Kristen Anderson-Lopez & Robert Lopez - Frozen II: Original Motion Picture Soundtrack [Review]

If married couple Kristen Anderson-Lopez and Robert Lopez know how to do anything, it is delivering powerful and memorable melodies and lyrics that stick with you and that help their accompanying movies leave a lasting cultural impact. We saw it in 2013 with Frozen (most notably with "Let It Go"), in 2017 with Coco (most notably with "Remember Me"), and now again with Frozen II. The Frozen II soundtrack at its base features seven new songs as well as a reprise of "Reindeer(s) Are Better than People" from the first Frozen movie, and the new music does not disappoint. It is very difficult for me to choose between Frozen and Frozen II because both are so great in different ways, but if I absolutely had to chose between the two, I would probably choose Frozen II, and its songs are a huge part of the reason why. I find Frozen II to be a bit darker and a bit more emotional, and its songs absolutely help convey why I feel that way. Don't get me wrong - nothing on the Frozen II soundtrack really matches the sheer and raw power of "Let It Go," but it definitely does come close, and I love "Let It Go" as much as I do not only because of its powerful melody but also because I strongly relate(d) to its lyrics; I found it so self-empowering especially after my very difficult (even that is putting it mildly) breakup in 2014. The Frozen II soundtrack opens with a hauntingly beautiful lullaby titled "All Is Found" which is sung by Evan Rachel Wood, who lends her voice for the role of Iduna, Elsa's and Anna's mother. In the movie, we see Iduna sing the lullaby to the girls when they are children to help them go to sleep, and the slow and peaceful song features lyrics that are comforting ("sleep, my darling, safe and sound, for in this river, all is found") but also somewhat foreboding ("dive down deep into her sound but not too far or you'll be drowned"). The song is referring to Ahtohallan, the legendary river in the movie that is said to be able to provide answers regarding the past. The song makes for a fitting opening to the movie because it sets the stage; those who have seen Frozen II know that Ahtohallan ends up playing a pretty large role in the plot.

We then almost jarringly get "Some Things Never Change," and I say jarringly because it's so different from "All Is Found" in just about every way. It's light, fun, and upbeat, featuring piano and what sounds like banjo, and it's an ensemble song that sounds a lot like a Broadway number, whereas "All Is Found" sounds like a lullaby. In the movie, the song starts because Olaf (voiced by Jonathan Groff) expresses concern to Anna (voiced by Kristen Bell) that too many things are changing around him, so the song is about how seasons may change and time may pass but how their family's feelings for each other won't change. It's one of the catchiest songs on the soundtrack without a doubt, and something that I didn't notice until after seeing the movie twice is that there is a very poignant piece of foreshadowing in the lyrics when Anna sings, "Like an old stone wall that'll never fall, some things are always true." (Those who have seen the movie should know exactly what I mean.) There is also a small part of the melody that reminds me of "Do You Want to Build a Snowman?" from the first Frozen movie. There is a part in the song's chorus, such as when Anna sings that "some things are always true," that reminds me a lot of a part of "Do You Want to Build a Snowman?" such as when young Anna sings that "I wish you would tell me why." The third song on the soundtrack and in the movie is "Into the Unknown." In some ways (perhaps because it seems to be the song that got the most promotion), I think of this as the "Let It Go" of Frozen II, even though there are really two Elsa solos in Frozen II (the second of which I will discuss in a bit). I love the verses of "Into the Unknown" because Elsa (voiced, of course, by the ridiculously talented  ̶A̶d̶e̶l̶e̶ ̶D̶a̶z̶e̶e̶m̶ Idina Menzel) is sort of half talking and half singing, and you're really being let inside of her innermost thoughts through the lyrics (which is something that the Lopezes seem to know how to do very well since the first Frozen movie did the same thing especially with "For the First Time in Forever"). The song is accompanied by piano, strings, and the haunting siren call heard throughout the movie (which is sung by Norwegian singer AURORA). This is another earworm. If this chorus doesn't get stuck in your head, then there is something very wrong with you.

