Most critics are won over, and none is hostile: twenty of the twenty-three reviews are positive. The praise gathers in the same places. The bond between the two sisters, which outranks the usual romance, is the thing critics keep returning to, along with a finale that upends fairy-tale convention. The songs are widely liked, the snow-and-ice landscapes are admired, and Olaf the snowman, voiced by Josh Gad, is singled out again and again as the comic asset.
The reservations are about plot rather than feeling. Several critics find the story formulaic, the first act slow and the middle baggy, and a few think the songs uneven. Empire notes that the comedy belongs to the men while Anna is pushed aside; the Evening Standard feels the animators lose their nerve with Elsa’s design. The spread runs from raves to lukewarm, with Paste the coolest, calling it a tribute act without a soul.
F
Financial Times
5 December 2013 · Nigel Andrews
90*
Disney’s Frozen is a jolly, spectacular and funny fairy tale. It is jolly, spectacular and sumptuously 3D’d, with the snowman as a particular comic treat voiced drolly by Josh Gad.
The critic hails the film as a return to form for Disney animation with its contemporary fairy-tale spin, dramatic Nordic visuals, and soaring Broadway-style songs. The scene-stealing snowman Olaf and strong voice ensemble led by Kristen Bell and Idina Menzel are singled out for praise.
Disney’s new princess cartoon offers the sort of experience that could restore your faith in cinema thanks to its surprise ending and focus on the sisters. The film is full of nifty characters and great songs, though the animators lose their nerve with Elsa’s design.
The critic calls it a big-hearted charmer of a family film with terrific musical numbers and a robust, satisfying story with a big heart and a neat twist. The spectacle is great and the song lyrics are a joy.
It advances depictions of Disney princesses through a focus on sisterly bonds and female independence, delivering simple pleasures and a strong moral undercurrent.
The plotting may be formulaic but this is still a film of considerable charm and formal accomplishment. The computer animation of the characters is expressive and detailed while the film-makers work wonders with glacial landscapes.
Frozen finds the studio on firmer ground. Relief comes in the film’s modern sensibilities as Elsa and Anna’s relationship outranks any tired romance, the musical numbers are a plus and Anna boasts a triumphantly single-minded female role model.
The emotional moments are powered by the bond between the sisters but the comedy comes largely from the buddy relationships between the guys, leaving Anna playing second fiddle. Thankfully the jokes consistently land, the snowy animation is impeccable and the big songs are appropriately stirring.
Calls it a tasty dose of old-fashioned Disney animation magic with fun adventure and a good-natured snowman that should appeal to families, though it lacks Pixar-level wit.
Empowering themes of feminine strengths and bonds flourish in novel fashion, highlighted by Elsa's liberating "coming out," though the first act is weak and the overall execution uneven.
The critic praises the film's energetic, humorous take on the fairy tale with female empowerment touches, strong songs, and visuals that make it broadly appealing while upgrading studio animated fare.
The critic praises the film's departure from traditional Disney princess formulas through its focus on sisterly bonds and psychologically complex characters. The visually captivating snow-and-ice world stands out as a highlight amid coherent storytelling.
The critic finds the widescreen winter visuals and Olaf the snowman the main assets of this classical but formulaic Disney animated feature. The story of two sisters proves longer on striking imagery than on deeply memorable characters.
It captures the classic Disney spirit with emotional resonance around loneliness, family, and childhood feelings, though some elements feel predictable or Broadway-ready.
The critic finds it a decent seasonal Disney feature that refreshes the princess template with sisterly empowerment and a subversive finale, but notes some plot bagginess and conventional design.
The critic finds Frozen among Disney Animation's best, gracefully avoiding tired conventions while blending strong music, endearing characters, and distinctive 3D artistry. It honors predecessors yet carves its own path with precise storytelling and emotional impact.
The critic calls it the best Walt Disney Animation Studios movie in a generation and the best family movie of the year. Singles out the story of two sisters, the music (esp. 'Do You Want To Build A Snowman?' and 'Let It Go'), and the voice cast.
It's an exhilarating, joyous, human story... impossible to imagine a more perfect celebration of everything Disney is at its best. Praises the sister relationship, songs, and inversion of fairytale tropes.
The critic calls it Disney's best animated musical since Beauty and the Beast, praising its proactive princesses and catchy tunes as a winning combo in this update of The Snow Queen. The script delivers characters to care about along with nifty twists and surprises.
The critic finds Frozen a charming, traditional Disney musical that embraces classic storytelling with strong female leads and an empathetic anti-villain in Elsa. Olaf stands out as a brilliant comic creation that enhances the film's appeal.
Frozen pleases families with its female empowerment themes and brisk pace but falls short of classic status due to uneven songs and a lack of real peril or darkness. The strong characterization of Elsa and Anna is praised amid otherwise conventional elements.
Frozen revives the animated musical formula with nostalgia and solid animation but feels like a tribute act lacking soul, delivering mixed results compared to stronger recent Disney entries. The story sidelines the most compelling character and features mostly forgettable songs despite some bright spots.
Ordered by the weight we give each publication, then by score. Scores are normalised to 100; * means inferred from an unrated review. Summaries are ours, not quotations; follow the links for the reviews themselves. How we rate
