The Princess and the Frog


Action / Adventure / Animation / Comedy / Family / Fantasy / Musical / Romance


Uploaded By: OTTO
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January 15, 2013 at 08:36 PM



John Goodman as 'Big Daddy' La Bouff
Keith David as Dr. Facilier
720p 1080p
700.68 MB
23.976 fps
1hr 37 min
P/S 9 / 129
1.35 GB
23.976 fps
1hr 37 min
P/S 13 / 65

Movie Reviews

Reviewed by diac228 ([email protected]) 9 / 10

Ladies and Gentlemen, the Disney Renaissance has returned.

Michael Eisner will forever be known as the man that attempted to totally kill Disney animation. After the disastrous efforts of Home on the Range, what was once a staple of the Walt Disney Company was becoming a thing of the past. Traditional animation was dead in Disney, and this was definitely one of the major contributors towards the shift in upper-upper management and his departure. Now with Pixar and John Lasseter on board, Disney pulls absolutely no punches in their return to tradition. There's a new princess, she happens to be black, and they happen to twist a classic story so much that you have literally no clue in which direction the writers were going. The major question is: can Disney revive its Renaissance quality that it experienced in the 90s? Can they ever duplicate such magic again? The answer is a resounding yes.

Princess and the Frog is the best traditionally animated flick (from ANY company) since The Emperor's New Groove. Princess Tiana is the most sophisticated and most mature Disney princess since Belle. The villain here is the best since Hades from Hercules. Prince Naveen is the best prince since Prince Eric (and even then, Naveen is one of the better princes out there). The music here is actually some of the best music from any Disney movie past and present. The animation here is the best since The Lion King. Basically, to sum things up, Princess and the Frog is an excellent effort from Disney and a superb return to Renaissance quality that the company sorely missed and needed.

The movie focuses on a hard-working waitress (Anika Nosi Rose) that is saving money to open up her own restaurant, which was a dream her father had always been chasing. Her father also taught her that it's not enough to just wish for something, you have to also work to accomplish what you want in life. Tiana lives her life on this lesson, much to the disdain of others. After a few twists and turns (I don't want to spoil the plot too much), she becomes a frog thanks to Prince Naveen (Bruno Campos), whom is a prince that is very different from the norm in terms of personality and even royalty status. Along the way they will meet a wide assortment of characters, ranging from a charismatic magician (Keith David, in an amazing role), a friendly firefly (Jim Cummings), a music-loving alligator (Michael-Leon Wooley), and many others. The movie clocks in at less than 100 minutes, but moves at such a fast pace, you'll get a lot more material than your average hour-and-a-half movie.

Let's just put this out there: Disney treated Tiana and her surroundings perfectly and without overdoing any boundaries whatsoever. New Orleans has an incredibly energetic look, and just enhances the themes and plot of the movie. Accompanying the Louisiana flavor is the incredible score of Randy Newman, which uses a wide variety of sounds and genres from the Deep South (and also is mixed in with a little Newman touch).

Can we praise the animation one more time? Sure, why not. The movie looks absolutely beautiful, and doesn't rely on just a simple palette of colors. Thanks to technology and an obvious overload of effort, this is one of the most (if not the most) colorful and vibrant-looking Disney animated movies of all-time. Some of the added computer effects only enhance the sophistication of the animation (I rhymed). One final note, the visual humor in Princess and the Frog is very fast-paced, to the style of the severely underrated Emperor's New Groove. You need a watchful eye on certain scenes to catch all the jokes.

If there was anyone that was going to save Disney's traditional animation, it would be Ron Clements and John Musker. These two were the most responsible for the Disney Renaissance, directing Little Mermaid, Aladdin, and Hercules. They once again provide a beautiful story, and direct the movie with plenty of flair and energy. The musical sequences fit the pacing of the flick, and while there wasn't an outstanding track like "Be Our Guest," "Friend Like Me," or "Under the Sea," the repertoire of musical numbers overall was quite impressive. A key part to a great animated movie is having a villain just as complex and/or engaging as the heroes; and the "Shadow Man" not only has the best musical number, but also has the most flair of any of the supporting characters. Now we can forgive them for directing Treasure Planet.

The biggest reason for the successful quality in Princess and the Frog comes from the Pixar touch. Pixar obviously lent a hand here, as this movie contains some of the most sentimental and touching animated footage since the epic heartbreak moment in Lion King when Simba sees Mufasa motionless. While the movie never nails the emotional torture that Up succeeded (then again…few films ever will), Princess and the Frog will make you cry just as easily as it can make you laugh. Don't let that bring you down though, because this movie carries an upbeat tempo throughout the entire run.

