We’re reader-supported and may be paid when you visit links to partner sites. We don’t compare all products in the market, but we’re working on it! Show Frozen 2013 Animation, adventure, comedy PG When the newly crowned Queen Elsa accidentally uses her power to turn things into ice to curse her home in infinite winter, her sister Anna teams up with a mountain man, his playful reindeer and a snowman to change the weather conditions. 105mins When their kingdom becomes trapped in perpetual winter, fearless Anna embarks on a dangerous journey to find her sister, Snow Queen Elsa, and break her icy spell. Along the way, she meets mystical trolls, a comedic snowman, harsh weather conditions and surprises at every turn. Magical, atmospheric and featuring lovable characters, Frozen is a fantastic film for viewers of all ages. The plot is engaging and the soundtrack is excellent, so the movie has all the ingredients of a successful Disney hit. It also promotes an important message about acceptance, which is always a plus. More detailsOther formatsReviews
Top reviews from the United States R. V. RiccioReviewed in the United States on December 31, 2015 5.0 out of 5 stars A series of happy accidents that conspire to make a superb classicVerified purchase Like many adults, when I first saw the trailers for this, I was uninspired. Sure, kids will always like it, it's a Disney thing, how bad could it ever be! However, under the helmsmanship of the brilliantly creative John Lasseter, the film was made, remade, then remade again into a
beautiful animated story. 2 people found this helpful SamuelReviewed in the United States on April 14, 2014 5.0 out of 5 stars Yes, it can brainwash your child (making this grandfather retire his case)Verified purchase Idina Menzel gave concerts in Chicago (Ravinia) and Milwaukee (Performing Arts Center), shortly before the appearance of "Frozen." I was given a front-row ticket to the Milwaukee concert and was struck, above all, by the numerous young people (college age and slightly older) who were obviously familiar with practically every sung word, eagerly joining Menzel on stage upon being invited to perform numbers from recent Broadway musicals ("Rent," "Wicked"). As a jazz fan (and musician) I must admit the music wasn't my "bag" (with the exception of "Avenue Q," which knocked me out). To my ears, most popular songs of the past 50 years sounds infinitely inferior to the music of Jerome Kern ("Showboat"), Rodgers and Hammerstein ("Oklahoma"), Gershwin ("Porgy and Bess), Rodgers and Hart ("On Your Toes"), Cole Porter ("Anything Goes"), Bernstein and Sondheim ("West Side Story")--in terms of structural integrity, melodic inventiveness, lyric wit, and range and depth of emotional expression (perhaps the reason these are the songs that constitute the library that has come to be known as "The Great American Songbook"). In any case, my opinions were rendered meaningless by the profound effect this movie had on my 3-year-old grand-daughter. Although I didn't observe much of a response from her at the theater (either during or immediately following the movie), a mere 3 months later she's singing every single note, every word of the score of "Frozen" (I couldn't even tell you the name of the composer-lyricist). Granted, in that time she's had a birthday, but I'm no less impressed. And it's quite apparent that this "blockbuster" out of the Disney studios is having a similar impact on thousands of other children--of all ages. The tunes from "Frozen" and, for that matter, most other recent musicals, don't lend themselves to jazz improvisation, but neither does much operatic music. Only the passage of time will tell us whether this music will endure like Kern's "All the Things You Are" or Johnny Greene's "Body and Soul" or Harold Arlen's "Somewhere Over the Rainbow" (to name just a few examples of "classic" American tunes that are part of an inarguable "canon" of American popular song). But I'll be far more hesitant about criticizing it. And even if it eventually sinks into the oblivion of so much pop emphemera, a musical like "Frozen" leads in a musical direction that's considerably more professional and sophisticated than the folk, rock and country music (mostly by guitar-playing singer-songwriters) that has dominated American popular music since the 1960s. Come to think of it, Menzel exhibited a "Broadway voice" that was not all that unlike Ethel Merman's (minus the vibrato--Ethel was the favorite of the early great composers because of her power and elocution, both