And if it is going to appear there, does the museum have an obligation to engage in robust criticism of it (not necessarily negative, just analytical) to avoid it feeling like, as a New York Times critic termed it, “a sponsored content post”?
Fairy tale goes jukebox musical with a feminist, gender-fluid spin. Throws irony and sarcasm at heterosexuality, patriarchy, even monarchy. Pretty darn fun, with a sweetly spunky Ella in Cabello.
Wonderfully escapist, dripping with magnificently congenial charm thanks to the comic chemistry of Dwayne Johnson and Emily Blunt. Plus it’s sure to enrage people who use “woke” as an insult. Yay!
The Disney paradigm is hard at play again here, its familiarity offset by its inspiration in Southeast Asian culture and mythology. Sweepingly told, gorgeously animated, and audaciously optimistic.
A work of breathtaking audacity. This is as perilous as comedy gets, and it’s very, very funny, often shockingly so. Sacha Baron Cohen’s scathing cultural strikes land like extinction-level asteroids.
Acceptably inoffensive, if less than wholly engaging. At least Liu’s strong, stately Mulan is a wonderful role model for girls who aren’t much interested in conformity and adhering to expectations.
A disaster of a kids’ fantasy caper; feels like it’s making up the plot as it goes. A mishmash of manufactured wonder: characters barely sketched, action seemingly setting up future DisneyWorld rides.
Don’t let the Pixar curve throw you: familiar this quest may be, but it’s full of magic and wonder and humor and melancholy, and set in a fully realized fantasy world. Not a masterpiece but very good.
An old-fashioned kiddie adventure, sweetly earnest, equal parts scary, funny, exciting, sad, and happy, with only a bit of uncanny valley in its CGI doggo star. Definitely had something in my eye.
This Michael Bay–esque love letter to China Rescue & Salvage may be propaganda, but its enjoyably bonkers melodrama and grippingly engaging action are a lot less obnoxious than any film Bay has made.