Bottom Line: If you enjoyed the Disney Renaissance (From Little Mermaid to Tarzan, before the downfall spiral started), then it is up to you to watch this movie. This movie has all the energy, quality, sentimentality, and superb animation of the 90s Disney flicks, and is inches away from Pixar status. Pixar has saved Disney altogether, and Princess and the Frog is hopefully going to save Disney traditional animation, granted it gets the praise and success it truly deserves. Unlike what we have been seeing in the past, Disney did not half-arse this time. Blending the old-school qualities with a new-school outlook on where the status of animation and storytelling is headed, Princess and the Frog is a fun, entertaining, and fulfilling ride from start to finish.

Reviewed by LigiaMontoya 10 / 10


Just astounding. The story was genuinely touching, the intense scenes jumped out at you, the humor was funny, the acting was excellent, and the music was the best soundtrack of any Disney movie since The Little Mermaid (A standing ovation for Randy Newman). There is also something about the 2D animation - it just has more personality and emotion than CGI. I just saw it tonight, and I am honestly floored.

Disney, for the last few years, has suffered from a lack of creativity. The movies have all been interchangeable with the same plot recycled. This one is different, new and really just the best animated picture I've seen in a long, long time. The applause in the theatre was very much earned.

Reviewed by Kristi Petersen ([email protected]) 10 / 10

Disney's Triumphant Return to 2-D

I was privileged to attend a showing of The Princess and the Frog last night as part of a special engagement at New York City's Zeigfeld theater. This movie exceeded all expectations. It is visually stunning, musically a work of genius, thematically sophisticated, and story-wise told in a refreshingly different way (some actions are pre-motivation) which makes the ride an unpredictable one.

Visually, Disney has gone above and beyond. They have invoked the steamy feeling of the city of New Orleans in shades of gold and lavender, and in the swamp scenes, some of the backgrounds are so expertly rendered it's like you're looking at a photograph. But what stood out the most with this artwork was the colors. They are a study in thematic contrast. In the scenes with the villain, the bright colors of Mardi Gras are used to reveal a darker, sinister side. The effect is wonderfully jarring and creates an appropriate emotional response: rather than hating the villain, we're led to mistrust him. He's pretty on the outside, but there's something awful lurking underneath. It's like that sixth sense you get sometimes with certain people in your life. In Mama Odie's scene, the color scheme is subtle and muted—until she reveals her inner goodness, and the scene explodes with color; another comment on how purity can hide in the most surprising places.

To say that once again Randy Newman has done an expert job with the music would be an understatement. He had a lot to work with here—the musical tapestry of New Orleans is a mix of Dixieland, Zydeco, and Spiritual. He could have easily chosen one of those styles and stuck with it—instead, he blends all three, and the effect is seamless. The musical numbers tend to stay in one vein or the other depending on the character – which also works to help tell the story -- but the underlying score, while you'll instantly recognize Newman's hallmark sound, is a genius integration. To top it off, because this film takes place in the golden age of jazz, he has deftly inserted musical references to Gershwin. Amazing. With so much to work with, it could have easily been a confusing or even chaotic train-wreck. Not in his hands.

Thematically, this film has taken some of Disney's classic themes and examined them more deeply: they are two-sided and complex. The choices these characters make are never easy--more so than in other films--and that updates these themes so that modern audiences can more readily identify. Similarly, Disney's newest princess, Tiana, is the strongest, most interesting princess to date. She is intelligent, complex – and oozes passion, something that, in my opinion, has only been approached (and I do insist, "approached") in Belle and Ariel. Tiana is a princess for today's woman. Little girls of the world have quite an exciting and refreshing new role model.

Disney's writers have chosen to tell this story in a different way, as well. It's not your typical spell-it-all-out up-front story, and some story elements are never even vocalized, they're visual, and back story and motivation are sometimes revealed after the relevant action rather than before. It was really refreshing to see Disney choose a slightly different construction—it leads to keeping the tale unpredictable and much more engaging. But I'm a writer, so I know it's hard to do this well. For the most part, Disney succeeds. However, there is a bit of a downside to this. Constructing a story in this manner can lead to a lot of subtlety in the way the story is told, and because of this, some of the characters' motives are not always clear right away. This seems to happen the most with Dr. Facilier, the villain. When he's on the screen, it's really important to concentrate or you might miss some key story elements.

All in all, don't miss The Princess and the Frog. It's the best 97 minutes I've spent in a theater in a long, long time.

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