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Disney Reviews with the Unshaved Mouse #58: Frozen 2

Guys. I’m really scared. I think this might be it.

I mean, I know we’ve had our share of close calls and near misses, but I can’t shake the feeling that this really is the big one. This is finally how it all ends.

“Aw shit!”

“AAAAAAAH WE’RE ALL GONNA DIE!”

“OH PLEASE GOD NO!”

“What?! What are you talking about?! I just meant I’m worried about the current state of the Disney canon movies!”

“Ohhhhhhhh…”

“What did you think I meant?”

“Oh nothing, nothing. Everything’s just grand.”

I mean seriously, I am concerned. Have you heard about Raya and the Last Dragon? It’s the next canon movie, due for release in November of this year, which feels like a long time because we’re all doing jail time right now and time passes slower on the inside but it’s also really not that far away. And after that?

Nothing.

Zip.

Bupkiss.

There are no officially announced Disney canon movies after Raya. And, while I’ll be the first to admit I’m not as plugged into the Disney fandom as I used to be I can’t say that I’m sensing a lot of hype for Raya. Plus, c’mon Disney. You’re really going to make a CGI Dragon movie? That’s, like, Dreamworks’ one thing that they still do well and you’re going to try to take it from them? For shame.

“Stay on East Side!”

I mean, you don’t see Dreamworks trying to copy your movies. Ahem.

So it’s starting to feel like the Disney canon’s in trouble. Maybe that’s just me jumping the gun. Admittedly, not everyone feels the way I do about Wreck It Ralph 2And maybe I’m just letting my impressions be coloured by the Disney company’s drift away from “movie company” to “Lexcorp-esque colossus of super-villainy”. Because I am all kinds of outraged about that. I mean, not enough to cancel my Disney + subscription or alter my spending habits in any way. But outraged enough to loudly proclaim how outraged I am on the internet? Oh yes. I am willing to be the hero this world needs.

But anyway Frozen 2. Usually before diving into a review I’ll give some background as to how the movie came about but how about we cut the shit? I’m not going to sit here and lie to you and tell you how one morning Jennifer Lee shot bold upright in bed, struck with the inspiration for the next chapter of the Arrendelle saga that simply had to be told. We’re all grownups here (I hope, otherwise I really should lay of the cussin’). Frozen gifted the Disney company a fortune, and that fortune wanted a little brother or sister. A movie makes a certain amount of money, and a sequel is no longer optional. That’s why James Cameron is still threatening to smite the Earth with Avatar 2. And look, maybe it’s fine. Getting a bunch of talented people in a room and hoping the lightning strikes twice isn’t the craziest way to make a good movie.  Maybe there is room for the story to go. Maybe Olaf’s character does need further exploration. Maybe the worst is behind us.

“No. No, we’re all doomed.”

“Dude, relax. It’s just a movie.”

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Disney(ish) reviews with the Unshaved Mouse: Olaf’s Frozen Adventure

If you like Unshaved Mouse please consider supporting my Patreon.

Guys, tell me the truth. Am I going soft?

Do I just not have the same bile and critical killer instinct I once had?

Because I feel like I just don’t hate the way I used to. Maybe the Christmas spirit has managed to claw its way into my chest and lay its eggs along my cardiac wall. To put it another way, I’ve reviewed three Disney sequels/continuations this year and gave a positive review to every durn one of ‘em.

“Hey, it’s Old Man Mouse, let’s throw snowballs at him!”

“Why you little…beat it, you sequels!”

“Ooooh, whaddya gonna do? Give us a mixed to positive review?”

“Gasp! They’re not AFRAID of me anymore.”

It was with this in mind that I decided to review Olaf’s Frozen Adventure, Frozen short (well, I say “short”) that got people’s dander up something fierce two years ago when it was released preceding Coco. Whereas people were expecting a nice light, seven minute appetiser, they instead got a hefty twenty-one minute late lunch and the backlash was fierce enough that some theatres actually had signs warning ticket-holders that the snowman movie would be taking up more of their precious lives than they might have budgeted for. And, because it’s the 2010s and life is hell, the movie was also accused of racism, with the reasoning being that Disney were too racist to trust people to come and see a movie about Hispanic people without it being preceded by a short set in Scandinavia before the movie about Hispanic people that they had spent $175 million dollars making.

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Disney(ish) Reviews with the Unshaved Mouse: Tangled the Series/Rapunzel’s Tangled Adventure

This review was requested by patron J*. If you’d like me to review a movie, please consider supporting my Patreon.

