Brave (2012)

Ebert gives the film a positive verdict. He singles out its mother-daughter relationship for praise.

Pendreigh gives the film a positive verdict, calling Merida a memorable creation. He singles out her fiery personality and the film’s first female central character.

Edelstein finds the film fast, funny, and unpretentious, praising its lively mix of farce, sentiment, and suspense. He especially singles out the comic, moving scenes between Merida and her bear-transformed mother.

Debruge finds the film conventional by Pixar standards but moving and refreshingly versatile. He especially praises its poignant exploration of the mother-daughter relationship, brought to life through Emma Thompson’s performance and protective actions as a bear.

Nathan finds Brave an enthralling, visually lovely film, though less ambitious and less surprising than Pixar at its best. He praises its animation and the mother-daughter relationship, while faulting the predictable story and softened moral.

The review’s verdict is unavailable because the article text is behind a paywall. The page does not reveal what the critic praised or criticized.

The review finds the film intermittently thrilling, though its patchwork plot only holds together well enough. It praises the plausible mother-daughter conflict and engaging side characters.

Johnston gives the film three out of five, a measured verdict. The available description places it against Pixar’s history of advances in digital animation, but the review text is unavailable to identify a specific praise or complaint.

Smith finds Brave entertaining and technically ambitious, but a creative misstep that leaves Pixar treading water. He praises the spirited heroine, the film’s visuals, and Patrick Doyle’s traditional score, while criticizing the magical plot twist.

Larson finds the film a stale, shallow take on female independence and mother-daughter responsibility. He criticizes how the story silences tradition without considering why it existed.

McCarthy finds the film visually delightful but dramatically safe and less inventive than a typical Pixar film. He especially praises the painterly rendering of Scotland and the voice performances.

Turan finds the film visually impressive but disappointing by Pixar’s standards, citing familiar characterization and an overly broad tone. He praises its gorgeous Scottish setting and emotional ending, while criticizing the plot’s turn and prolonged bratty behavior.

Bradshaw finds the film bland and unsatisfying, with little of Pixar’s usual wit or smart self-awareness. He particularly criticizes its story for binding Merida back into the family unit just as she seeks independence.

The critic strongly recommends the film as an exhilarating adventure and hilarious comedy. They praise its mother-daughter relationship and the balance of laughs, thrills, and familial love.

Harrison finds Brave a return to form for Pixar, though it may not rank among the studio’s very best. He especially praises the richly detailed Scottish landscapes and the film’s mother-daughter relationship.

Reynolds finds Brave moving, funny and entertaining, though it lacks the distinctive storytelling and magical feel of Pixar’s earlier films. He praises the character animation, especially the bears, and singles out the short La Luna as an absolute peach.

The review is strongly positive, calling the film spectacular and praising its emotional story about a mother and daughter. It singles out the detailed animation and the film’s heartfelt core as particular strengths.

Wilkinson finds the film an enjoyable, thoughtful adventure that balances broad appeal with ideas about family. She especially praises its expressive visuals and the way they convey the mother-daughter relationship.

The critic finds Brave entertaining and worthwhile, but says its journey is not especially compelling and it falls short of Pixar’s usual depth. They praise its gorgeous music, goosebump-inducing scenes, and funny moments.

Goldberg finds Brave visually lush, humorous, and heartfelt, but ultimately timid and familiar. He praises the comic moments of Elinor trying to communicate as a bear, while criticizing the shallow mother-daughter lesson.