If narrative momentum is your thing, whatsoever, then Snow White and the Seven Dwarfs is a bit of a slog to get through.
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Hercules (1997)
Hercules has a bit of a reputation as a minor Disney Renaissance work, mostly because it has a light comic tone while still adhering to a fairy tale-esque hero’s journey story arc, perhaps lending it an air of excessive breeziness where dramatic punch is expected.
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Frozen (2013)
As the father of two daughters who love princess stories, Frozen is more of a utilitarian commodity to me than a piece of cinema.
Where The Little Mermaid 2 is content to retread the original’s story, but in reverse and less coherently and uglier, Ariel’s Beginning at least tries something new. It doesn’t exactly stick the landing, but I’d still put it in the upper half of Disney’s direct-to-video sequels.
What’s this? A film from the 1970s that treats homosexuality with nuance and earnest generosity, not as a big icky farcical hoot or a facade for depravity? To be fair, I am very much NOT up to speed on my queer cinema history, but given that this felt like a fair depiction in 2021, I can only imagine how progressive it was 42 years ago.
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Training Day (2001)
I’m not quite sure this movie realizes that it’s a neo-noir.
The Happiest Girl in the World is a simple, linear film taking place in one day and mostly one location. Despite its humility, I was on its comic and dramatic wavelength for most of its runtime, and got a pretty big kick out of it.
Jabberwocky is Terry Gilliam’s first solo directing effort and second overall after Monty Python and the Holy Grail.
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The Debut (1977)
At a basic level, The Debut presents a clear and effective metaphor:
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The Godfather (1972)
I fear that I will never again be able to watch The Godfather with fresh eyes or a sense of wonder.