Review: "Frozen II" Embraces the Unknown Wonders in a Dazzling Sequel

Scene from Frozen II

In 2013, Frozen created one of the most unsuspecting phenomenons of the 21st century. Joining the ranks of such cornerstone blockbusters like Star Wars, Titanic, and The Sound of Music, Disney created their most successful film in 20 years. EVERYONE knows "Let It Go." Elsa merchandise litters every retail store internationally. The studio has created endless spin-offs including the controversial Olaf's Frozen Adventure and the LEGO short Northern Lights.  There was even a Tony-nominated Broadway show. Frozen II isn't even the first sequel that these characters have been in (see Wreck-It Ralph 2: Ralph Breaks the Internet). To suggest that their latest outing has been long overdue feels like a bit of a laugh because of how inescapable the franchise has been over the past six years. 

But how do you follow up a phenomenon that everyone knows by heart, complaining about their child watching the film on a constant loop of madness? It's a question that likely explains the long absence of an official sequel. Instead of striking while the iron was hot, Frozen II arrives fully formed in one of the studio's biggest miracles in quite some time. Sure there are constant nods to the original, but this film is far from a retread. In a story that feels richer, darker, and more emotionally complex, Disney has created a film that elevates the franchise to mythic status. It may have an uphill battle in that it isn't Frozen, but it's the next best thing. It's a sequel that uses every minute to enhance the world and prove why these characters deserve to be the international sensations that they are. 

One of the greatest assets to Frozen II is that the dynamics are a lot stronger. Elsa (Idina Menzel) and Anna's (Kristen Bell) relationship is especially compelling. In an early scene, they are seen playing a charades-style game that finds Elsa growing distant as she hears a distant cry. There is an understanding of the way that Anna responds to the moment, realizing that Elsa exudes introverted behavior when she is overwhelmed. She holds onto their mother's scarf (itself an important plot device) for comfort. The sisters feel more bonded this time around, making shorthand language feel richer as they struggle to share the struggle to come. Anna deserves points as the most improved character, maturing throughout this film and becoming a protagonist on par with her much more beloved sister. Here she is cautious of Elsa's dive "Into the Unknown" and protective in ways that make her more empathetic and give the story an overall stronger core. They understand each other, creating one of the strongest relationships in modern Disney cinema despite their emotional differences. To say the least, it makes what's to come all the more powerful.

The early standout song "Into the Unknown" shows the first sign of wavering that Frozen obsessives may have. For those concerned about the music being as immediately great, prepare to be disappointed. This particular song feels like the cousin of "Let It Go" not only in narrative intent but how the camera shoots Elsa's triumphant walk down the halls. The cries that echo through the chorus don't have that catchy melody to fall back on. All she does is sing about a journey into a place that audiences have yet to see. It's an excuse to hear Menzel hit those notes and wow the audience. This would be less apparent if the film didn't blatantly have obvious callbacks to the original, such as a scene where sentient snowman Olaf (Josh Gad) recite the plot to the first film. As much as the film wants to stand out on its own, it does plenty to remind audiences that, yes, Frozen was the biggest movie in the world over the past six years. 

However, familiarity is a bit of the point once the film gets going. Elsa is drawn to secrets from the past. Anna tags along with more out of the obligation of safety than any genuine curiosity. Already there is a divide between the two not only in their internal conflict but of the external desires that drive the story. Anna loves her kingdom of Arendelle, wishing to protect everyone from any supernatural harm that lies in the unknown. Meanwhile, Elsa is observant and learns from what she finds in the village that lies in Northulda. What's there is some of Disney's finest animation since Tangled, capturing an environment where elements are embodied by spirits that live through the land. The forest comes to life not only in the rustling leaves detailed with staggering individuality, but in how nature comes to factor into each other journeys. By the time that each answers their question, the question of whether it's fine to live in their complacent acceptance of events is challenged, and both end up with answers that make the ending all the more powerful, establishing the sisters equally as individuals with individual interests. By having that bond at first, it proves that any shift in the comfort (and how it differs among each character) isn't capable of breaking the love of family. 

