Mulan

When the Emperor of China issues a decree that one man per family must serve in the Imperial Chinese Army to defend the country from Huns, Hua Mulan, the eldest daughter of an honored warrior, steps in to take the place of her ailing father. She is spirited, determined and quick on her feet. Disguised as a man by the name of Hua Jun, she is tested every step of the way and must harness her innermost strength and embrace her true potential.
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Credits: TheMovieDb.

Film Cast:

  • Hua Mulan: Liu Yifei
  • Hua Zhou: Tzi Ma
  • Commander Tung: Donnie Yen
  • Xian Niang: Gong Li
  • The Emperor: Jet Li
  • Böri Khan: Jason Scott Lee
  • Chen Honghui: Yoson An
  • Hua Li: Rosalind Chao
  • The Matchmaker: Cheng Pei-Pei
  • Sergeant Qiang: Ron Yuan
  • Yao: Chen Tang
  • Cricket: Jun Yu
  • Po: Doua Moua
  • Ling: Jimmy Wong
  • Esteemed Guest: Ming-Na Wen
  • The Chancellor: Nelson Lee
  • Village Magistrate: Hoon Lee
  • Young Mulan: Crystal Rao
  • Young Xiu: Elena Askin
  • Longwei: Vincent Feng
  • Young Soldier: R.J. O’Young
  • Duba Tegin: Roger Yuan
  • Tulugui Tegin: Jenson Cheng
  • Red Fez: Arka Das
  • Kilifu Tegin: Jen Sung
  • Bati Tegin: King Lau
  • Hua Xiu: Xana Tang
  • Stallion Tegin: Zhaidarbek Kunguzhinov
  • Garrison Commander: Gary Young
  • Garrison Scout: Wolf Chen
  • Senior Officer: Owen Kwong

Film Crew:

