Frozen (2013)
Directors: Chris Buck, Jennifer Lee
Screenwriter: Jennifer Lee
Starring: Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad, Santino Fontana, Alan Tudyk

A frozen tundra reveals itself under a dramatic score inspired by Sámi-style singing. A world of jagged ice and frost sparkles under the Aurora Borealis. This is a world of magic, made apparent immediately by the children playing. A young princess, Elsa (Eva Bella) can wield snow from her fingertips. Her non-magical sister only sees the joy in this – gone are the themes of female jealousy that were once a Disney mainstay.

But the joy turns sour as Elsa strikes Anna (Livvy Stubenrauch) with an errant ice surge. Once the kingdom’s magical trolls are consulted and Anna is saved, it is decided that the only thing to do is wipe Anna’s memory and hide Elsa’s gift. Elsa is forced into a life of isolation, concealing her true power. After her parent’s death Anna also becomes subjected to this lonely way of living.

Now Spring, Anna (Kristen Bell) and Elsa (Idina Menzel) are grown. They wake equally giddy and nervous that it is coronation day, and their secretive castle has to open its gates to present its new ruler, Queen Elsa (Idina Menzel), to the surrounding kingdoms. Two young women without a King around should be easy to take advantage of. Many dignitaries seem to think so anyway.

The stress of the evening affects the sisters in quite different ways. Princess Anna (Kristen Bell) falls head over heels in love with Prince Hans (Santino Fontana), and Elsa (Idina Menzel) goes on an ice spewing rampage, buries Arundel in a thick blanket of snow, and runs into the forest without a coat. Though, rumour is, the cold doesn’t bother her anyway.

Anna (Kristen Bell) entrusts the kingdom to Hans (Santino Fontana) as she strides out into the snow drifts to search for her sister. A chance meeting with ice merchant, Kristoff (Jonathan Groff) changes the course of her journey and of her life.

Remarkably, Frozen (2013) was the first Disney film to be directed by a woman. Jennifer Lee wrote the screenplay and joint-directed (alongside Chris Buck) both Frozen and Frozen II. These films made her the first woman to direct a film that made over $1billion. And Frozen attracted awards like moss on a rock troll’s behind.

Wreck-It Ralph (2012) was Lee’s first screenplay, and was a very clear indicator of Lee’s ability to write Disney princesses with a difference. Vanelope is more like Elsa than most other Disney princesses before her. Both have a potentially dangerous trait that threatens those they love, both need to accept themselves and embrace their power. Both choose to live alone in a castle of their own design.

There is no doubt that Frozen has been an unmitigated success. In fact, the only animated Disney film to beat it at the box office is its own sequel. The franchise has spawned short films, a mini LEGO series, more merchandise than anyone thought possible, a West End Show, and a critically acclaimed sequel (which is arguably better). Frozen became a Disney classic overnight, and it remains as popular as it ever was.

There are many reasons why Frozen appeals to audiences so much. Obviously, beautiful animation, humorous animal (or non-human) sidekicks, adult jokes flying over kids’ heads, and belting tunes are all to be expected of a Disney endeavour. But there is something about Frozen that gives it an edge over its Disney counterparts and has given it this remarkable staying power.

Perhaps it was the decision to have two female protagonists? The traditional fairy tales of yesteryear with damsels in distress are out of vogue. Yes there is distress in Frozen, but these damsels are going to sort it out by themselves. The non-prince charming, Kristoff (Jonathan Groff) is a hugely likeable love interest, but he is not there to fix Anna’s (Kristen Bell) problems, and no one but Anna can save Elsa (Idina Menzel).

By having two female protagonists, Disney have allowed the more traditionally klutzy, hopeful romantic Anna to tick the boxes for fans nostalgic of the golden era. While Elsa is aromantic, empowered, a warrior. She just has to learn to love and trust. By splintering the facets of a traditional Disney princess, the creative team managed to create something with a wider appeal.

Disney has always been divided into two distinct categories: princess stories marketed at girls, and non-human (cars, toys, animals, elements) stories marketed at both girls and boys. Even with the more modern attitudes of audiences today this hasn’t really changed. If you look at it cynically, girls can be expected to enjoy stories with boys in while boys are not expected to enjoy the stories of girls. While the leads are women in Frozen, there is a strong supporting cast of male characters. Roguish Kristoff, reindeer Sven and magical snowman Olaf (Josh Gad – a man whose expressive and distinctive voice was made for animation) add humour and allow the film to be marketed at both boys and girls. There are monsters, wolves and bogey jokes aplenty for those who are less interested in love and all that mushy stuff.