essential to Broadway shows before the development of the microphone, which was not even a factor in vocal performances until the late 1920s and the emergence of the creative genius who knew to use it-- Bing Crosby). Near the beginning of practically any course that I teach--literature, music, and film--I warn my youthful troops (learning is a risky adventure) that they all possess a bias against anything that is perceived as "old," "past," "before their time" and that one of their greatest challenges will be to surmount their pre-existing bias in favor of the "modern," or "contempotrary" for education (which means "moving out" of restrictive confines) to occur. Education is more about covering epochs of "time" (in teaching linguistics, I endeavor to go back some 50 million years!) than vast expanses of "space." Traveling--even in outer space--is of great interest and even a potentially transformative experience for some, yet it's extremely limited compared to the traveling in time that is possible only through the study of texts from the past. In other words, they'd better be prepared to read, and have an open mind to, a lot of "dead white guys" (not excluding some black ones, like Louis Armstrong and Duke Ellington, both of whom produced music that resonates in consciousness with the creative brilliance of a Shakespeare sonnet or a Homeric epic poem). Already, as a teacher-student, I've no doubt alienated myself from not only some of those "present-bound" youth that occupy my classroom but from of the narrow-minded and rigid Americans on the far right who have condemned "Frozen" as a propaganda piece supporting modern "liberal" notions such as women who can overcome formidable obstacles and attain the kind of powerful automony we like to see in our great national leaders. We're told that such empowerment of women defies all of the patriarchal examples of the past not to mention the teachings of the Bible and other religious texts. Moreover, we're told that by showing us two women who are capable of loving, above all, each other, "Frozen" is brainwashing our youth into approving of homosexuals if not becoming one! Who would have "thunk it"!! (I confess these ideas never occurred to me until I bagan reading and hearing reports about the controversy stirred up by this movie, which had initially left me largely indifferent and about $50 poorer). It occurs to me that we can all "learn" from these alarmists as the vert antithesis of a genuine student, with a mind open to learning. Rather than learning how to interpret a "text" (literary, film, musical, etc.) they're "hardened idealogues" who have become all too well practiced in their habitual litmus tests (i.e. "witch hunts"). I encourage them all to take a few classes in "higher learning," for their own good and the communities they attempt to serve. In the meantime, I'm enjoying my grand-daughter's extended arias-recitatives, lifted from the soundtrack of "Frozen," and being sung with such joyful abandon and power ("mostly" on pitch) that I can feel my house's foundation moving and witness my cats frozen in trepidation as they cling to their preferred perches in the four-story trees (ordered from Amazon). It's enough proof for me to conclude my grand-child (who had just recently conquered "the potty") was, indeed, "liberated," and at the age of 3! Who knows where she'll go from here? I'm simply relieved to know that she won't have limits placed upon her by some perhaps well-intentioned by sadly misinformed hard-liner. If you wish to learn about music, you might do well to talk to and hang out with a musican. If you want to learn about "morality," the last person to consult is a "moralist." 2 people found this helpful SomeoneReviewed in the United States on October 18, 2022 5.0 out of 5 stars Remarkably compellingVerified purchase Frozen is, as far as I can tell, most famous for obsessing 3-5 year old children, but I am not the only adult I know who's a bit obsessed. Elsa is a very, very, very powerful, sympathetic, charismatic character, and I still can't quite put my finger on why. Maybe: she's a bit of a Byronic hero -- dark, troubled, flawed, could easily be cast as a villain (as she was when the film was first begun!!). Maybe -- the idea of having secret, terrible power is a primal feeling that many can relate to, and a terrible secret that is not actually terrible many more can. Maybe -- the combination of traditional, sparkly, beautiful femininity WITH terrible power WITH a good heart? Whatever it is, it's a feminist aesthetic I find moving, and the film brought me to tears. 