a coming-of-age story, fitting for its intended audience. This aspect resonated with me, and I believe many children would connect with it too.

The narration is engaging, with the story progressing at a good pace. However, while Mufasa’s character development is well-paced, the development of other characters either lacks depth or, particularly toward the end, feels rushed. As the movie reaches its climax, the character arcs become hurried, especially in the conclusion, which makes their actions seem almost out of character. One factor that held the character development back was the CGI animation. While the visuals were strikingly realistic and beautiful, the realism made it harder for characters to express themselves facially or display more creative body language. It also became difficult to differentiate the lions, as they generally shared the same appearance aside from slight changes and their voices. While these details may stick out more to adults, younger children may not notice them as much, meaning a cartoon version might have appealed to a wider audience.

This placed a greater emphasis on the voice acting and music, which I think the film did well. The instrumental soundtrack was a great homage to the original, with many elements inspired by or directly recreated from it. I also appreciated that there was often music playing in the background. In addition to the bright sunshine and natural scenery, this contributed to the triumphant and joyful emotions in the film. However, one disappointing aspect was the singing, which I felt could have been of higher quality, as it could have been another opportunity to express the character’s personality. 

I think the film’s weaknesses largely stem from the characters not feeling as relatable. However, most of the movie’s strengths lie in its overarching messages and foreshadowing of events that occur in the original. I think it would be a great film for young children to understand self-growth, confidence, and friendship. Though it may be an unpopular opinion, I don’t think it is a waste of time or detracts from the original The Lion King in any way, unlike other prequels and sequels I’ve seen. I would still recommend it to people of all ages, but it’s important to approach it with an open mind. 

PREVIEW: Turning Red

allychoi Leave a comment

Turning Red is a new Pixar movie available to watch on Disney+! The movie was released on March 11th, and features a Chinese Canadian 13-year old named Mei Lee. The film explores the tension between the chaos of adolescence and being a dutiful daughter. Themes of individualism versus family values seem apparent, a struggle many second-gen children of immigrants can speak to. 

So far, I’ve heard mixed opinions about the film. After the trailer came out, there were a few letterboxd reviews that expressed elements of the trailer that rubbed them the wrong way. Specifically, some expressed disappointment with the film’s ancestral magic trope, which may arguably reinforce outdated views of Chinese people. Mei’s illustration also looks somewhat white, and once she gains her ability to turn into a red panda, her hair also turns red, which some expressed, erases any asian features that were there in the first place. This transformation coinciding with her gaining confidence was an aspect some felt uncomfortable with.

However, despite hearing negative reactions, I’m going to go into the film with an open mind. As someone who has a protective, overbearing mom, (like the protagonist) I feel like I’ll be able to relate to this film. I really enjoyed Domee Shi’s short film, Bao, which made her the first woman to direct a short film for Pixar, so when I heard that she’s coming out with a movie, I was super hyped. It’s great to see representation of both women and AAPI creators at Pixar, so I can’t wait to watch this film!

REVIEW: Raya and the Last Dragon

Nellie Shih Leave a comment

Raya and the Last Dragon is Disney’s newest film, and it has a lot of firsts for Disney: it is their first film to be inspired by Southeast Asian culture, it has a unique score, and it even looks and feels like a video game at times. But, despite these firsts, the film is quintessentially Disney. It features goofy side characters and has some corny dialogue, and its overall message makes it a Disney film at heart. The titular heroine, Raya, seeks the last dragon, who she hopes will vanquish the menacing Druun monsters that have been ravaging her home. Raya belongs to one of five tribes that had previously been united under the land of Kumandra, but were divided by the arrival of the Druun. Raya’s adventures take her through Kumandra, where she witnesses the widespread effects of the very monsters that have been devastating her own home.

The overall message of the film can probably be ascertained by this premise alone; audiences have a pretty good idea of what lesson the characters will learn early on in the film. As the runtime is just under two hours, the story and Raya’s development feel very simple. Perhaps the film could have focused exclusively on Raya and her foil introducing a kind of complexity and grey area Disney does not explore as often. That being said, the film is not overly predictable, nor does lack redeemable qualities.