Yeah, but why though?

TangledYou gave a sequel series to Tangled? Aladdinfine. Big Hero SixCrying out for it. But Tangled?!

Hey, got nothing against the film. Y’all know that. #9 on my rankings. But of all the canon movies to try and spin a series of ongoing adventures out of why would you…

“Mouse?”

“What is it, SMOWE?”

“I just came to say goodbye. I’m going on a journey to find myself.”

“You’re going to…what?”

“What is my purpose? Who am I, really? Why am I called Sarcastic Map of Wartime Europe when most of the time I’m not even that sarcastic? I don’t know where I’ll find the answers to these questions. All I know is, it’s not here.”

“Wait a minute, is this because tvtropes called you a Flat Character?”

“Farewell my friend.”

Well…speaking of characters with hidden layers going off on adventures no one expected or even asked for, what even is this nonsense?

Firstly, what are the two things everyone knows about Rapunzel? She’s got long golden hair, and she’s trapped in a tower. By the end of Tangled, neither of those are true anymore. This is like doing a Robin Hood show where he no longer robs from the rich and has instead become a quantity surveyor. Plus, the movie’s only real villain is dead. And it’s not like this was a particularly rich world that desperately needed exploring.

Nothing against Corona. Lovely scenery, good schools, suspiciously low crime rate. But it’s a pretty generic fantasy kingdom, and fairy light on the fantasy at that. There’s no real magic apart from one flower. No mythical beasts that we see other than a horse who may be some kind of equine god.

And on top of that, we already know how the story ends! Tangled Ever After shows Rapunzel and Eugene getting married with all the main characters from the first movie still alive and the status quo from the end of the first film in rude good health. So what you’ve got is a series where either nothing can happen, or anything that does happen will be reversed and will be ultimately meaningless. Which is why I feel confident in predicting, sight unseen, that this series is garbage and a waste of everyone’s valuable time. Now if you’ll excuse me, I’m just going to go and validate my obviously correct first impression.

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Disney(ish) Reviews with the Unshaved Mouse: Aladdin and the King of Thieves

Guys, we need to talk about Genie.

From a story-telling perspective, Genie is kind of a curse for the Aladdin franchise, a problem that has to be perpetually written around.

He is what Phoenix was to the X-Men, or Sentry was to the Avengers, a character so ridiculously over-powered that the writers have to bend over backwards to justify why he doesn’t just solve everything with a snap of his fingers and leave the rest of the cast standing there looking like a bunch of putzes.

And that’s just from a story-telling perspective. Of any character from the original film, the one who least needs a continuation to their story is Genie. I mean, fine, you could argue that none of the main cast were really crying out for a new chapter but at least with Aladdin, Jasmine and even Iago there places to go. Genie? Genie’s done. He wanted to be free. He’s free. Can he learn? Can he grow? No.

He already knows who Rodney Dangerfield is. There is nothing more for him to learn.

Which creates a problem. From a strict story-telling perspective, once you’re past the first movie, Genie really should have been quietly shown the door. Maybe have him pop in to say “hi” every now and then and make some pop culture references but having him remain as a main cast member just creates two mountains of work for the writers: the first as to how involve him in the plot and the second as to how to stop him just ending the plot in five seconds.

But…they can’t. Because he’s the Genie. Probably the most popular character in the franchise (heck, one of the most popular Disney characters period) and you can’t have Aladdin without him.

I bring this up because King of Thieves (an otherwise quite fine movie and a worthy finale to a decent TV show) is where this problem is probably at its most blatant. Return of Jafar had very little for Genie to do, but sidelined him for long stretches of its run time, but King of Thieves has even less for Genie to do and perversely, gives him far more screentime.

And the reason for that, of course, is ROBIN’S BACK BABY!

Yeah. After a campaign of grovelling and mea-culpas and a gift of a fruckin $1 Million Picasso, Robin Williams and Disney had finally patched up their differences for the kids and their associated revenue. Poor Dan Castellenata, who by this time had clocked in over forty hours of screentime as the Genie and had even recorded his dialogue for this movie was unceremoniously given the boot and Williams was brought in to re-record everything.

Adding insult to injury, Disney apologised to Castellenata with a frickin’ Renoir.