"When Am I Older" is Olaf's solo song, and it is sort of the "In Summer" of Frozen II in a lot of ways. It has a similar musical style, sounding a lot like an old Broadway show-tune from the 1950s, and it is also similarly ironic as it showcases Olaf's youthful naivety. In "In Summer," Olaf sings of all of the activities - such as sunbathing - in which he can't wait to partake in the summertime, unaware that, as a snowman, doing such things will lead to him melting. In "When I Am Older," he sings of looking forward to getting older and maturing so that everything will make sense and be simpler, once again unaware that that isn't really how it works. Getting older means gaining wisdom, yes, but it also means trading innocence for that wisdom, so things don't get simpler; they usually become more complicated. Frozen II then gives us a very short reprise (only twenty-six seconds in length) of "Reindeer(s) Are Better than People" from the first Frozen movie, but I honestly think of it as an introduction to "Lost in the Woods," which is without a doubt one of my favorite songs from the movie. Something that I have always appreciated about Frozen (and I think that it's showcased even more in Frozen II) is the Lopezes' ability to mesh so many different styles of music together into one movie and make that work. "All Is Found" sounds like a lullaby; "Some Things Never Change" sounds like a Broadway ensemble in the style of Rent; "When I Am Older" sounds like a show-tune from the '50s. "Lost in the Woods" sounds like an '80s rock ballad (complete with wailing electric guitars), reminding me a great deal of Chicago's hit song "You're the Inspiration." In the movie, Kristoff (voiced by Jonathan Groff) sings it alone in the woods after Anna leaves him so that she can go after Elsa. Feeling forlorn because of failed attempts to propose to Anna, he wonders if she is drifting away from him, and the lyrics and the melody honestly choke me up because of how authentic and raw that the emotion is. I read that Josh Gad regards it as the funniest song that has ever been in a Disney movie, but I don't see it as funny at all. Is it a bit melodramatic? Is Kristoff perhaps overreacting? Perhaps, but that doesn't mean that his emotions aren't real, and it's also refreshing to see a guy pining after a girl in a Disney movie because it's quite often the other way around.

"Show Yourself" is the second aforementioned solo belted out by Elsa, and this one definitely grew on me. I wasn't crazy for it at first because there is a slow buildup (although that slow buildup is accompanied by a beautiful piano melody), but it's 100% worth it once that buildup reaches its climax, bringing Evan Rachel Wood back into the fold with a reprise of "All Is Found," and "Show Yourself" is now possibly my favorite Frozen II song. I don't want to say too much, if anything, about what is happening in the movie as Elsa sings this song or what specific lyrics honestly bring me to tears because I don't want to spoil the movie for those who haven't yet seen it, but what I will say is that we hear this song during a very emotional and impactful moment for Elsa; I would even go as far as to say that this is the climax of the movie. I wish that I could say more, but I don't think that it's fair for a review of the movie's soundtrack to spoil major plot points of the movie, which is also why I unfortunately can't say much about the next and final song, "The Next Right Thing" (sung by Anna). This song is sung during a very poignant (and heartbreaking) scene, a scene that shows us just how strong Anna really is. This is another one in which we are essentially hearing the character's deepest thoughts, and like "Show Yourself," there is a slow buildup. The chorus is, however, very beautiful, and I am reminded a great deal of the first half of the song "Caves" by Jack's Mannequin. (That's kind of random, I know, but that's what I am reminded of.) The next three songs on the standard version of the soundtrack are popular artists covering songs from the movie. Panic! at the Disco takes on "Into the Unknown" in a much peppier and upbeat style, and I definitely prefer Menzel's version, no questions asked. I don't hate Panic!'s version by any means, but it is just a little too... much compared to the movie version. Secondly, Kacey Musgraves covers "All Is Found," giving it more of an indie folk touch. Finally, Weezer handles "Lost in the Woods" without changing it too much, and it's hard for me to choose which version that I prefer because Rivers Cuomo does such a great job of making the song his own while also channeling Jonathan Groff, and both versions retain the same emotion.

The deluxe version of the soundtrack features outtakes, instrumentals, and the score. The outtake begins with a version of Evan Rachel Wood singing "All Is Found" with her vocals re-recorded and the instrumentation changed a bit, giving the song a rawer and more stripped back sound. "Home" is a song that Anna was supposed to sing near the beginning of the movie. It's a beautiful song accompanied by whistling, violin, and what sounds like banjo. I wish that it hadn't been cut, but at least the song was released. "I Seek the Truth" is a duet between Elsa (voiced here by Kristen Anderson-Lopez) and Anna (voiced here by Patti Murin, who is reprising her role from the Frozen Broadway musical). The song is accompanied entirely by piano, but I get the feeling that it would have been grander in sound had it made it past this early stage. (The fact that it isn't Menzel and Bell singing the parts tells me that it's a very early demo.) The song is about Elsa wanting to find the truth about the origin of her powers, while Anna fears Elsa shutting her out again. "Unmeltable Me" is an Olaf song sung by Josh Gad, accompanied by what sounds like harpsichord. I can see why it was cut because it's Olaf singing about how he no longer has to worry about melting, so it would have done nothing to further the story, but it does sort of answer a question that I had when Olaf sings that "perhaps, you may recall I once needed my own flurry." At the very end of the first Frozen movie, Elsa creates a small flurry over Olaf's head so that he wouldn't melt even in warm weather, and to the best of my memory (although I could be wrong as it has been a while since I have watched them), neither Frozen Fever nor Olaf's Frozen Adventure explain why he no longer seems to need it. Anna, near the beginning of Frozen II, asks Olaf if he is enjoying his new permafrost, but again, I don't recall his ever having been given it. I guess that it somehow happened off-screen. "Get This Right" is a fun and playful duet between Groff and Bell (Kristoff and Anna), and I am honestly glad that it was swapped with "Lost in the Woods" because "Lost in the Woods" conveys similar emotions in a much more impactful way. The Frozen II soundtrack is just so wonderful, and I love how so much of it is driven by piano and, as I said, conveys the emotions of the movie so brilliantly. Bravo to the Lopezes once again!