Another strength of the film is the moving part of the villain. Up to the high note of “Let it Go”, we would be forgiven for thinking perhaps Elsa is the baddie. She doesn’t let Anna live her life, curses a kingdom to freeze to death, and sculpts ice weapons with a glint in her eye. The twist in Frozen, as the audience realises where the real threat lies, is up there with The Sixth Sense or The Usual Suspects. Nearly.

The past decade has seen Disney (and Disney Pixar) films shift to reflect the more progressive tastes of its audiences. Big Hero Six (2014), Inside Out (2015), Moana (2016), Luca (2021), Encanto (2021), and Turning Red (2022) are all coming-of-age stories that explore complex themes of grief, self-worth, difference, and acceptance, with barely a whisper of a love interest among them. While huge successes, none of them have managed the dizzying heights of Elsa’s success. But it is a fair suggestion that Elsa paved the way for these films of empowerment and learning to love yourself.

Frozen is a universal film with themes that are far reaching and enduring. Elsa shot to the top spot, and no matter what she says, she’s showing no signs of letting it go.

Score: 20/24

You Are So Not Invited to My Bat Mitzvah (2023)
Director: Sammi Cohen
Screenwriters: Alison Peck
Starring: Adam Sandler, Idina Menzel, Sadie Sandler, Sunny Sandler, Samantha Lorraine, Dylan Hoffman, Sarah Sherman

The last time Idina Menzel and Adam Sandler tried to raise a good, Jewish family together, Sandler ended up in the trunk of a loan shark’s car and Idina’s father found himself hundreds of dollars in debt. The film was Uncut Gems (2019). This time around, Stacy Friedman (Sunny Sandler) is planning her Bat Mitzvah and the stakes are just as high. 

Sure, the cerebral A24 cult classic and the family flick boasting an Olivia Rodrigo needle drop might not have a lot in common, but this does speak to the versatility of the Sandler family. We can’t help but to compare the two sides of fatherhood––from gambling addiction to embarrassing your daughter at the movies on a Saturday night, Adam Sandler has done it all. 

You Are So Not Invited to My Bat Mitzvah is a family comedy about the woes of 7th grade Stacy Friedman who is desperate to have the coolest Bat Mitzvah in the school. This is no simple task given her best friend, Lydia (Samantha Lorraine), is already totally rich with a huge mansion and neither girl is exactly in with the popular crowd. To make matters more complicated, a good Bat Mitzvah needs a killer DJ, a crazy venue, and a dance with the cutest boy in school, Andy Goldfarb (Dylan Hoffman). Of course, the latter causes some major tensions between the two best friends. As Stacy and Lydia careen into womanhood, they must overcome their feud to throw the ultimate party. 

The Sandler children, who play sisters Stacy and Ronnie (Sadie Sandler), are undeniably charming and turn up that sibling rivalry the way only true sisters can. Even Jackie Sandler has her moment in a cameo as Lydia’s mother Bree. The story, which is already a sweet tale of growing up, is made that much more genuine with the family connection. It is clear that the cast is a tight knit group of Sandler’s friends and family. In the case of this film, if the cast is having fun, we are too.

The film also works as a heartfelt crash course in coming of age in a Jewish community. The world is carefully crafted with sentimental details that explore a vibrant New York community. One of the highlights is the over the top Hebrew School teacher Rabbi Rebecca (Sarah Sherman) who provides tough love, guidance, and of course a themed song when the students come to class. Throughout the film, we get a sense of the closeness of this community but also the pressure to perform for their peers. Here it is proven that the universal lies in the specifics. 

Additionally, You Are So Not Invited to My Bat Mitzvah is an ode to girlhood. Soundtracked by hits from the likes of Taylor Swift, Olivia Rodrigo, Remi Wolf, and Selena Gomez, the film feels informed by real teenage girls. Unlike other Netflix Originals that are fraught with disjointed Gen Z slang and cringy references to outdated trends, You Are So Not Invited to My Bat Mitzvah manages to feel current and in the know (which is a soaring feat for a culture that moves as fast as ours does). The flick is angsty, melodramatic, and flamboyant enough to be ripped from the pages of a teenage girl’s diary––where a boy ignoring you in the hallway feels like the biggest tragedy in human history. 

You Are So Not Invited to My Bat Mitzvah is a quick and enjoyable watch that is good for reminiscing on the plights of early teendom. Sandler’s comedy seems to mature with his growing family. While it maintains his usual goofy antics, he steps aside to make room for his daughters––who prove that they are worthy comedy leads and then some. The family comes together to make a heartwarming and silly comedy that is great for a pick me up. 