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Disney(ish) reviews with the Unshaved Mouse: Aladdin, The Return of Jafar

“Why do they keep making these?!” was the eternal lament of the Disney fan from the mid-nineties to the mid-2000s when the Disney Sequel walked the Earth in all its terrible glory. Couldn’t Disney see that these filthy hack jobs were tarnishing the reputations of the pure and virtuous Disney canon? HAD THEY NOT EYES?! Well, yes, they had eyes. But here’s what they were looking at.

Consider Aladdin. It comes out in the winter of 1992 and it is the mutt’s nuts. Critical darling, instant pop culture icon and oh yes, the biggest box-office of any movie that year, animated or live action. It makes $504 Million dollars on a budget of $28 Million. Which basically means that for every dollar Disney put into Aladdin, they got $18 back. That’s a heck of a return on an investment. That is a good, good day. That is a win.

A few years later, Disney are working on an Aladdin animated series. It’s not an entirely new idea, The Little Mermaid also had a series. But there’s a lot of hype for Aladdin because instead of being a prequel series like Mermaid, this is going to be an actual sequel series where we get to see what our favourite Agrabahns did after the movie. And some bright spark realises that the three episode arc that opens the series actually kinda works as a movie if you squint. So why not release it as a movie? Not in theatres, God no. But maybe direct to video? VHS is super hot right now and Disney movies sell like hot cakes. So why not skip the theatres all together and just go straight to video? You know? Like porn?

Perhaps understandably, Disney were a little leery of taking their cues from porn. But they did it anyway and here’s what happened:

Return of Jafar became one of the biggest selling VHSs of all time. It made $300 Million dollars. $300 Million dollars for a movie that never sold a single ticket. On a budget, estimated, to be $3.5 Million dollars. Remember Aladdin’s oh-so-impressive return of 18:1? Jafar had a return of investment of $86 dollars to every dollar.  That’s not a heck of a return. That is market changing. That is paradigm-shifting. That, honestly, is a wee bit scary. So if, for example, you were a huge multinational who cared only for filthy lucre…

“How VERY dare you…”

Then the question becomes, not “Why did they keep making them?” but “Why did they ever stop?” That’s the kind of return that turns executives into junkies, chasing that hit for decades. 86 dollars for every dollar spent. That’s basically free money. This thing was huge.

And when you think about it, it still kinda is. Return of Jafar is without a doubt the only Disney Sequel that’s almost as famous as its prequel. Disney are actually considering a live action remake of Return of Jafar to follow last year’s live action Aladdin. Could you see any of the other sequels being considered for that?

Well yes, but only when I’ve been dosed with fear toxin by the Scarecrow.

Return of Jafar has also been a beneficiary of what I like to call “Space Jam” effect, the sharp divide in critical opinion between people who were already adults when a movie came out and those for whom it was as mother’s milk. Best-selling video of all time, remember? There are a lot of millennials out there with fond memories of this one, and even people who utterly despise the Disney sequels will go to the mat for this one. This one’s good, they’ll say. Leave it alone. He’s with me. Go burn some Tarzan sequels.

But does it deserve that loyalty? Is it actually any good? Well, it’s complicated…

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Disney Reviews with the Unshaved Mouse #57: Ralph Breaks the Internet

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So occasionally I will actually watch movies made for grownups and recently Ms Mouse and I saw Rocketman, which I can best describe as “Bohemian Rhapsody but not terrible”. Apart from quality the two movies are scarily similar but then I suppose that’s just the nature of musical bio-pics. They all follow the same pattern: You  start out with our protagonist living in grim, post-war Britain, all cobble-streets, glass milk bottles and tuberculosis. You have the unsupportive parents saying “Yew’ll nevah make nuffin o’ yoself” and then the moment where they decide to rename themselves from Rodney McBorningname to Elvis Stardazzle and then fame, fortune, a sleazy manager played by a Game of Thrones alum, rises, falls, break-ups, breakdowns and a moment where the protagonist’s oldest and dearest friend from childhood reads them the riot act.

What does this have to do with Ralph Breaks the Internet? Because if the Disney canon was a musical biopic, this movie would be the point in the story where Elvis Stardazzle is slumped over a table in a trashed mansion covered in a thick layer of cocaine and groupie juice, having driven away all the people who ever loved him with his massive ego and unwillingness to see how far he’s gone off the rails.

