Frozen: SO Popular, SO S***!

I finally watched Frozen. Hated it. This video doesn’t explain why, but it IS funny.

And they made a 7 minute sequel. That they’re charging $25 for.

THAT’S MORE THAN THREE DOLLARS A MINUTE, PEOPLE.

And, YUP! They did one for that, too.

Frozen. Because plots are for losers who shouldn’t be making money anyway.

6 thoughts on “Frozen: SO Popular, SO S***!”

  1. I like Frozen, I didn’t much care for the final twist (I don’t think there was sufficient support in-movie to make Hans the bad guy) but it was better than I thought it would be. I didn’t even hate the snowman, which I expected I would.

    I think it’s one of the better supervillain origin stories. Beats the hell out of the Fantastic Four’s Doom origin.

  2. Nate,

    Decent review. I totally disagree with him about “Mulan”, as you might expect. “Mulan” was completely absurd. Completely. It gets some credit for sticking pretty well to the premise of the actual Chinese legend (which, haha, “Frozen” doesn’t even attempt), but ultimately I couldn’t get past the machinations necessary to believe that Mulan would still look pretty and feminine and also be strong enough to fight and hold her own physically with trained army men.

    Absurd.

  3. Also, his analysis regarding the music in musicals is frankly a bit ridiculous.

    Ever heard of the Gershwin brothers? Some of the best composers OF ALL TIME? Well, their music is so interchangeable there have been approximately a billion different jukebox musicals based around their songs (“I’ve Got Rhythm” features in literally every single show that contains their music).

    Also, he mentions “Opera”, which I assume means “Phantom of the Opera”, and any and every objective analysis of “Phantom” would have to conclude that the music is brilliant. Listen to the Phantom’s Opera at the end – the music going into “Past the Point of No Return”. It’s absolutely brilliant, reflecting the Phantom musically and thematically, while showcasing why people would hesitate to take a chance on something so radical.

    So I don’t buy his musical analysis either.

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