  • Producer: Chris Bender
  • Additional Editor: Paul Rubell
  • Costume Design: Bina Daigeler
  • Production Design: Grant Major
  • Art Direction: Mark Robins
  • Supervising Sound Editor: Kyrsten Mate
  • Set Decoration: Anne Kuljian
  • Original Music Composer: Harry Gregson-Williams
  • ADR Mixer: Doc Kane
  • Art Direction: Thomas P. Wilkins
  • Director: Niki Caro
  • Editor: David Coulson
  • Supervising Art Director: Ian Gracie
  • Producer: J.C. Spink
  • Makeup Supervisor: Rick Findlater
  • Foley Mixer: Scott Curtis
  • Director of Photography: Mandy Walker
  • Producer: Jake Weiner
  • ADR Voice Casting: Holly Dorff
  • Screenplay: Rick Jaffa
  • Screenplay: Amanda Silver
  • Gaffer: Sean O’Neill
  • Sound Re-Recording Mixer: Terry Porter
  • Foley Artist: Shelley Roden
  • Visual Effects Editor: Jennifer Pearson
  • Producer: Jason Reed
  • Art Direction: Jill Cormack
  • Production Sound Mixer: Tony Johnson
  • Costume Supervisor: Jenny Rushton
  • Rigging Gaffer: David Brown
  • Sound Mix Technician: Eric Flickinger
  • Matte Painter: Einar Martinsen
  • Dolly Grip: Winston Harris
  • Art Direction: Damien Drew
  • Additional Editor: Lisa Lassek
  • Assistant Costume Designer: Liz McGregor
  • Visual Effects: Michael A. Martinez
  • Sound Mixer: Steve Harris
  • Foley Artist: John Roesch
  • Casting Consultant: PoPing AuYeung
  • Lighting Technician: Effron Heather
  • Sound Mixer: Chris Quilty
  • First Assistant Director: Liz Tan
  • Construction Manager: Michael Wong
  • Matte Painter: Josh Evans
  • Visual Effects Producer: Rene Sekula
  • Weapons Master: Joe Dunckley
  • Script Supervisor: Kathleen Thomas
  • Dialogue Editor: Matthew Hartman
  • Steadicam Operator: Jason Ellson
  • Concept Artist: Richard K. Buoen
  • Prosthetic Designer: Denise Kum
  • Makeup & Hair: Jacqui Leung
  • ADR Mixer: Vincent Cosson
  • Set Designer: David Chow
  • Supervising Sound Editor: Gwendolyn Yates Whittle
  • Still Photographer: Jasin Boland
  • Concept Artist: Andrea Dopaso
  • Art Department Coordinator: Janelle Hope
  • Property Master: Matt Cornelius
  • Steadicam Operator: Cameron McLean
  • Dolby Consultant: James Wright
  • Production Supervisor: Andrew Cochrane
  • Additional Photography: David Emmerichs
  • Aerial Director of Photography: Phil Pastuhov
  • Sound Re-Recording Mixer: Anna Behlmer
  • Visual Effects Producer: Diana Giorgiutti
  • Gaffer: Shaun Conway
  • Unit Publicist: Moira Houlihan
  • Visual Effects Editor: Pamela Choules
  • Second Unit Director: Scott Rogers
  • Wigmaker: Orlando Bassi
  • Sound Effects Editor: Pascal Garneau
  • Sound Effects Editor: Scott Guitteau
  • Foley Editor: E. Larry Oatfield
  • CG Supervisor: Daniele Tosti
  • Visual Effects Supervisor: Sean Andrew Faden
  • Makeup & Hair: Chiara Tripodi
  • Makeup & Hair: Claire Rutledge
  • Production Manager: Simon Ambridge
  • Art Direction: Sam Storey
  • Assistant Art Director: Helen Strevens
  • Art Department Coordinator: Rachael Cooper
  • Conceptual Illustrator: Alistair Gillies
  • Dialect Coach: Sarah Shepherd
  • Cableman: Chris Hall
  • Visual Effects Editor: Tom Barrett
  • Animation Supervisor: Julius Kwan
  • Makeup & Hair: Georgia Lockhart-Adams
  • Production Manager: Jared Connon
  • Foley Editor: Chris Manning
  • Matchmove Supervisor: Marc Jones
  • Senior Animator: Nicholas St. Clair
  • Wardrobe Assistant: Ana Cuerda
  • Assistant Set Decoration: Katie Sharrock
  • Set Decoration: Amber Richards
  • First Assistant Editor: Jonny Winograd
  • Visual Effects Production Manager: Tyler Cordova
  • First Assistant Editor: James Andrykowski
  • Visual Effects Supervisor: Anders Langlands
  • Storyboard Artist: Benton Jew
  • Sound Effects Editor: Jonathan Borland
  • Visual Effects Production Manager: Hugh Brompton
  • Visual Effects Production Manager: Todd Whalen
  • Assistant Costume Designer: Daniela Backes
  • Script Supervisor: Sarah Hinch
  • Digital Compositor: Julian Bryant
  • Dialogue Editor: Brian Chumney
  • Costume Supervisor: Bettina Seifert
  • Visual Effects Coordinator: Chloe Feodoroff
  • First Assistant “B” Camera: Ben Rowsell
  • Camera Operator: Todd Bilton
  • Visual Effects Supervisor: Darwin Go
  • Art Direction: Jason T. Clark
