Here we have two half-hour literary adaptations of beloved works, both charming and well-animated and lively, but with almost no reason to be packaged together.

Here we have two half-hour literary adaptations of beloved works, both charming and well-animated and lively, but with almost no reason to be packaged together.
Even when you’re a kid, you just know that this movie looks different from classic early Disney, even if you can’t put a finger on it:
Despite suffering through the nightmarishly bad Belle’s Magical World the previous day, my daughters were up for still more Beauty and the Beast content last night, so we streamed The Enchanted Christmas.
My girls wanted to see more Beauty and the Beast after we enjoyed the animated classic last week. So I pulled this up on Disney+ (not realizing the Christmas one is the first proper midquel).
This was my first time watching this all the way through since I became a dad, and BOY does it hit different.
I’ve always been extremely fond of this one (moreso than Hot Fuzz; never seen World’s End).
I know a lot of the value of this movie is the influence it brought on indie films:
I watched this with my daughters, and it helped me rediscover the fear and romance and hope for redemption baked into the story. The script, characters, and music are all so timeless and perfect.
Midsommar features an extremely striking use of light and color. It’s the first horror movie I’ve seen where the absence of darkness is part of the terror.
A micro-budget, DTV fantasy movie riding in the wake of Harry Potter and Lord of the Rings, yet not really inspired by either.