Guys, I’m not going to toy with you on this. I fucking hate this movie. My brother, the Unscrupulous Mouse, declared this the worst Disney canon movie since Dinosaur and, while I can’t agree, I really want to.  Can I sit here and tell you that animation is worse than Chicken Little? No. Can I tell you that it’s worse directed than Home on the Range? Well…I mean…no. No I can’t do that. What’s wrong with Wreck It Ralph 2 isn’t anything to do with the animation or direction or voice cast but with an attitude of insufferable all-encompassing smugness that sets me little mouse teeth right on edge. Everything from that FUCKING title to the instant datedness of the references to the obnoxious “what you gonna do about it?” reminders of the Disney corporation’s near cultural stranglehold on every nook and cranny of pop culture. I hate it. I hate this. I hate what Disney’s become.

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Inside Out (2015)

This review was requested by patron Amelia Mellor. If you’d like me to review a movie, please consider supporting my Patreon.

Ha.

Ha ha.

Okay. Okay. I see. Alright.

Okay. Yup. Yup. Uh huh. Okay.

Sorry. My bad. I see I haven’t been clear enough on this topic. So let me be frank.

STOP ASKING ME TO REVIEW PIXAR MOVIES. STOP IT. JUST CUT THAT OUT.

You want to know what I think about Inside Out? It’s PERFECT, okay?! IT’S GODDAMN FICKETY FUCKETY FLAWLESS! IT’S A FRICKIN’ GOAT! IT’S THE BEST POSSIBLE VERSION OF ITSELF. THERE IS LITERALLY NOT ONE SINGLE THING I CAN THINK OF THAT WOULD IMPROVE IT.

So what (excuse me) but what the FUCK AM I SUPPOSED TO SAY ABOUT IT? HOW AM I SUPPOSED TO CRACK WISE? YOU’VE HANDED ME THE CEILING OF THE SISTINE CHAPEL AND SAID “HERE, MAKE WITH THE FUNNY”. I CAN’T MAKE WITH THE FUNNY BECAUSE IT’S ONE OF THE GREATEST ACCOMPLISHMENTS IN THE HISTORY OF HUMANITY AND I HAVE A SOUL, YOU MOUTH BREATHING HEATHENS!

“Oh for the the love of…I ask you to review one of the worst movies ever and you piss and moan, I ask you to review one of the greatest movies ever and you piss and moan…”

“Try visiting the MIDDLE GROUND it’s pleasant and spacious!”

Ohhhhhhhh oy vey oyvey okay.

Inside Out. It’s the Pixar movie of Pixar movies. It makes other Pixar movies look like Dreamworks movies and Dreamworks movies look like pimply butts. It slays all that come before and after it. It’s so good, such a triumph of writing, design, animation and performance that honestly it’s a little intimidating and hard to love. It’s never going to be one of those movies that I just have on in the background because when I’m doing housework I usually prefer something that’s not going to break me emotionally like an egg.

I never used to cry at movies. Not really. I distinctly remember crying at the end of Michael Collins and that being a big, shocking thing. And that was a special case, because he’s like the George Washington of this thing and he was a real guy who really died (spoiler). But crying at movies just because they were sad? No. Not a thing.

That all changed with the arrival of somebody.

“Daddy, I can’t find my shoes.”

“We’re mice honey, we don’t wear shoes.”

“Minnie Mouse wears shoes.”

“Minnie Mouse has notions. Don’t you pay her any mind.”

Becoming a dad did something to me, people. Messed with my brain chemistry like a mad scientist juggling beakers and cackling. Now, when I watch a movie I cry if someone stubs their toe (unless its Adam Sandler, because my empathy can only stretch so far).

“Ha ha! Fatherhood turned you into a wussy!”

“You cried at that documentary about Pangea.”

“He…*choke* he had it all and he just fell apart I’m sorry I can’t do this…”

Researching this movie I learned that writer Pete Docter based it on observing changes in his daughter’s emotions when she reached eleven. I mean, I learned it, but I already knew it. This movie is so perfectly observed that it could only be drawn from real life.

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Disney(ish) Reviews with the Unshaved Mouse: The Little Mermaid 2: Return to the Sea

(Like Unshaved Mouse? Please consider supporting my Patreon.)

Some movies belong to a genre, others define a genre.

For example, if someone ever asked you “What’s Film Noir?” you could do no better than to plonk them in front of The Maltese Falcon and say “That.”

That movie perfectly encapsulates everything that we associate with the genre; the moody black and white photography, the moral ambiguity, cynical gumshoes, treacherous dames, shifty foreigners and all the fedoras in the world. We might argue over whether it’s the best Film Noir, but it’s definitely the most Film Noir.

It’s like, how much more noir could it be? And the answer is none. None more noir.