3 people found this helpful Jesse StoutReviewed in the United States on July 12, 2017 4.0 out of 5 stars Do You Want To Build A Snow-Bro ?Verified purchase Disney's Frozen plays subtly upon assumptions, stimulating reconsideration of what obstacles there may be to true love--and even whether there oughtn't be a few for young people to start with after all ! It might do to bundle those aforementioned assumptions under the label "Pride And Prejudice-esque" : sister dynamics in one corner, brother dynamics in the other, no real parents in either, yet the imbroglios of Elizabeth and D'Arcy more attributable ( or at least attributed ) to the mutual miscomprehension of "classes" than to these lovers' personal, pre-romantic, familial histories. Comparable to Elizabeth Bennett in being the younger and less ostentatiously gifted of upper-class sisters, daughters of parents distant and then untimely deceased, is Frozen's Princess Anna. Anna falls in love almost instantly with the ( Spoiler alert ! ) cad-monster, Hans, far harder-driven even than Wicked Wickham by fraternal jealousy and legacy-lust. ( Cf. "With twelve older brothers..." ) In part to shed clarifying-contrastive light on both Anna's and Kristoff's backgrounds, Frozen has the ( adoptive ) family of Anna's real-true-love-to-be, Kristoff, be a clan of trolls very liable to overwhelm their mild nordic orphan-friends like a flash-mob Big Troll Wedding, a tidal wave of cheeky Family Wholeness that is everything unfamiliar to Anna at least. So might we wish to fall, en famille Grecque, upon Elizabeth Bennett, whisking her past pride and past prejudice to a perfect if premature Happy Ending. But Frozen implies that one should heal psychic faults at their pre-romantic, familial origins rather than, still ignorant of the sources of one's inclinations, seeking a panacea in romance however authentic. The Trolls, Kristoff had warned Anna, are consummate "love experts"--but why then does Frozen have the stricken Anna faint rather than rally at the climax of The Trolls' big number about love ? Until then, under a shock-wedding gazebo, together with Hans before The Priest-Troll, Anna attends politely to their advice. As Anna's reserved looks and Kristoff's impatient expostulations meanwhile suggest, however, The Trolls' advice, if sound in itself, is nonethless directed to Hans and Anna in error. Anna is neither a snob nor a prude nor a slanderer's fool who needs prodding towards her "fixer-upper." Nor is she well-advised to be, as The Trolls imply she should, *less* critical. How perilously "spontaneous" Anna has already been in romantic matters ! And how ingeniously dark the parallel ironies of Anna's duet with Hans will prove to be : Hans has indeed been trawling for just such an "open [ reread : carelessly unlocked ] door" ! The Trolls are wrong furthermore to imagine that, Our Heroine rid of Hans and open to advances on Kristoff's part ( and to quote the French version ), "tout sera reglé !" The Trolls have been rushing Anna towards Kristoff, even just a kiss from whom will come only in the film's denouement, and ignoring her real and serious illness, which Kristoff can't help with yet. Finally, reflecting upon the rather odd fact that the "true love's kiss" they prescribed to Anna comes at last not from any man nor involves "true love" of the kind that phrase itself inevitably connotes, we should take The Trolls to task--and maybe ourselves--for conceiving Anna's challenge amidst a fog of assumptions--be they ethnic, "neo-Austenean," both, or something else. Olaf, the hilarious snowman first brought to life by Elsa in childhood and, later, brought back to life by Elsa in the midst of renewing her stolen identity, leaves far less to be desired as sidekick-advisor than The Trolls. Recall that Elsa created Olaf at her little sister's ( at Anna's ) musical appeal : "Do you want to build a snowman ?" Insofar as Elsa thus created Olaf not only *for* Anna and at Anna's request yet hardly "with" her, Olaf is a proxy for older-to-younger sororal attention never directly forthcoming from Elsa. At the same time as he is a kind of ambassador of deflected sister-love, however, Olaf is--of course, but note it--a snow*man* or -boy at least. Olaf in fact provides gentle yet not-undemonstrative opposite-sex affection with his very first breath : "My name is Olaf, [ I'm a male snowman, by the way, ] and I like warm hugs !" Unsupervised at this juncture and momentarily