  • Visual Effects Supervisor: John Brubaker
  • Casting: Stu Turner
  • Visual Effects Producer: Adam Pere
  • Makeup Artist: Michele Perry
  • Visual Effects Coordinator: Melyssa Forget Turcotte
  • Visual Effects Supervisor: Seth Maury
  • Digital Intermediate Colorist: Natasha Leonnet
  • Makeup & Hair: Hayley Ness
  • Assistant Set Decoration: Rosie Guthrie
  • Set Decorating Coordinator: Jenny Morgan
  • Casting Associate: Dylan Jury
  • Makeup & Hair: Jacinta Driver
  • Art Department Assistant: Allison Krumwiede
  • Screenplay: Lauren Hynek
  • Screenplay: Elizabeth Martin
  • Visual Effects Supervisor: Hubert Maston
  • Animation Supervisor: Laurent Laban
  • Boom Operator: Corrin Ellingford
  • Casting Associate: Chris Velvin
  • Visual Effects Editor: Ryan Brassington
  • Visual Effects Supervisor: Christian Irles
  • Visual Effects Producer: Jarrod Nesbit
  • Drone Pilot: Michael Craig Ferguson
  • Ager/Dyer: Jack Taggart
  • Creature Design: Sebastian Meyer
  • Second Assistant Director: Guy Campbell
  • Grip: John Curran
  • Techno Crane Operator: Bogdan Iofciulescu
  • Set Costumer: Sarah Goodhue
  • Assistant Costume Designer: Lucy Bowring
  • Makeup & Hair: Shay Lawrence
  • First Assistant Camera: Paul Marbury
  • Assistant Art Director: Tony Drew
  • Senior Animator: David Gimenez
  • Second Unit First Assistant Director: Joe Nolan
  • Dialect Coach: Helen Ashton
  • Translator: Huai Hsuan Huang
  • Props: Natalija Kucija
  • Extras Casting Coordinator: Sarah Hart
  • Art Direction: Calvin Tsoi
  • Makeup Supervisor: Michael Krehl
  • Set Designer: Zahra Archer
  • Conceptual Illustrator: Mathew Hunkin
  • Conceptual Design: Filippo Valsecchi
  • First Assistant “A” Camera: Brenden Holster
  • Lighting Technician: Luke Ripley
  • Construction Foreman: Mark Stainthorpe
  • Conceptual Illustrator: Michele Moen
  • Animation Supervisor: Mark Smith
  • Concept Artist: Andrew H. Leung
  • Production Supervisor: Christie Kwan
  • Armorer: Tyler Page
  • Key Grip: Dion Hartley
  • Makeup Supervisor: Susie Glass
  • Additional Hairstylist: K. Troy Zestos
  • Key Grip: Jay Munro
  • Assistant Costume Designer: Sophie Hart-Walsh
  • Senior Animator: Ryan Sivley
  • Visual Effects Coordinator: Zaid Babeel
  • Additional Hairstylist: Marc Mapile
  • Modelling Supervisor: Marvin Kim
  • Digital Compositor: Robyn Ducharme
  • Visual Effects Coordinator: Ricky McLennan
  • Sound Recordist: Cloud Wang
  • Key Makeup Artist: Bianca Appice
  • Matchmove Supervisor: Jason Marlow
  • Lighting Technician: Charlie Adams
  • Digital Imaging Technician: Christian Gower
  • Casting Assistant: Anna P. McCarthy
  • Second Unit First Assistant Director: Justin Muller
  • ADR Recordist: Brett Voss
  • Makeup & Hair: Tamara Eyre
  • Dolly Grip: John Mang
  • Greensman: Jarl Benzon
  • Concept Artist: Houston Sharp
  • Production Runner: Logan Marshall
  • First Assistant “B” Camera: Sam Bailey
  • Makeup & Hair: Daisy Faulkner
  • Stunt Double: Tori Marsh
  • Props: Guy Mulligan
  • Best Boy Electric: Matthew Linfoot
  • Colorist: Pete Harrow
  • Lighting Technician: Aaron Cordery
  • Art Department Coordinator: Rebecca Young
  • Producer: Tendo Nagenda
  • Set Designer: Marina Stojanovic
  • Concept Artist: Steffen Reichstadt
  • Concept Artist: Aaron Sims
  • Compositing Supervisor: Christoph Salzmann
  • Rigging Grip: Andrew Sykes
  • Best Boy Grip: Michael Milella
  • Stereoscopic Supervisor: Jared Sandrew
  • Visual Effects Producer: Jeanne-Élise Prévost
  • Compositing Supervisor: Romain Rico
  • Grip: Frederick Leota
  • Props: Dan Perry
  • Digital Compositor: Tomohiko Fukuda
  • Makeup Artist: Leanne Hoare
  • Hair Supervisor: Elizabeth McCarthy
  • Dolly Grip: Justin Sykes
  • Art Direction: George Hamilton
  • Grip: Craig Cooper
  • Assistant Property Master: Abi Wollcombe
  • Rigging Gaffer: Thomas DeRose
  • Dialect Coach: Erik Singer
  • Lighting Technician: Mathew Harte
  • Assistant Art Director: Mark Stephen
  • Pre-Visualization Supervisor: Rpin Suwannath
  • Makeup & Hair: Jacqueline Priem
  • Costumer: Lisa Gardner
  • Camera Production Assistant: Davis Bonner
  • ADR Recordist: Jeannette Browning
  • Hairstylist: Charlie Oswin
