It's an unfortunate truth that before I ever sat to watch this, the most I knew about it was word of mouth that ranged from middling at best, to even a little negative. How could Disney, a powerhouse of animated storytelling, turn out something seemingly so uninspired as to provoke such reactions? Mind you, I'd not read any reviews beforehand, and I don't even remember any specifics of what other folks told me in direct conversation, so even with weak expectations, I entered with as clear a head as I probably could. I'm sorry to say that in my opinion, it doesn't take long before that so-so reception begins to be validated. I don't think 'Wish' is outright bad, but it's not really very good, either. And maybe even that's being too kind.
By the time only about one-third of the length has elapsed the film has made several distinct impressions, none of which are exactly encouraging, and these will hold true and consolidate as the minutes tick by. The very first song, "Welcome to Rosas," typifies the musical sensibilities here, with structure and chords that are very pop-oriented; other later instances will show influence straight off of Broadway, but not so much from the treasured vaults of Disney's legacy. To that same end, we're also greeted with verbose lyrics that routinely, necessarily, and playfully toy with that structure and meter. I think the incidence would be fun - just as the songs would be unfailingly beautiful and/or catchy, with no caveat appended - if it weren't so forced. And actually, that one word, "forced," turns out to be the key to pretty much all of what follows.
What else is forced? There's the mild humor we get along the way, observed primarily through talking animals but also through the star. There's the reveal of the villain and their motivations by the time only the second song has ended, the initial attempt to paint the villain in sympathetic colors ("okay, they're a fascist, but maybe this is one who earnestly thinks it's all for the best, instead of merely exercising cruelty for its own sake"), and the villain's stark turn through confusion and madness to pure evil. (Notably, there will be no effort to redeem them.) There is the effort to impose awe and wonder ("At all costs," "This wish," and even "I'm a star," among other sequences) instead of providing the conditions that would allow these to manifest naturally and meaningfully; weirdly enough, awe and wonder can't be forced. Nor can other feelings, like inspiring a determined call to arms ("Knowing what I know now"), thrills, uncertainty, or tragedy. Even some of the singing feels forced, and no performer is immune, not even Ariana DeBose. I rather wonder if even some small moments in the animation aren't trying too hard, down to tidbits as small as a character exerting themselves. And have I mentioned references to other famous works in Disney's library?
From the earliest minutes, through all plot development, to the climax, and all the way down to the ending, it's like we're being force-fed almost every inclusion. I'm talking about the pacing, yes, for I think this moves at too steady a pace to allow its thoughts to resonate, and there is too much squeezed into ninety-five minutes in the first place. But in a broader sense I'm deeply unimpressed with the joint direction of Chris Buck and Fawn Veerasunthorn, for the course of events progresses with unnatural brusqueness, and forthrightness, and at times even with a seeming lack of care for how contrived, artificial, or gauchely conventional a moment may be. I think there is terrific potential in the root story, even if ultimately it's a little light. I think there are terrific themes here, exemplified in the reprise at the climax of "This wish," which frankly dovetails all too well into this moment in our real world to the point of being the most genuinely moving part of the entire picture. I think the animation in and of itself is fantastic, and the voice acting, and Dave Metzger's score. But I think most all the best possibilities of what 'Wish' could, should, and would have been struggle with the reality of the direction, and to some extent, with the style of songs that Julia Michaels wrote.
Humans find stories, images, or songs beautiful because they resonate with us on a profound, intimate level, not because a person confidently states, "This is beautiful." We find something funny, and laugh, because our expectations are amusingly upended, or because a scenario or words are cleverly twisted, not because we're told "This is funny." We find fiction inspiring because we recognize notions that compare to something in our own lives, and discover a spark that impels us to a particular action or which revitalizes our emotional energy, stamina, or fortitude - not because we're literally shown a sign that says "This is inspiring." This flick would outwardly aspire to stir our feelings with its own power, but it's so overly charged and assertive in how most every facet is approached that it sadly comes across more as a series of cue cards delivered unseen to the audience, telling us what we should find beautiful, what we should find funny, and what we should find inspiring. But that's not how humans work, and unless you're doing something especially surreal, abstruse, or experimental, that's not how storytelling works, either.