uninhibited, Elsa does get carried away by her powers just as--let's give them their parental praise-due as well as criticism--The King and Queen of Arandel strove to prevent. Elsa accidentally injures Anna, The King and Queen are horrified, Elsa descends into an inner deep-freeze that isolates her above all from her sister, and Olaf disappears for over a decade. Correlatively, soon after he is *re*created on a mountainside by Elsa Revitalised, he meets with Anna searching for Elsa : "Did Elsa create you ?" "Yes." "Do you know where Elsa is ?" "Yes." He finds the hidden staircase to her castle for Anna and Kristoff and helps them get inside past another--but this one's Angry--snowman-proxy of Elsa's creation. It is he, not Kristoff, who rescues Anna at the brink of death by explaining love to her and by his readiness to "melt for her" in loving self-sacrifice. Though Olaf cannot himself be Anna's true love in the inevitable romantic sense of the phrase, he is the key to the meaning of Frozen in being thus the bridge ( sometimes almost comic-literally ! ) between Anna's and Elsa's hearts, between lost childhood memories and readiness for Adult Love. Minus a few pretty pointless physical danger spectacle-scenes and just a forgiveable touch of girl-power corniness, a beautiful, brilliant, and surprisingly reflective creation from Disney. 5 people found this helpful April BourneReviewed in the United States on March 24, 2014 5.0 out of 5 stars Best Disney movie ever!Verified purchase I love love love this movie! It's the coolest movie! I love the cast of characters, that the storyline is well versed. It starts out as Anna and Elsa, Anna is normal, Elsa has powers. Anna gets on Elsa's bed, tries to wake her up to go build a snow man. Elsa gets dragged down stairs into Anna's room and then Elsa releases her powers, Anna leaps tall snow hills until she flies and lands on the floor frozen. Her sister Elsa screams for help, her parents carry Anna to the trolls, the troll heals her memory and restores it to a happier time, when her and Elsa were playing. They walk away take Anna home, Elsa is forced to wear " special gloves" and conceal her powers, as the trolls revealed evil would only harm her and others. Her father shut her off from Anna, and she sings to Elsa to come build a snowman. Elsa and Anna grow up, one day Elsa is getting ready to be queen, and Anna wakes up late. So, she throws her dress on does her hair up, and dances around singing. She goes on a ship to arandelle where Elsa awaits her arrival. She meets Hans from the southern isles, he's charming, but, very helpful. She falls in love with him at the coronation of her sister, and when Elsa is crowned " queen" she tells Anna she's happy to see her. Before long Hans and Anna run along singing and Hans asks her to marry him, she says yes. She goes back into the castle, tells Elsa in front of the crowd, Elsa rejects her offer of marriage, and tells her not to go. She says " what have I done wrong?" And pulls off Elsa's glove. Elsa loses control of her powers and used her evil powers instead to create ice that would injure the towns people. They stared in utter shock, and Elsa fled the ocean waters, until it froze solid to north mountain. Anna told Hans she'd go after her, Hans stayed behind to mandate the kingdom. Anna left on her horse, fled to the north mountain to find Elsa. She comes up near the top, no cape on freezing, loses her horse, and is forced to fight the freezing air and snow. She stumbles upon a lodge, enters oakens lodge and asks for a coat and shoes. She's puzzled to see shoes but, no coat. Just then a tall, clumsy man comes into the lodge, he's covered in snow. Anna plays it off, and finds out in the den, it's none other than Sven and Kristoff. She tells Kristoff she has to find Elsa. He says he helps no one, acts stubborn and refusal. Anna persuades him to leave at night, so, they get into his sled, Sven runs faster, and faster, until Kristoff flies off after the wolves, the wolves attack him, Anna throws a blanket on fire at them. She puts Kristoff back in, the get to a cliff, the sled crashes, Kristoff has to be dragged up by Sven and anna. They continue until they find the stairway to where Elsa ice castle is. Once their closer the find Olaf, Elsa's childhood snowman, he scares Anna and Anna throws Olaf around until he's whole again. She puts a carrot on his face wrong, then fixes it. Olaf finds summertime relaxing and sings about it,then Anna and Kristoff move onwards with Sven and Olaf, to the