Which brings me nicely, like the old blogging pro I am, to Return to the Sea, which I feel confident in calling The Maltese Falcon of Disney Sequels.

“Well, I’ll take that as a compliment.”

“Yeah, don’t.”

I haven’t seen all the DTV sequels but I’ve seen enough.

I’ve seen enough like George C Scott saw enough in Hardcore.

But, fair is fair, they have occasionally been able to surprise me. Some of the very best, I’ll even concede, are slightly better than the very worst of the official canon. But Return to the Sea will not surprise you. If you picture the platonic ideal of “Disney Sequel”, this is it. This is exactly what you imagined. A palpable lack of effort leaches into every cel of this misbegotten thing. Mulan 2, whatever its crimes against its heroine, has a loopy, unpredictable “what is it going to do next?!” chutzpah that I have to admit I kind of enjoyed. But Return to the Sea provides the kind of soul crushing tedium that can only be provided by watching a movie you’ve already seen but worse in every respect.

Scalpels at the ready folks. Let’s make some sushi.

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Donald Duck in Mathmagic Land (1959)

A thought occurred to me going into this review: I’ve probably written more about Donald Duck than any other cartoon character. Throughout the life of this blog he’s been following me around like a little, white, feathery stalker:

Saludos AmigosMelody TimeFun and Fancy Free, Der Fuehrer’s FaceAdorable Couple, Fantasia 2000, Who Framed Roger Rabbit and of course The Three Caballeros, the movie that turned a regular dime-a-dozen review blog into the seething cauldron of madness it is today.

And I think that speaks to the character’s versatility. Donald’s got layers, man. He can be a skirt-chasing lady’s man, a plucky underdog, a swashbuckling adventurer, a child-like innocent, a scheming trickster, an acerbic straight-man, a devoted and loving parent, a hard-ass authoritarian or a cow-murdering psycho killer and it all feels like the same character. He’ll fit into a lot more situations than Goofy, say, while at the same time retaining a distinct personality and never succumbing to samey genericness like Mickey. That probably explains why he’s the hardest working cartoon character around, he can do it all. Even teaching kids about maths.

“You mean “math”.”

“I mean SHUT YOUR BURGER HOLE YANKEE PIG DOG!”

“Wow, that escalated quickly.”

“Hey who are you?”

“Who are you?”

“Who are you?”

“Who’s this new continent, what’s he gonna do?”

“Um…I’m North America? I’ve been here for ages, guys.”

“North America what?”

“Uh…North America the continent?”

“No, no, no, you need a gimmick. Like Gangsta Asia, or Otaku Oceania or Gullible Latin America.”

“I thought I was Handsome Latin America?”

“Of course you are.”

“Oh good.”

“Come my friend, it’s continent makeover time baby!”

“Guys, c’mon, I got a review to do.”

“Yeah. And we’re padding things out to hide the fact that it’s only 28 minutes long, you have no idea how to start this review and you don’t know anything about maths.”

“It’s math.”

“SILENCE YOU EAGLE FONDLING RUNNING JACKAL!”

Which brings me neatly to Donald Duck in Mathmagic Land.

“Smooooth…”

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Mouse Goes to War!: Reason and Emotion (1943)

Studio: Walt Disney Productions

Country of Origin: United States

First Screened: August 27, 1943

After the ugliness and race-baiting of the Ducktatorswhat say we finish our look at American propaganda shorts with something with a little bit of class, by God! Reason and Emotion is a personal favourite of mine, not just because it’s a gorgeous cartoon (although it is) but because it’s that rarest of things, a piece of propaganda that actually appeals to your better nature. Propaganda shorts of this era came in many flavours. Some just plonked existing characters into war-specific settings with little commentary and had them do their thing. Some mocked and belittled the Axis powers to boost morale. And some were designed with an educational thrust to inform the public about a specific topic. In fact, even after the war had ended Disney continued making educational shorts on all kinds of subjects.

Oh yes. This is a real goddamn thing.

Reason and Emotion is, ironically enough, a propaganda short warning of the dangers of propaganda. It effectively and engagingly illustrates how propaganda works on the mind and how demagogues use emotion to suppress reason. For this reason, I almost hesitate to call it propaganda. “Anti-propaganda” might be a better term. The short was released in 1943 to great acclaim and was even nominated for an Academy Award, although it lost to the Tom and Jerry short Yankee Doodle Mouse, the first and last time the Academy ever got something wrong.

I hate to say “They Wuz Robbed” but they totally wuz.

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