Score: 18/24

Recommended for you: Top 10 Adam Sandler Performances

Uncut Gems (2019)
Director: Josh and Benny Safdie
Screenwriter: Josh Safdie, Ronald Bronstein, Benny Safdie
Starring: Adam Sandler, Lakeith Stanfield, Julia Fox, Kevin Garnett, Idina Menzel, Eric Bogosian

“Each atom of that stone, each mineral flake of that night filled mountain, in itself forms a world. The struggle itself toward the heights is enough to fill a man’s heart.”  – Albert Camus, The Myth of Sisyphus

Sisyphus, the first king of Corinth in Greek myth, was a sly, deceitful, crafty character. He angered Zeus by harming travellers in violation of Greek hospitality customs, and Zeus, in response, commissioned Thanatos to chain Sisyphus up and take him to the underworld. Thanatos was apparently a dummy, and when Sisyphus asked for a demonstration of the chains, Thanatos chained himself up, allowing Sisyphus to escape unscathed. Another story tells that Sisyphus asked his wife to leave him in the town square just before his death. When he arrived across the river Styx without the proper burial traditions, he begged Persephone to allow him to return to the Earth to scold his wife and receive a proper burial. His wish was granted, though he failed to return to the underworld until his death of natural causes many years later. For cheating both Zeus and Hades, Sisyphus was condemned to push a boulder up a hill. Upon reaching the apex, the boulder rolled right back down, forcing Sisyphus to return to the bottom to continue the absurd task for all eternity.

Uncut Gems isn’t a 1:1 translation of the myth of Sisyphus, but there’s no denying the parallels between the Corinthian king and Sandler’s Howard Ratner. Howie cheats his enemies, his friends, and his family. He sells a chain a friend gave him to hold to get $24,000 so he could place a bet. He pawns Kevin Garnett’s championship ring, which the basketball player lent as collateral, for another $21,000. He keeps a love nest for his girlfriend while still married to his wife, he owes his brother-in-law, Arno, $100,000. He’s sly, deceitful, crafty, and decked out in jewels that would make any king envious. Most important is his absurd persistence for that next big hit, never accepting failure or consequence, and doing anything it takes to overcome an obstacle.

The film opens with Ethiopian miners harvesting black opal. The conditions are obviously rough, with an injured worker surrounded by his comrades, showing the viewer the real blood and work that made this story possible. But within the black opal lies the complexity and age of the universe (“You can see the whole universe in opals,” Howie remarks), and the camera travels into the radiant gem before transitioning into the colon of our main character. The edit shows a cosmic connection between the characters and stones on a microscopic level, and surely sets the tone for this tale of tragedy.

This opal was ordered by Howie, and he is delighted to show this valuable rock to Celtics power forward Kevin Garnett, who has come to his shop on the recommendation of a friend. The opal is set to go to auction (where Howie expects to receive $1,000,000), but Garnett is captivated by the gems. He begs to borrow it, believing it to be a sign of good fortune for his playoff game against the Sixers, and Howie reluctantly accepts. Meanwhile, Arno sends tough guys to confront Howie, and Howie aims to avoid paying his debts while obsessively fighting to receive his own collections.

The story is driven by anxiety-inducing scenes that are filled to the brim with chaos. Howie’s jewellery shop is a place of incessant chatter, buzzing, dinging and screaming, all masterfully edited together to create a tense atmosphere. Howie is alive in this anarchy because of his one-track mind. He’s singularly focused on scoring as big as possible, and throughout the movie he ignores co-workers, family, and gangsters as he texts, digs through a fish, or watches his daughter’s play. A viewer’s mind pleads with Howie to do literally the opposite of what he’s doing, but where’s the fun in that? His aggressive nature is the whole reason this film exists, and will surely lead to his downfall.

Across New York, windows and metal catch flashes of light that mimic the appearance of the multicolored opal. A scene in a club is drenched in blacklight, with red lights expressing Howie’s anger at his friend for not bringing him the gem from KG. The most impressive visuals are the trips into the gems or body, which add a sort of spiritual element to the film, elevating it beyond the typical thriller or gangster film. That cosmic element is also found in the score, a blend of synths, sax and flutes that represent the gem or Howie’s mood. It’s a weird score that perfectly fits with the larger themes of universal interconnectivity.

You don’t have to be a degenerate gambler, NBA fan or Jewish person to appreciate the film, but it certainly will boost your enjoyment. The construction of a narrative around real basketball games is impressive, and hearing a family discuss Linsanity and the garbage New York Knicks front office following Passover is so specifically relatable to the right person. What’s really important are the moments that speak to the human condition, like the myth of Sisyphus. The value in Howie is that continuous will to fight no matter how bad things appear. His joy in victory, followed by the depths of anger in defeat, are feelings anyone can understand. There’s joy in the struggle towards one’s goals, and even more in success, no matter how fleeting. One gets to imagine Howard Ratner happy.

23/24