Wish is a film with a sweet story and good intentions

Cut to the chase: Filled with catchy new songs and featuring a classic Disney storyline, “Wish” is a whole heaping of heart that’s completely underbaked. There is much to commend about its sweet story and good intentions, but “Wish” is shattered by a dreamless plot and hopelessly shallow character development.

The Disney of it all

The details in “Wish” won’t mean much for casual viewers. Some of the choices in the film might even feel a bit out of place or randomly assigned. But for those indoctrinated into the cult of Disney (myself being one such fanatic, virtually since birth), “Wish” has plenty of hidden Mickeys and subtle nods for fans to pick apart.

The film’s lead, Asha (Ariana DeBose) is surrounded by seven friends whose personalities and attire resemble Snow White’s seven dwarfs. Her home is a quaint, straw-thatched cottage eerily similar to the one the princess finds in the woods while fleeing the huntsman. The 2.55:1 aspect ratio is also a wink; it’s only been used in two other Disney animated films, “Sleeping Beauty” and “Lady and the Tramp.” Asha’s sidekick, Valentino the goat (Alan Tudyk) is another company staple, often employing talking animals as its lead’s best friend. The film’s boilerplate premise – wishing upon a star – is a right of passage for nearly every Disney character, princess or otherwise.

Celebrating 100 years of storytelling, the House of Mouse honors its centennial in the most Disney way: with a film about making, safeguarding, and ultimately fulfilling your one true wish. Wishing for the one you love, wishing upon a star, a dream is a wish your heart makes… It’s a running theme through most Disney films, and for the first time, there’s a film dedicated to this long-celebrated idea.

Be Careful What You Wish For

Founded by King Magnifico (Chris Pine), a learned sorcerer and wizard who has garnered the ability to grant people’s wishes, the Medieval kingdom of Rosas has drawn its residents eager to be the one chosen at Magnifico’s monthly wish-granting ceremony. 17-year-old Asha has set her sights on becoming the king’s apprentice and convincing him to grant her grandfather’s wish on his 100^th birthday.

When her job interview sours, Asha becomes wary of Magnifico’s true motives after learning he’s been holding everyone’s wishes hostage and only granting the ones least threatening to his lightly veiled dictatorship. Unable to stand by in complicity, Asha sends a Hail Mary by wishing up to the night sky. The heavens answer when a pudgy yellow star anthropomorphizes into a sometimes naughty, utterly endearing character, leading the coup against the tyrant and bewitched followers. Asha must lead her band of friends, family, and celestial aid to undermine Magnifico after he crosses over to use dark magic and threatens the wellbeing of everyone in Rosas.

The other D-word: Diversity

“Snow White and the Seven Dwarfs,” the first-ever cel animated feature film and a passion project for Walt Disney, will always hold a special place in Disney’s history. But that does not mean it hasn’t faced its fair share of controversy with modern audiences whose views on things like consent (the Prince kissing an unconscious Snow White) and dangerous stereotypes (little people used as kitsch or perpetually relegated to the sidekick role) have evolved.

“Wish” seeks to right those wrongs in any way it can, assembling a diverse set of characters to redefine the Disney prototype. Doc, aka Dahlia (Jennifer Kumiyama) is now an Asian female who uses a crutch. Grumpy, aka Gabo (Harvey Guillén) is a sassy Hispanic loudmouth. The town of Rosas is not defined by one type of person but by the collection of people seeking a better life by living in acceptance and harmony. Asha seeks the truth and sets her people free from Magnifico’s unknowingly tight leash on them.

However, as admirable as the film’s intent may be, “Wish” is not a dream fully realized. The animation design, another throwback to the Disney style of yesteryear, often feels a bit wonky. Many characters look like unsophisticated renderings used in early CGI animated films like “Shrek”. At the same time, the backdrops mirror the watercolor, hand-painted look of decades-old Disney classics, a confusing mixture of styles that doesn’t do either justice.

The songs are catchy, but the characters singing them don’t have the full-body actualization of other recent Disney releases like director Chris Buck’s past project and novel addition to the Disney princess canon, “Frozen.” The audience roots for Asha, but the stakes don’t feel very high, and it may be the viewers’ wish for the film’s end to come sooner than it does.

Know before you go

MPAA rating: PG for thematic elements and mild action

Recommended age: 6+

Runtime: 95 minutes

Nightmare inducers: I brought my 5-year-old, who has seen countless children’s movies of varying “scare” levels, and even she found Magnifico frightening at times. Some sequences put Asha in direct danger, with Magnifico creating havoc and confusion, imprisoning the lovable star and sending a brainwashed servant after the young girl. Though Magnifico’s dance with dark magic is no more formidable than, say, Dr. Facilier’s summoning of spirits “from the other side” in “The Princess and the Frog”, the effect is somehow more unnerving, which could be due to his untouchable power and position of authority over the innocent townsfolk.

Difficult concepts or emotions: The death of Asha’s father is briefly touched upon, which could upset some sensitive viewers or those who can relate to the passing of a parent. The Sleepy character, Simon (Evan Peters), is hoodwinked by Magnifico and turned into his mesmerized slave, a sinister event that seemed to be attributed to my daughter’s fear and discomfort.

Holiday films for the whole family

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