That is where the music becomes exciting. With the return of Oscar-winning songwriters Robert Lopez and Kristen Anderson-Lopez, the songbook chooses to forgo flighty melodies in favor of something deeper. In this case, every song has an emotional substance that feels like it's buried in each character's core. Even the comedic relief in Olaf's "When I Am Older" contemplates aging into a complicated adult. The film still gives every song a personality and purpose, but this time it feels like every character is evenly distributed a song and purpose within the story. Even Anna's friend Kristoff (Jonathan Groff) has the 90's rock ballad "Lost in the Woods" that is delirious and features harmonizing reindeer. It helps to capture his deeper emotional struggle, of wanting to overcome his clumsy words to wed Anna. While this feels like a regressive plot device, it's far from the damsel in distress affair of yesteryear. Anna is clearly the stronger character, and Kristoff's growth in confidence more than justifies this odd choice. As the covers playing over the closing credits will suggest, what these lack in major hooks they make up for in an ability to have excellent covers blending to the styles of Panic at the Disco, Kacey Musgraves, and Weezer. This is a songbook with legs and, most importantly in the case of Musgraves especially, an ability to be a good enough radio hit on its own (an area that Disney hasn't achieved too well since The Lion King).

Still, if one is going to talk about the songbook, it is important to know what the film got right. Frozen II doubles down on Anna and Elsa performing their own standalone moments. Here is where the film embraces the Broadway singer mentality, as the third act in a nonstop ride through extended numbers of high notes, deep emotion, and moments that rank among the greatest that Disney has offered in some time. Elsa's "Show Yourself" is a dazzling journey into the metaphysical with visuals that present a world that is new and exciting. It's visceral, and Menzel's ability to treat each note tenderly makes the emotions undeniable. What's more surprising is that in Anna's reputation-boosting "The Next Right Thing," she finally gets a song as harrowing, as defining. It's quieter and builds slowly, but it may very well be what helps her to establish the independence of a character, making her just as appealing to audiences as Elsa (it also finally proves Bell is capable of belting on par with Menzel). If nothing else comes from this film, it's the sense that these characters have a lot more to offer.

The one obstacle that remains for Frozen II's appeal is that it is far more challenging than the first. The original was streamlined in a way that made it accessible to just about everyone. Instead of rehashing the familiar, the choice to expand the world results in one of the most dazzling films of the year. Elsa's embrace of elemental supporting characters presents a feast for the eyes, especially when tackling the towering waves that stand in her way. The choice to full-on embrace Northwestern European mythology may seem strange at first, but finally gives Elsa a familiarity and home that is far more exciting. Who doesn't want to live in a world where cute fire-salamanders roam the forest, or where horses made of water serve as aquatic transport? More than the first, this creates a world that demands to be seen in all of its spectacular detail. Along with risks in not just making disposable tunes as catchy as "For the First Time in Forever," the film manages to stand on its own, capable of growing with each viewing in a way that the first can't. This is the sequel for an audience who has matured in the past six years, capable of looking beyond the self and seeing how people grow and change with time. It's boldly done, thankfully.

Most of all, this film is a miracle. Almost all Disney sequels haven't been capable of living up to the original with most ending up being mocked on home video. Frozen II is not that. It's not some cheap retread or a story that betrays character. It's not some cheap cash grab to make kids sing "Let It Go... Again" What is there is actual thought and effort to embrace what Frozen always could've been, which is a place where magic can happen. At times it even feels as atmospherically similar to Pixar's Brave that one would expect a crossover to break out at any time. Still, the choice to challenge and make a story with dozens of odd moments and choices is far more exciting than cookie-cutter conventions. While it's unable to be as accessible as the original, that's not a bad thing. It is a rare family film that embraces adventure both in narrative and in visuals so wholeheartedly. It also manages to mirror the first in clever enough ways while establishing itself as its own identity. Yes, it could never fully sever ties to the original and be its own beast, but it makes do with what it has. It's quite possibly the most challenging sequel to a family film this decade, and thankfully it works long enough to be great.