Most of the film’s strengths are technical. The film features a beautiful soundtrack, with whimsical themes for the fantastical moments, and also lively themes to accompany the thrilling action sequences. It’s amazing to see how much Disney’s animation has evolved over the years as this film showcases some of Disney’s most exciting fight scenes to date. There is a battle near the end of the film that is flawless – Raya’s rage comes across so strongly just from the lead-up, locking audiences in for the actual fight.

Whenever Disney is praised for their diversity, it can always be called into question. The film’s creators took great care to travel to Southeast Asia as well as hire cultural consultants, however the majority of the principal voice cast is East Asian. East Asian roles in film are already minimal, but there are even fewer opportunities for Southeast Asian actors. Though the film celebrates Southeast Asian culture, the casting can come across as a misstep. The film is streaming on Disney+, which is not currently available in Southeast Asia. However, the voice of Raya, Kelly Marie Tran, is the first actress of Southeast Asian descent to voice a lead role in an animated Disney movie. Tran was harassed online by Star Wars fans following her breakthrough role in The Last Jedi, only to be written to the side in the trilogy’s conclusion. Despite this, Tran has persevered, and her determination makes her the perfect fit for the role of Raya.

Raya and the Last Dragon is imperfect, but it is a worthy film that teaches trust and forgiveness to kids in the most Disney way possible.

REVIEW: WandaVision

Nellie Shih Leave a comment

Is WandaVision the internet’s favorite TV show right now because it’s the best thing on TV, or is just the only thing on TV? WandaVision is a new Disney+ original series that follows the characters Wanda Maximoff and Vision, who had not been featured in their own solo MCU projects up until this point. Starring Elizabeth Olsen and Paul Bettany, the series riffs off of TV sitcoms through the decades, depicting Wanda and Vision trying to fit in with suburban life, only to discover that not everything is as it seems.

What makes the series so enticing is that it provides a much-needed release from the worn-out Marvel movie formula. WandaVision sticks out from the rest of the MCU stylistically, but it simultaneously patches up pre-existing plot holes in the MCU canon. The series explores some of the direct effects of the events of “The Blip” in Avengers: Infinity War and Avengers: Endgame, but mostly importantly, it proves Wanda and Visions’ each have a place in the MCU. Wanda and Vision have both been minor characters thus far, and their characters lacked personality and motivation as they were bounced around from director to director. I was excited when Wanda was first introduced as a new female character in Avengers: Age of Ultron, but she was subsequently pushed to the side and thrown into a seemingly rushed romance with Vision, who had just as little development. However, creator and head writer, Jac Schaeffer, has dug into the characters’ messy foundation, revealing their complexity and prepping them with compelling characterization for their future in the MCU.

Although Wanda and Vision are both fantastical individuals with extreme, otherworldly abilities, Schaeffer has highlighted their sense of humanity in this crazy fictional world by crafting a heart-breaking story about their bond. This transforms Wanda and Vision into characters that audiences can empathize with rather than dismiss as lovebirds that were thrown into the film franchise as an afterthought. Episode 8, “Previously On,” delves into Wanda’s past, explaining her choices that were previously glossed over, and provides context for her connection to Vision. The episode is seemingly specific to Wanda and the toll Vision’s death in Infinity War took on her, but the episode also acts as a general representation of grief. The episode is timely, showing that even something as silly as a sitcom can provide some sense of comfort during troubling times.

That being said, the penultimate episode of a miniseries is a strange place to insert a backstory episode. If the episode had not been so beautifully written or if it had not provided the much-needed backstory for the series’ titular characters, I would have been more upset with the pacing of the show. The show’s plot is rather slow most of the time with a sudden cliffhanger at the end of each episode. This has been upsetting for some fans, who have spent the past seven weeks developing elaborate theories, only to be underwhelmed by the show’s conclusion. However, I have come around to the way the series progressed – but only after I realized exactly what the show was about. The show is about wise Vision, who is an android created with artificial intelligence, yet he is the character who best understands human emotion and empathy. And it is about loving Wanda, who is not an object in need of protection, but someone who discovers strength in emotion.