'Spellbound' Fails to Enchant Critics

         On November 22, 2024, Netflix released 'Spellbound', which has earned a mixed reception from critics, earning a score of 57% on Rotten Tomatoes. "Spellbound follows the adventures of Ellian, the tenacious young daughter of the rulers of Lumbria who must go on a daring quest to save her family and kingdom after a mysterious spell transforms her parents into monsters." The ensemble cast includes Miguel Bernardeau, Jenifer Lewis, Rachel Zegler, Nicole Kidman, John Lithgow, Nathan Lane, and Dee Bradley Baker. Read the full review round-up below.

        Isabella Soares of Collider praises the film, stating, "With a star-studded cast voicing these characters/creatures and a creative team that brings originality to this material, Spellbound wraps 2024 like a bow." Adding, "When Zegler breaks into song for the first time, there is an immediate sense of relief. Musicals aren't just about singing in tune. It is about the emotions you convey, how the lyrics become a vessel for self-expression, and whether you would like to listen to a track beyond the film's runtime. All of these elements are present in this animation's musical imprint, which couldn't have been more masterfully handled. After all, the project's music was crafted by a duo that understands what it takes to make an instant classic soundtrack. With Alan Menken (Beauty and the Beast) and Glenn Slater's (Tangled) compositions, Spellbound's lyricism and soothing melody feel reminiscent of Disney's iconic repertoire, without it ever feeling like a do-over. Menken and Slater have vast experience when it comes to songs for princesses and fairy tale adaptations for the screen, and this is noticeable here through Ellian."

Photo by Karim Ghantous on Unsplash

       Mark Dujsik of Mark Reviews Movies says, "Eventually and thankfully, the monsters start talking, and we realize how much the story's central gimmick has kept any sense of these characters at bay. Solon, the King, is voiced by Javier Bardem, and Nicole Kidman voices Queen Ellsmere. They're thrilled to find their voices and realize who they are in relation to Ellian, but soon enough, the two are bickering over what to do next, who's the better protector, and which of them the daughter loves more. As a vortex of dark lines (A striking element amidst the movie's solid computer animation) keeps appearing whenever the arguing and other dark thoughts escalate, where all of this goes here is surprisingly mature. That's especially so, considering how broadly playful and jokey so much of the material is. It's a bit wise, too, with Ellian gradually realizing that the happy memories she's trying to bring to life again might not have been so happy in the first place." Adding, "With the emergence of the monsters as characters instead of a running gag, Spellbound does find its own voice and sense of purpose, too, serving as a fable about the strains of family and how a tenuous marriage can affect a child caught in the middle of it. There's a pretty good story here, in other words, once the filmmakers decide it's finally time to tell it."

       Cody Dericks of Next Best Picture writes, "Everybody wants to be Disney. In 1997, Don Bluth, the ostensible anti-Walt Disney, gave in and made “Anastasia,” a film very much in the vein of the animated musicals of the then-current Disney Renaissance. And the prize cow of DreamWorks Animation – the “Shrek” franchise – is basically a repudiation of all that Disney stands for in a very obvious retaliatory move from former Walt Disney Studios chairman turned DreamWorks founder Jeffrey Katzenberg. “Spellbound,” the new film from Skydance Animation and Netflix, is no different (I know what you’re thinking, and no, this is not a remake of the Alfred Hitchcock-Salvador Dalí collaboration of the same name). Its tone, subject matter, themes, and characterizations are all clearly pulled from the classics of The Mouse House. Heck, they even got Alan Menken of “The Little Mermaid” and “Beauty and the Beast” fame to compose the music. This is all well and good – aping such a successful film model is an admirable way to assure your audience that they’re in safe, well-established hands. And yet, “Spellbound” pales in comparison to even the least impressive of Disney’s offerings. Although it features an unexpected twist previously unseen in major animated films, it’s otherwise unoriginal, bland, and likely too slow-paced and unexciting to hold the attention of younger viewers."