How Political Correctness Has Ruined Disney’s Most Recent Princess Movies
Instead of telling stories and developing compelling characters, children’s movies today prefer to promote boring feminist and anti-family propaganda.
Ten Years Later, ‘WALL-E’ Has Only Become More Insightful
Most of the films nominated for Best Picture that year justly disappeared down the memory hole, while ‘WALL-E’ remains as vibrant and striking as ever.
‘Incredibles 2’ Leaves Good Storytelling Behind For A Politically Correct Narrative
Not only does the movie get its themes confused when it comes to the villain, its plot is an embarrassment.
‘The Incredibles’ Gave Us The Gift Of Family As An Answer To Meaningless Celebrity
This weekend, ‘The Incredibles 2’ hits theaters, 14 years after the original. Before you go see the new movie, let’s talk about the original.
‘Beirut’ Is A Completely Forgettable, Yet Perfectly Delightful Spy Thriller
There’s nothing wrong with making a movie that won’t receive Oscar buzz, or break records, or cause its viewers to have an existential crisis.
In ‘Coco,’ Hollywood Says Family Identity Is Better Than Celebrity
The central conflict opposes loyalty in love to a dangerous individualism. Who would have thought that Hollywood would take on celebrity culture?
‘Cars 3’ Isn’t Woke—It’s Conservative
I most enjoyed that Hollywood’s nod to girl power in ‘Cars 3’ represented reality, not Lightning McQueen being woke. Well, as much as anthropomorphic cars live in reality.
4 Reasons ‘The Princess And The Frog’ Is Better Than ‘Frozen’
Disney’s ‘The Princess and the Frog’ is clearly superior to ‘Frozen,’ and its main character Tiana deserves revisiting and reevaluation.
‘Tomorrowland’: The Best Big-Budget Version Of Classic Disney
Brad Bird is one of the few screenwriters for big-budget action movies who’s both willing and able to inject ideas into his scripts, most recently in ‘Tomorrowland.’
‘Inside Out’ An Enjoyable But Not Quite Timeless Pixar Ride
Pixar’s latest, a romp inside the head of a tween girl called ‘Inside Out,’ is worth seeing, but possibly not in twenty years.
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