  • Extras Casting Assistant: Arnika Howard-Lawrence
  • Costumer: Holly Johnson
  • Digital Compositor: Ndosi Anyabwile
  • Visual Effects Producer: Matthew Dravitzki
  • ADR Mixer: Jordan Smith
  • Art Direction: Gabriel Kearney
  • Development Producer: Jessica Virtue
  • Stunt Double: Ashlee Fidow
  • Digital Imaging Technician: Pasquale Paolo
  • Construction Manager: Darren Wilcock
  • Visual Effects Coordinator: Raven Midkiff
  • Concept Artist: David Masson
  • Dolly Grip: Richard Ward
  • Grip: Mike Mcrae
  • Visual Effects Producer: Fiona Crawford
  • Visual Effects: Joe Howes
  • Set Designer: Rachel van Baarle
  • Makeup & Hair: Ally Williams
  • Digital Imaging Technician: Lukas Davidson
  • Concept Artist: Kyle Brown
  • Digital Compositor: Jack Van Nuis
  • Digital Compositor: Gayanath Dayasundara
  • Makeup Artist: Toni Bisset
  • Second Assistant Director: Teuila Field
  • Second Assistant Director: James Andrew Haven
  • Second Assistant Director: Luke Maxcy
  • Digital Imaging Technician: Christopher Rudkin
  • Drone Pilot: Sam Peacocke
  • First Assistant “C” Camera: Samuel Fraser
  • First Assistant Camera: Ryan Spearman
  • Grip: Seb Graham
  • Grip: Jan Kleinheins
  • Rigging Grip: Jason Waguespack
  • Second Assistant “A” Camera: Laetitia Belen
  • Second Assistant “C” Camera: Nick Willoughby
  • Second Assistant “C” Camera: Louis Cassells
  • Still Photographer: Sanja Bucko
  • Video Assist Operator: Jay Weston
  • Makeup & Hair: Hannah Wilson
  • Makeup & Hair Assistant: Jose Noriega
  • Makeup Artist: Susan Durno
  • Costume Assistant: Patrick Pabalan
  • Costume Coordinator: Phoebe Newman
  • Costumer: Jee Ok
  • Costumer: Aimee Reed
  • Key Costumer: Sunshine Yuen
  • Key Costumer: Louise George
  • Set Costumer: Kelly Marumaru
  • Set Costumer: Philippa O’Brien
  • Wardrobe Assistant: Evelyn Santana Paz
  • Script Coordinator: Ana Lydia Monaco
  • ADR Mixer: Burnard To
  • ADR Recordist: Annlie Huang
  • Foley Editor: Christopher Barron
  • Foley Editor: Nick Docter
  • Sound Engineer: Dan Abrams
  • Sound Engineer: Mark Lindauer
  • Sound Engineer: Ryan Stern
  • Sound Engineer: Andy Winderbaum
  • Casting Assistant: Ariella Segal
  • Assistant Editor: David Stone
  • Assistant Art Director: Lok Yiu Chan
  • Assistant Art Director: David Peters
  • Carpenter: Francis Baker
  • Carpenter: Paul Drebing
  • Carpenter: Brian Schrider
  • Construction Buyer: Victoria Wevers
  • Construction Coordinator: Cathy Adams
  • Construction Foreman: Kevin Willcocks
  • Scenic Artist: Mela Blackwell
  • Scenic Artist: Ethan Montgomery-Williams
  • Scenic Artist: Karin Åberg
  • Set Designer: Rebecca Asquith
  • Set Designer: Tanika Pratt
  • Set Designer: Karijus Schlogl
  • Swing: Gavin Walker
  • Textile Artist: Jillian Chitty
  • CG Supervisor: Benjamin Hendricks
  • Compositing Supervisor: Nicholas Daniels
  • Digital Compositor: Michael Balzer
  • Digital Compositor: Daphne De Jesus
  • Digital Compositor: Andrew Dohan
  • Digital Compositor: Nara Smith
  • Digital Compositor: Tyler Usie
  • Digital Compositor: Alex Wolfe
  • Digital Compositor: Aron Galabuzi
  • Matte Painter: Darren Quah
  • Visual Effects Compositor: Isaac Buono
  • Visual Effects Coordinator: Dru Fickling
  • Visual Effects Coordinator: Emily Fay Higgins
  • Visual Effects Coordinator: Katie Johnson
  • Visual Effects Coordinator: Ruchika Rawat
  • Visual Effects Coordinator: Kimberley Wells
  • Visual Effects Coordinator: Valerie Wicks
  • Visual Effects Coordinator: Louise Vanhelle
  • Visual Effects Coordinator: Zach Hamelton
  • Visual Effects Producer: Lilian Bravo
  • Visual Effects Production Assistant: Jake Hetzel
  • Production Coordinator: Kylie Gaudin
  • First Assistant Accountant: Francesca Hunt
  • Second Assistant Accountant: Nicola Benton
  • Second Assistant Accountant: Melissa Chan
  • Second Assistant Accountant: Amy Gurr
  • Set Production Assistant: Mei Ling Au
  • Set Production Assistant: Devon Baclawski
  • Set Production Assistant: Miriam Emerson
  • Set Production Assistant: Luke Park Bower
  • Set Production Assistant: Jason Ren
  • VFX Artist: Jason Astley
  • VFX Artist: Jared Hasselbach
  • Storyboard Artist: Jane Wu
  • Rotoscoping Artist: Kay Hoddy