Beauty and the Beast - 2017 Film [Review]

The recently released 2017 live-action adaptation of the 1991 Disney animated classic Beauty and the Beast is easily the best musical and one of the best Disney films that I have seen in a long time. It is absolutely beautiful, touching, and visually stunning. Prior to seeing it, I was of course looking forward to seeing it seeing as how I am a Disney fan and a fan of the 1991 animated version, but I had my reservations and my doubts because although far from being a terrible film, the live-action Cinderella film released two years ago in 2015 was a bit of a disappointment (although Cate Blanchett's performance as Lady Tremaine was memorable). I had expected a lot more after being spellbound by Maleficent in 2014, but the film did not meet my expectations. In the case of Beauty and the Beast, however, the film exponentially exceeded my expectations, accomplishing so much more than I had expected. I had not, for example, expected to walk out of the movie while the end credits were rolling with tears welled in my eyes, nor was I expecting to still be haunted (in a very good way) by it a week later. I certainly was not expecting to find the film superior to the 1991 animated version, yet here I am about to make that argument in this review. (Bear in mind prior to continuing to read this review that my expectation is that you are familiar with the premise of the story, considering the fact that the average person has probably read the fairytale and/or seen the 1991 Disney film, but if you are not familiar with the story at all and don't wish to be spoiled, then read no further until you have seen the film.)

What makes Beauty and the Beast so much better than Cinderella? Well, for starters, while "A Dream Is a Wish Your Heart Makes" and "Bibbidi-Bobbidi-Boo" are present on Cinderella's soundtrack album, they are absent from the film. In fact, the film is completely void of any musical numbers at all, omitting "The Work Song (Cinderelly, Cinderelly)" and "So This Is Love," as well. Beauty and the Beast, however, keeps all of the original Disney film's songs intact and even adds new songs such as "How Does a Moment Last Forever," "Days in the Sun," and "Evermore," all hauntingly beautiful songs that add a much more emotional and maybe even slightly melancholy layer to the story. That slightly melancholy layer acts as a positive force, though, as it adds depth to many characters such as Belle, The Beast, and even Belle's father Maurice. Even Gaston's sidekick LeFou (which, funnily enough, is French for The Fool) is far more interesting, complex, and even likable in this version of the story. More is learned about Belle's history as well as the Beast's history, making him a more sympathetic character, and Maurice is a more active character rather than just a plot device like he is in the animated film. Another factor that I strongly feel that this adaptation gets right is costume design, even though it recently came to my attention that many reviewers apparently harshly critiqued the costume design. I am of the opinion that the elaborate costumes fit the mood, atmosphere, and apparent era of the film. The only complaint that I have about the costume design, which is a really minor complaint, is that the color of Belle's iconic yellow dress in the ballroom scene seemed a bit off to me. It is a very bright, vibrant yellow whereas, for some reason, I was expecting and hoping for a color that was more gold. This is nitpicky, though, and like I said, I am overall very pleased with the costume design.

Nearly all of the casting in Beauty and the Beast is spot-on, as well. Although this version of Belle has a somewhat different personality than the animated Belle, Emma Watson (best known for her role as Hermione in the Harry Potter films) fits into this film's universe perfectly, with a sweetly innocent singing voice (which some people have complained sounds too autotuned even though it's hardly noticeable to me if it is), which is a lot softer and more timid than Paige O'Hara's soprano soars in the animated film, and a fiercely independent and quick-witted personality. Kevin Kline's Maurice is a lot less timid than he is in the animated film, and some of his facial expressions, such as the one that he displays when he stands up to Gaston and tells him that Gaston will never marry Belle, are hilarious. As previously stated, I would definitely argue that he plays a more active role in this film compared to the animated film, and Kline's acting, like pretty much all of the acting in this film, is phenomenal. After seeing the film, I can't imagine a better fit for Gaston than Luke Evans; he nailed the role perfectly, and although he didn't stray too far from the animated version of Gaston, he does seem a bit more reserved and more calculated. I would also argue that he's probably more evil than the animated version of the character, as he does something especially heinous that he doesn't do in the animated movie. Josh Gad (already Disney famous for his vocal portrayal of Olaf in the 2014 hit Frozen) was also a perfect fit for LeFou; his singing voice is even somewhat similar to the animated version of LeFou. As previously stated, he's a little bit more complex than the animated version, and he's even a bit more comical. Dan Stevens (known previously for titles like The Guest and Downton Abbey) plays The Beast, and I absolutely adore this version of The Beast. I know that some people did not because they didn't feel that he was scary-looking enough, and I agree that he doesn't appear all that menacing; he, in fact, looks very majestic and beautiful, but I also think that that makes it even harder to hate him. Similar to Andrew Lloyd Webber's Phantom, The Beast, although definitely initially villainous, is meant to be seen as a misunderstood and tortured soul, and Stevens delivers this perfectly.