ice castle, Anna and Kristoff find the icy stairway, climb it to the castle with Olaf. She's opening the doorway, Elsa appears after she's built her castle up, the chandelier, and the doorway with balcony. Anna tells her that arandelle is in a deep, deep, winter, that she must break the spell, so, she says she can't, she hits Anna with an icy blast. Anna flees the castle without Elsa. The marshmallow monster throws Olaf, breaks him into pieces.anna gets revenge only to anger marshmallow. He comes after them both and scares them to the cliff, Kristoff repels Anna downwards, marshmallow grabs the rope and Anna cuts it. They fall. Anna lands in the snow, Kristoff sees her hair, and Olaf says " he hesitated". He says her hair isn't bad. They run to find the love experts, and when they find them, their hiding, and Olaf talks to them. They unroll out as trolls, and welcome Kristoff and later Anna, they try to fix them up, but, Kristoff says " she's engaged". They try to troll fully we'd them, it doesn't work, so, the grandfather troll told her " only an act of true love can save her" they left, Sven flew thru the woods back to arandelle , dropped her off in the castles door way, she went inside told Hans she needs a " true loves kiss" he was prepared to kiss her, then left her abandoned, he told the king that she died. He lied. She was inside laying on the floor cold and lifeless, Olaf came in lit a match and saved her, until Elsa was captured, broke free, fled the dungeon and then Olaf got Anna out the window, they were trapped! Elsa was walking thru the blizzard, Kristoff was led by Sven to find Anna, Kristoff refused twice, he told Sven to hurry, he almost got to Anna but, by the time he was close, and Hans tried to kill Anna, she stopped hans short and froze solid! Her sister embraced her weeping. She felt her tears and her heart unfroze completely. From then on Anna and Elsa were in separable. Anna gave Kristoff a new sled, and Sven a new title, and then Hans was arrested and the old man was shipped off, Anna and Elsa let winter return after summer was restored in arandelle and ice skated. Anna and Kristoff were happier than ever. BriannaReviewed in the United States on November 30, 2022 5.0 out of 5 stars <3Verified purchase Great Movie For Kids With Siblings We’ll Kids Overall But It Definitely Helps With Bonding With Your Sibling . Amy MooreReviewed in the United States on March 17, 2014 5.0 out of 5 stars AWESOME MOVIE!!!!!!!!Verified purchase When the trailer for ‘Frozen’ was dropped a few months back, I predicted a dud. It looked so generic and obvious and unfunny and repetitive and just everything I didn’t want it to be. When news of the film broke I was ecstatic. Disney, doing another musical, basing it off of a very dark and disturbing tale. I knew it would get white washed a bit (which I was fine with), but it was a MUSICAL and so I was automatically game for it. Then that trailer deceived me. Still, my daughters were hooked with the very first television spot, and they’ve had the dolls for nearly a month already, and so we were going to see this opening night. With expectations low (despite some good early ink), there was nowhere to go but up for this film, and it didn’t just go up, it blew through the roof! Yes, ‘Frozen’ is easily Disney’s best film since ‘Beauty and the Beast’ and honestly, one of the best musicals since. It’s a visual feast, charming and sincere, and an unexpected twist on a tale of love, family and acceptance with beautiful shades that make this something truly special. The film tells the story of two sisters, Anna and Elsa. In early childhood, they are joined at the hip. Elsa has an ancient power to create ice (a power that is never explained, and quite frankly doesn’t need to be) and they use her power as an advantage to their playing. When an accident occurs and Anna is injured, Elsa becomes terrified of her ‘gift’ and basically locks herself away from everyone and everything, including Anna. The two obviously drift apart (‘Do You Want to Build a Snowman’ is a marvelous musical moment and brought tears to my eyes) and after the loss of their parents things only get worse. Now fully grown, Anna is a naïve and desperate young woman seeking any attention she can get, and Elsa is distant and misunderstood. On the night of Elsa coronation things go amuck and her secret is exposed to disastrous consequences, and soon Elsa is forced to flee and Anna is left to track her down and ‘thaw’ her town. Now, many have balked before seeing the film that