Movie Reviews:

  • MSB: If you enjoy reading my Spoiler-Free reviews, please follow my blog @
    https://www.msbreviews.com

    As you might now, this remake is one of my most anticipated movies of 2020 (list here). I’ve at least “liked” almost every remake Disney has delivered so far, so I was incredibly excited that 1998’s Mulan was getting the same treatment. Niki Caro made it clear this would be an entirely different version of the story we all know and love. A more realistic take on the Chinese tale, one that removes all songs and fan-favorite characters like Mushu, which instantly impacted expectations, varying tremendously from person to person. People who would love a remake quite similar to the original will enter the film already slightly discouraged. However, to everyone who complained about Disney copying their original IP, Mulan might be their best chance to like a remake from the studio.

    In my opinion, a remake should have a bit of both. It must keep the original’s essence and message while delivering something that distinguishes it from the former. Any remake must always prove the reasons behind its existence. It must have something that makes the viewers think: “I like this part that’s not in the original”. Aladdin has a new arc given to Jasmine. Beauty and the Beast provides Beast with a better-developed storyline. Even The Lion King, a remake that convinced many people to call it a shot-for-shot (it isn’t), presents a groundbreaking visual experience that’s incomparable to the original. Therefore, I was genuinely hyped for Mulan and what Niki Caro could bring with her more pragmatic cut…

    I can’t deny it: I feel extremely disappointed. In my review of the original movie, I mention how epic and cinematic it feels. It was one of the aspects I looked forward to the most in this new version. Despite the beautiful set design and some painting-like shots, this is the first time a Disney’s live-action remake loses to its original regarding its visuals. The 2D animation from more than twenty years ago feels superior in every single aspect. There’s only one shot in the entire remake that I would put in the original, and I bet it would look and feel a lot more emotionally significant. The action sequences are unimaginative and incredibly disjointed. Except for a few great war moments, most action scenes are packed with excessive CGI, a badly employed HFR (high frame rate), and overediting.

    In fact, the editing (David Coulson) is weirdly overworked throughout the entire runtime, cutting too much and omitting sequences that were supposed to significantly impact the narrative. From character-defining moments to simple connections between scenes, it feels like the film is hiding something. I constantly needed to rely on my knowledge of the original to remember why certain moments are meaningful to a character or to the story itself because this remake straight-up removes these moments without replacing them with something else. Even in chronological terms, it’s clumsily put together, jumping from location to location without actually showing the characters moving from one place to another.

    Finally, as my last remark on the technical aspects, Harry Gregson-Williams’ score is partially also a letdown. Like the rest of the movie, there are some nice touches and lovely homages to the songs everyone cherishes, especially Reflection. I had already mentalized myself to ignore the absence of songs because I believed Harry would find a way to replace them with a similarly grand score that I would definitely enjoy. However, Mulan’s score fails not only to elevate a single battle sequence but also to deliver that cinematic atmosphere that I was looking forward to so much. I didn’t get chills during the entire film. It didn’t transform any big character moments. Maybe watching it on IMAX instead of at home might improve my opinion, but I doubt that.

    Story-wise, it’s a mixed bag for me. Niki Caro promised a more realistic take, totally different from the original, and she undoubtedly accomplished that. This is the furthest from the original any Disney remake has been, by far. From the replacement of characters to an overall change to the main narrative, Mulan is more faithful to the original Chinese tale than the 1998’s flick, but that doesn’t mean it’s better, much on the contrary. The essence and message are there but told through a distinct perspective, which some people will find hard to accept, especially hardcore fans of the original movie. However, I do believe that Hua Mulan still carries the characteristics that made me care about her.