Emma Thompson (famous for roles like Nanny McPhee and Professor Trelawney from the Harry Potter franchise) plays Mrs. Potts, and even though playing a role previously played by Angela Lansbury obviously means very big shoes to fill, Thompson manages it very well. Lumiere, played by Ewan McGregor (known for a long list of titles but probably known best for his portrayal of a younger Obi-Wan Kenobi in the Star Wars franchise), is another character that I actually prefer in this version. Even though I love the animated Lumiere, this one, like LeFou, is even funnier and sassier. At one point in the film, Cogsworth (played by the legendary Ian McKellen) tells Lumiere that if the master (meaning The Beast) finds out that they have been catering to Belle behind his back, he will blame Cogsworth, and Lumiere exclaims, "Yes, I will make sure of it!" What also makes this live-action version better than the animated film is that even though the animated film is a classic and a masterpiece and is definitely among my favorite Disney films, it's also messy and sloppily written, as it's lousy with errors and plot-holes, and this rendition corrects just about all of them. The list is very long, but to list a couple: (1) The curse is said to become permanent on The Beast's twenty-first birthday, and during "Be Our Guest," Lumiere sings that they have been cursed for ten years. That would mean that The Beast was eleven when he was cursed, yet he is clearly older than that in the portrait that he tears up. (2) How does Philippe know where The Beast's castle is? The list goes on, but those are the two most annoying ones, and the new film corrects both of these. So much about this movie - no, everything about this movie - is magical and beautiful, and I can't praise it enough. Disney definitely got this one right. (I have now seen the film three times, and those rookie numbers will definitely rise once I have my hands on the blu-ray!)

Danny Elfman - "Poor Jack" [Analysis]

I wanted to take the time to talk about this song from one of my favorite films ever, The Nightmare Before Christmas. (Please note that this blog entry will contain spoilers about the film, but if you haven't seen it, then what the Halloweentown is wrong with you?) The song is titled "Poor Jack" and is sung by Jack (Danny Elfman provides his singing voice) after he is shot out of the sky. His attempt to take the guise of Sandy Claws (his name for Santa Claus) and be in charge of Christmas rather than Halloween for a change fails miserably, and he sings this song about how terribly sorry that he feels for himself. The song is basically Jack's Dead Man's Pity Party... or is it? Let's a take a look at the song's lyrics, shall we?:

What have I done?

What have I done?

How could I be so blind?

All is lost.

Where was I?

Spoiled all, spoiled all.

Everything's gone all wrong.

What have I done?

What have I done?

Find a deep cave to hide in.

In a million years, they'll find me.

Only dust and a plaque

That reads, "Here lies Poor Old Jack."

Like I said, Jack is pitying himself. This could, after all, be one of the most depressing Disney songs ever, right? Wrong. Here's the rest of the song:

But I never intended all this madness, never,

And nobody really understood,

How could they,

That all I ever wanted was to bring them something great.

Why does nothing ever turn out like it should?

Well, what the heck, I went and did my best,

And, by God, I really tasted something swell,

And, for a moment, why, I even touched the sky,

And at least I left some stories they can tell, I did,

And for the first time since I don't remember when

I felt just like my old bony self again,

And I, Jack, the Pumpkin King...

That's right, I am the Pumpkin King!

Ha, ha, ha!

And I just can't wait until next Halloween

'Cause I've got some new ideas

That will really make them scream,

And, by God, I'm really going to give it all my might!

Uh oh, I hope there's still time to set things right.

Sandy Claws, hmm.

People give "Let It Go" from Frozen (which, don't get me wrong, I love) so much credit for being such a self-empowering Disney song but ignore this, probably because of the first part of the song being a lament about his failure. However, Jack comes to the realization that despite everything that went wrong, his intentions were good, and he isn't a bad person. He learns from his mistakes and decides that he wants to do better. He also decides that there is nothing wrong with who he is. Gone is the self-loathing that we hear in the early number "Jack's Lament." Here it is replaced by self-acceptance and self-love. Only then is he able to see himself as someone who is lovable. Only then does he realize that Sally loves him. In some ways, I honestly think that this is even more empowering than "Let It Go," which is basically the ultimate anthem for introverts.