Frozen series

(In French, In Theaters, November 2019) Considering the massive success of 2013’s Frozen, it’s almost inevitable that any sequel would be scrutinized, dismantled and ultimately judged as not as worthy as the first film. Which is not quite an outright dismissal considering that the original Frozen remains, despite its overexposure, exceptionally good. This sequel doesn’t have the element of surprise going for it—in fact, its plot mechanics (especially its conclusion) are coincidentally reminiscent of other recent animated movies. Still, as a follow-up, it’s decent enough: the integrity of the characters is preserved, the plot revelations smooth out some of the original’s rougher edges and there’s more than enough here to keep fans happy. Still, this sequel is, in a word, messier than the original. The plot doesn’t flow as smoothly, there are noticeable lulls in the first half and a few characters are blatantly sidelined during the second half. (“Oh, they’re already gone; you can’t catch up with them” is not a very good argument for a guy with a reindeer looking for two women on foot.)  The songs also don’t feel as catchy, although a definitive judgment about that will have to wait until the inevitable fourth and fifth viewings. Still, Disney’s standard these days are high enough that even a middling effort is still worth a look. In technical terms, the animation here is often nothing short of stunning, with practically photorealistic water effects, and plenty of opportunities for the animators to take advantage of the possibilities of the form with lighting effects and thousands of elements in each sequence. With its Nordic setting, maple leaf imagery and theme of reconciliation with the native population, Frozen II also feels especially Canadian, although that’s probably just a coincidence. Given the choice, I’d rather have Disney turn out new universes rather than sequels, but Frozen II is not a bad watch, and judging from the opinion of this household’s residence Frozen expert, it works even better with younger female audiences.