Anna is reduced to yet another Disney stereotype, a girl who needs a man to get the job done. Ignorance is bliss, I suppose, but ‘Frozen’ certainly takes a different approach that the one expected and presents us with a lovable tomboy, a klutz who takes risks and places faith and is willing to ‘take the bull by the horns’, even when its beyond her reach. Sure, she is aided by a man, but she doesn’t need him around (and even the twist at the end where it could have easily fallen into stereotype of ‘man saves the day’ turns out to be even more sincere and honest in the way it finally comes out). Anna is a great role model for young girls (and surprisingly, so is Elsa) and the beautiful bond created by Disney here is unlike anything I’ve seen them do before. Yes, while the film does eventually give is an antagonist (albeit ever so briefly and the way the villain is handled is light and a very nice change of pace), the beauty of ‘Frozen’ is that the chief antagonist is not a singular person but the inner struggle to be accepted and understood. Elsa is not a monster, she is simply scared or herself and what she may do to those whom she loves. ‘Frozen’ does a marvelous job of portraying the bond between sisters and the lengths each will go to protect and love the other. My daughter was in tears over their separation; that is how heartfelt this portrayal is. ‘Frozen’, in my eyes, is one of the best things Disney has done; ever. The film is a modern-day classic and one that is sure to be remembered and regarded as a beloved nod to the Disney Renaissance with obvious modern twists and its own identity. I’m not exaggerating when I say that I can see this being spoken of in the same circles as ‘Beauty and the Beast’, ‘Cinderella’ and ‘The Little Mermaid’. While ‘Tangled’ certainly helped Disney regain their footing after some serious dips in quality, ‘Frozen’ completely redeems them and proves that they are still as magical as they ever were. Take that Pixar! And let’s just talk about the musical angle for just a moment. This is one of those rare gifts that actually feel like a true Broadway show. The use of music is integral to the feel of the story, and the glorious visual expanse helps create an epic and ‘larger than life’ reality. When Elsa has her big number (‘Let it Go’ is one of the greatest Disney ballads of all time, easily) you can feel the goose-bumps and your heart starts beating faster. This is a beautifully nostalgic reminder of the power of Disney, and it helps bring those same chills and thrills to a new and younger generation. I have never seen my daughter so excited to be watching a film as I saw her while watching ‘Frozen’. It carries a different feeling. 2 people found this helpful 5.0 out of 5 stars What If a Disney Princess (and Queen) Were an X-Man?Verified purchase ***This review may contain spoilers.*** Most unexpectedly, Disney’s “Frozen” (hereafter “D’s Frozen”) subtly reconfigures and directs the seemingly tiresome tropes and conventions of their romantic “princess movies” into uncharted “Marvel comic” territory and themes. The main protagonist (AND apparently antagonist) Elsa (voice of Idina Menzel) is far more than your run-of-the-mill glamorous elder princess, then (Snow) Queen of the kingdom of Arondelle. She possesses nearly unlimited, almost magical power to control and shape ice and snow. In a Marvel comic, she’d be considered a mutant with the combined powers of Ice-Man and Storm. Unfortunately and tragically, she lives in medieval times and does not have the guidance of a Charles Xavier-like mentor to help her harness the power for mankind’s benefit. Well, there IS a (literally) stone troll king, Grand Pabbie (voice of Ciaran Hinds) who is aware of the extent of Elsa’s powers. However, all he can recommend to Elsa’s father (voice of Maurice LaMarche) and mother (voice of Jennifer Lee), King and Queen of Arendelle, is cruel, complete isolation from all humanity until she is mature enough to ascend the Arondelle throne. Part of the reason Elsa is held in quarantine is because in childhood, while using her powers to create a winter playground for herself and younger sister Princess Anna (adult voice of Kristen Bell), she accidentally injured her head. Although non-superpowered and “normal”, Anna heals with the Troll King’s help. Having no memory of the incident, Anna is distraught and perplexed as to why Elsa cannot come out to play. Still, the coronation day comes, and Elsa seems to be in emotional control of herself and her abilities. Not