Thinking back on the gems of the Disney Renaissance, what stands out is how they seemed to trust young audiences of the ’80s and ’90s with dramatically complex material. Granted, there were moments that could be considered too adult (think Frollo’s “Hellfire” in The Hunchback of Notre Dame), but since many of these films were adapted from great literary classics or ancient folktales, they had substantial stakes that resonated even with more mature viewers.
Standing on that legacy of emotional heft and equally moving music, the latest feature from Walt Disney Animation is meant to commemorate the studio’s centennial. But Wish falls short from attaining such electrifying heights. Maybe that’s too much pressure to put on a single, original concept, but if its purpose is to honor Disney history, then it’s only fair to judge it against what came before.
The impetus to bridge the past and present is also embedded in the aesthetics of Wish, directed by Disney veteran Chris Buck (Tarzan) and Fawn Veerasunthorn (a former animator directing for the first time). The animation style reads more graphic than most of the studio’s 3DCG features. It doesn’t precisely match the animated exuberance seen in the Spider-Verse movies or Teenage Mutant Ninja Turtles: Mutant Mayhem, but it similarly attempts to call to mind the hand-drawn era – or at least to feel like it exists in a state between painted cels and moving pixels. The highlights are the lush, moonlit backgrounds that resemble storybook illustrations.
In the kingdom of Rosas, vaguely inspired by cultures of the Iberian Peninsula, King Magnifico (Chris Pine) is the keeper of his subject’s wishes. Each resident of Rosas relinquishes their deepest desire to the magical ruler upon turning 18, hoping that someday he’ll choose to grant it. This means they must also agree to forget what they were wishing for. The vivacious Asha (Ariana DeBose), a young tour guide introduced through the musical’s weakest number (“Welcome to Rosas”), hopes that her 100-year-old grandfather is finally next in line to have his greatest aspiration fulfilled.
But during her job interview to become the king’s assistant, Asha discovers Magnifico’s controlling tendencies. He only selects wishes that won’t challenge his reign. Disheartened, Asha makes it her mission to inform the people of Rosas of the ugly truth she’s learned, and to encourage them to demand their wishes back so they can pursue them on their own.
In the tradition of other Disney heroines and their restless-heart songs – from Ariel’s “Part of Your World” to Moana’s “How Far I’ll Go” – Asha gets her own moment of courageous yearning with the track “This Wish,” with which she summons a sentient wishing star (simply named Star). This is where Wish truly soars, thanks to DeBose’s powerful voice and the skillful songwriting of Julia Michaels and Benjamin Rice. As Asha belts out the heartfelt chorus about selflessly wanting better for everyone, the camera swirls around her while she stares into the vastness of what lies ahead, making for a propulsive showstopper. “This Wish” may not have the timeless poetry of “Colors of the Wind” from Pocahontas nor the mournful introspection of “Reflection” from Mulan, but it’s a rousing enough earworm.
As part of its tribute to 100 years of Disney, Wish partly functions as a modern take on the studio’s first feature. Asha’s diverse group of friends embody the qualities of Snow White’s seven dwarfs – actor Harvey Guillén delights as Gabo, this world’s Grumpy. Meanwhile, Magnifico serves as a male equivalent of the vain Evil Queen. Though Wish is a celebration of fairy tales rather than a full-on parody like Shrek, the writers try to humorously engage with some of the genre’s tropes: forest animals here get their own musical number alongside Asha, rather than merely admiring her singing.
As far as non-verbal Disney sidekicks go, Star is simple but adorable (and expertly designed to sell loads of plush toys). On the other hand, the goat Valentino (Alan Tudyk) – a rehashing of the once-novel, now-tired idea of the comic relief whose cuddly-animal exterior clashes with their grave or regal voice – feels almost unnecessary in a story with so many supporting characters.
There’s an irredeemable bad guy here, which breaks from recent trends of Disney movies that either eschew a villain entirely, or wait to reveal them in a last-minute twist. But Maginfico, and his groovily resentful, but ultimately underwhelming statement of wickedness, “This is the Thanks I Get?!,” come off as generic. Like so much of Wish, the king is made up of pieces from better movies, best described as a mix between Frozen’s Hans and The Princess and the Frog’s Dr. Facilier.
It’s appreciated that Wish isn’t used as a vehicle for cameos by characters from Disney’s back catalog (that’s what the short “Once Upon a Studio” was for) and is instead allowed to be its own standalone tale. Yet even at its most touching – like when it suggests that building community is the only way to advance – there’s a sense of forced manufacturing. Wish lacks the audacious DNA of features from the Disney Renaissance and earlier eras of the studio. It reads like a safe bet desperate to please without actually grasping at anything that’s innovative. On its own terms Wish is rendered more average than spectacular, but with a few moments where the century-old pixie dust truly sparkles.