    Her courage and bravery to go to war in order to save her father from certain death. Her love and devotion to her family, who she wants to honor. Hua Mulan doesn’t want to just be the wife of some random man nor be imprisoned by dated stereotypes. This is all in the remake but told through the lenses of a protagonist who already has everything she needs to lead a nation. This is the main difference character-wise, but one that doesn’t affect the nature of the original. However, it impacts the remake itself. While all of this sounds amazing, Mulan sort of contradicts itself by making her main character feel unique and different from everyone else, distancing her more from people than actually embracing her.

    Like I already mentioned above, this is an entirely altered version of the story everyone knows. I do welcome every change made, including the removal of Mushu, Cri-Kee, and all of the singing. However, if something’s removed, something else has to replace it in some shape or form. Once again, I have mixed feelings. Some additions, like the introduction of Chi and the witch Xian Lang (Gong Li), are refreshing but poorly developed throughout the runtime. The vital energy force is connected to my issue with the “be yourself” message, while the character not only follows a predictable arc, but it diminishes Bori Khan’s (Jason Scott Lee) menacing presence.

    The ending feels remarkably underwhelming as well. Not only the climactic fight between Hua Mulan and Bori Khan fails to live up to expectations, but it’s executed in a visually disheartening fashion. I expected this remake to feel grand, magnificent, epic, and cinematic, just like its original or even better. It’s far from that. The acting could also be better. Liu Yifei is fantastic as Hua Mulan, Yoson An offers a subtle yet efficient interpretation of Chen Honghui, and the actors who portray Yao (Chen Tang), Ling (Jimmy Wong), and Chien-Po (Doua Moua) are also amusing. However, Donnie Yeng as Commander Tung and Jet Li as The Emperor are embarrassingly bland, while Jason Scott Lee is visually perfect casting as the main villain, but he’s not able to shine.

    In the end, Mulan is the most disappointing remake Disney has made so far and by far. Even though Niki Caro delivers the realistic, distinct take that was promised, its execution feels inferior to the original animated film in every single way. Technically and visually, it’s the first live-action remake from the respective studio that loses in almost every aspect to the 2D animation from more than twenty years ago. The 1998’s movie is far more epic and cinematic than its remake. The disjointed editing is overworked to the point of omitting and skipping through character-defining moments. The action scenes are packed with unnecessary CGI that takes away from the war set pieces, which also look small in scale. The musical score isn’t able to replace the songs from the original, overflowing the film with a weirdly empty feeling. Despite Liu Yifei delivering a good performance as the protagonist as well as a few of her colleagues, the acting is pretty mediocre overall. Story-wise, it’s a mixed bag. It’s an undoubtedly unique version, the furthest that a Disney’s remake has ever been from its original, which will instantly upset some and please others. I praise the courage and bravery in producing such a different version. There are dozens of new additions that I sincerely appreciate, but their execution lacks emotional impact, ultimately being decisions inferior to the ones of the original. The message and essence of the original are still present through another perspective, which is the best compliment I can give to an otherwise quite disappointing remake…

    Rating: C-

  • Kamurai: Disappointing watch, probably won’t watch again, and can’t recommend.

    I finally see what everyone is freaking out about this movie. Mostly, it is because it just left all the spirit of the first movie behind and started over.

    They made a conscious effort to ditch the goofiness, and magic animals of the first one to do a more gritty and real version, like a DC movie. After those decisions, they also chose to reintroduce actual magic, but mostly for the villains, who had slightly better women’s rights(?).

    I’ll be honest, the movie itself wasn’t interesting enough to follow completely. For instance, I know “Mushu” was replaced with a phoenix, but I have no idea what happened to it.

    Mulan also is outed much sooner in this, but basically skirts execution about 3 different times because of her accomplishments with a much more laid back atmosphere than it was in the 1998 version.

    Despite all the money poured into the movie that keeps it from being a bad movie, it just doesn’t feel good. While it is wonderous at times, it just lacks the heart warming charm that one would expect from a Disney movie.

  • itsogs: I did not see the first movie pertaining to this story so there is nothing for me to compare it to, maybe this was a good thing for me because I went into it with an open mind. I am always apprehensive when I watch a movie with jumps that are not realistic (flying actors with hidden wires attached) but although such things were included, it was bearable. I thought the actors were believable and they filled their roles as expected. I would watch this movie a second and even a third time because for me the entertainment factor was there. I have watched many movies that allow me to multitask, this one required my undivided attention. In a nutshell, the entertainment, screenplay and acting were all there so I give it at least 5 stars.⭐⭐⭐⭐⭐
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