for long. Elsa gets upset when beautiful but impulsive Anna immediately intends to get hitched to comely Southern Isles prince Hans (voice of Santino Fontana), a guy she met only minutes before in a boating “mishap”. Already tense and anxious, Elsa unleashes an ice age on Arondelle and flees the shocked citizenry for the lonely refuge of the mountains. Anna may be a mere mortal, and a bit clumsy, but she is unswervingly determined to locate and reconcile with her sister and convince her to thaw out the kingdom. This sounds like a straight-arrow objective, but many complications come into play. One, Elsa finally finds peace and the freedom to be herself in the mountains, which is celebrated in the ubiquitous, destined-to-be ageless ballad “Let It Go”, and literally carves out an ice palace for herself. Two, although Anna teams up with loner ice-delivery man Kristoff (voice of Jonathan Groff) and his faithful, dog-like reindeer Sven, and a wacky snowman named Olaf (Josh Gad), they at first don’t seem to be much help. Kristoff, like Elsa, just wants to be left alone, and Olaf keeps falling apart and foolishly wishing he could move to the tropics. But, with Sven’s urging, Anna’s tenacity and persistence bring this odd duo around. Third, some in the coronation party, like the Duke of Weselton (‘Weaselton”) voice of Alan Tudyk) and others, consider Elsa a monster and want to eliminate her. Fourth, Elsa accidentally causes Anna to suffer a “heart freeze” that could prove fatal. Can Anna achieve this miracle and save both Elsa and herself? According to the Troll King, true love is the key. But what is this true love? “D’s Frozen” continues the Mouse House’s rise above older cartoon sentiments and happily-ever-after resolutions and marriages (mostly) and explores more advanced, modern emotions and themes. In Marvel Comics “X-men”, mutants deal with adolescent anxiety and confusion about their powers, their fear of losing control of their powers and causing death and destruction, and the prejudicial hostility of a society that can’t and won’t understand them. Elsa faces these same dilemmas. “D’s Frozen” moves beyond superficial, helpless romantic puppy love (like that of Anna and Hans) into more substantial love and friendship like the one within a family and between sisters. It also moves beyond conventional villains (although there are a few, and at least one unanticipated one) to show that our own worst enemies are our inhibitions and fears. “D’s Frozen” also continues the relatively recent Disney movement to create independent, self-assured women who do not automatically need men to face and overcome danger and obstacles. And naturally, most importantly, “D’s Frozen” helps us figure out what that true love is, with, amazingly, the help of that “wise fool” Olaf. True love is captured in the phrase that begins, “No greater love hath a man [person] for another than to….”. Best of all, “D’s Frozen” achieves the weighty themes mentioned above with excellent visually artistry, suspenseful and sometimes heart-thumping action, naturally funny slapstick and verbal humor, dazzling musical numbers, satisfying character development, and happiness that is not deus ex machina, but hard-won. Not bad for this Disney/Marvel collaboration. Not bad at all. P.S.: If you have the patience to wade through the end credits, you’ll find a funny disclaimer addressing Kristoff’s opinion about men and their noses, and the final fate of the abominable snowman Elsa creates to protect herself from attack. 5 people found this helpful See all reviewsIs Frozen on Netflix 2022?Unfortunately, you will not be able to find Frozen anymore if you are using your Netflix account on any library. It was briefly available on Netflix in Korea and Portugal, but is currently only available on Disney+, or you can rent or purchase it on Amazon Video and YouTube Movies.
What platform can i watch Frozen on?Right now you can watch Frozen on Disney+. You are able to stream Frozen by renting or purchasing on Vudu, iTunes, Amazon Instant Video, and Google Play.
Why Frozen is not on Netflix?If you're looking for a reason to hop on the Disney+ bandwagon, this could be it: Frozen is available to stream right now on Disney's new streaming platform, Disney+. (That's why it's not on Netflix!)
Where can I watch Frozen 1?You are able to stream Frozen by renting or purchasing on Amazon Instant Video, Vudu, iTunes, and Google Play. You are able to stream Frozen for free on Pluto or Tubi.
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