I don't wholly dislike 'Wish.' I want to like it more than I do. By the same token, maybe I'm being too generous as it is. I'm glad for those who get more out of this than I do. For all that there is to like in this, though, I believe the criticisms are at least as notable if not more so, and there is nothing here so special or noteworthy in a positive way so as to help the title to stand apart. The narrative is appreciable but not really remarkable; we won't remember the songs after we finish watching. Watch, by all means, and may you enjoy it at least as much as I did, if not more so. Just don't go out of your way for 'Wish,' and keep your expectations in check, and maybe that's the best way to get the most from it.
By the time only about one-third of the length has elapsed the film has made several distinct impressions, none of which are exactly encouraging, and these will hold true and consolidate as the minutes tick by. The very first song, "Welcome to Rosas," typifies the musical sensibilities here, with structure and chords that are very pop-oriented; other later instances will show influence straight off of Broadway, but not so much from the treasured vaults of Disney's legacy. To that same end, we're also greeted with verbose lyrics that routinely, necessarily, and playfully toy with that structure and meter. I think the incidence would be fun - just as the songs would be unfailingly beautiful and/or catchy, with no caveat appended - if it weren't so forced. And actually, that one word, "forced," turns out to be the key to pretty much all of what follows.
What else is forced? There's the mild humor we get along the way, observed primarily through talking animals but also through the star. There's the reveal of the villain and their motivations by the time only the second song has ended, the initial attempt to paint the villain in sympathetic colors ("okay, they're a fascist, but maybe this is one who earnestly thinks it's all for the best, instead of merely exercising cruelty for its own sake"), and the villain's stark turn through confusion and madness to pure evil. (Notably, there will be no effort to redeem them.) There is the effort to impose awe and wonder ("At all costs," "This wish," and even "I'm a star," among other sequences) instead of providing the conditions that would allow these to manifest naturally and meaningfully; weirdly enough, awe and wonder can't be forced. Nor can other feelings, like inspiring a determined call to arms ("Knowing what I know now"), thrills, uncertainty, or tragedy. Even some of the singing feels forced, and no performer is immune, not even Ariana DeBose. I rather wonder if even some small moments in the animation aren't trying too hard, down to tidbits as small as a character exerting themselves. And have I mentioned references to other famous works in Disney's library?
From the earliest minutes, through all plot development, to the climax, and all the way down to the ending, it's like we're being force-fed almost every inclusion. I'm talking about the pacing, yes, for I think this moves at too steady a pace to allow its thoughts to resonate, and there is too much squeezed into ninety-five minutes in the first place. But in a broader sense I'm deeply unimpressed with the joint direction of Chris Buck and Fawn Veerasunthorn, for the course of events progresses with unnatural brusqueness, and forthrightness, and at times even with a seeming lack of care for how contrived, artificial, or gauchely conventional a moment may be. I think there is terrific potential in the root story, even if ultimately it's a little light. I think there are terrific themes here, exemplified in the reprise at the climax of "This wish," which frankly dovetails all too well into this moment in our real world to the point of being the most genuinely moving part of the entire picture. I think the animation in and of itself is fantastic, and the voice acting, and Dave Metzger's score. But I think most all the best possibilities of what 'Wish' could, should, and would have been struggle with the reality of the direction, and to some extent, with the style of songs that Julia Michaels wrote.
Humans find stories, images, or songs beautiful because they resonate with us on a profound, intimate level, not because a person confidently states, "This is beautiful." We find something funny, and laugh, because our expectations are amusingly upended, or because a scenario or words are cleverly twisted, not because we're told "This is funny." We find fiction inspiring because we recognize notions that compare to something in our own lives, and discover a spark that impels us to a particular action or which revitalizes our emotional energy, stamina, or fortitude - not because we're literally shown a sign that says "This is inspiring." This flick would outwardly aspire to stir our feelings with its own power, but it's so overly charged and assertive in how most every facet is approached that it sadly comes across more as a series of cue cards delivered unseen to the audience, telling us what we should find beautiful, what we should find funny, and what we should find inspiring. But that's not how humans work, and unless you're doing something especially surreal, abstruse, or experimental, that's not how storytelling works, either.
I don't wholly dislike 'Wish.' I want to like it more than I do. By the same token, maybe I'm being too generous as it is. I'm glad for those who get more out of this than I do. For all that there is to like in this, though, I believe the criticisms are at least as notable if not more so, and there is nothing here so special or noteworthy in a positive way so as to help the title to stand apart. The narrative is appreciable but not really remarkable; we won't remember the songs after we finish watching. Watch, by all means, and may you enjoy it at least as much as I did, if not more so. Just don't go out of your way for 'Wish,' and keep your expectations in check, and maybe that's the best way to get the most from it.