“Wish” Review

Disney’s latest film, “Wish,” is being criticized as one of the most aggressive forms of Disney propaganda in recent years. While all Disney films carry a certain degree of persuasion, works like “The Lion King” and “Encanto” are seen as standalone stories. In contrast, “Wish” seems intricately tied to the history of Disney and the imaginative allure that fans associate with the brand. The film not only abounds in references from “Peter Pan” to “Mary Poppins” but also conveys a message centered around the idea that happiness can be achieved by wishing on Disney-branded stars.

Moreover, there’s an interpretation of “Wish” as a commentary on a political leader who crushes the dreams of Disney enthusiasts, drawing parallels to figures like Ron DeSantis and even Joseph McCarthy. However, this aspect is not thoroughly explored in the current analysis.

Despite its intentional infusion of Disney magic, the film falls short compared to instances where the magic naturally emanates from the characters. While it may appeal to those with annual passes to Disney parks, there’s a lingering sense that the magic portrayed is not genuine but rather manufactured and hollow. Despite a couple of strong musical numbers that redeem the film after a shaky start, the overall experience leaves the audience with a sense of forgettability.

Set in an unspecified era, though hinted to be the origin of the Disney “wishing star,” “Wish” unfolds in a place called Rosas. The animation, blending CGI with a hand-drawn aesthetic, brings to life the story of Asha, a 17-year-old seeking an apprenticeship with King Magnifico. The king, the keeper of wishes in Rosas, turns out to be more of a wish hoarder than a granter, leading to a thematic exploration of the manipulation of promises by those in power.

Asha, not just an ordinary girl disillusioned by the corruption of power, becomes a magical figure when a wishing star grants her abilities. The film explores the idea that wishes should be personal and drive individuals to love, laugh, and live. The star, portrayed in a Studio Ghibli-esque silent manner, empowers Asha instead of serving her, resulting in a standout sequence.

The film’s songs, composed by Dave Metzger, Julia Michaels, and Benjamin Rice, might not reach the heights of a hit like “We Don’t Talk About Bruno,” but a few numbers effectively contribute to the film’s thematic elements. However, the movie’s heavily processed nature, seemingly designed as an A.I. version of a Disney animated film for maximum commercial appeal, leaves it feeling more like a calculated cash grab than a genuine artistic venture.

The film’s color palette, particularly the evil green associated with Magnifico, hints at a portrayal of not just politicians but money-focused leaders as the enemy. This irony is noted, considering Disney’s transformation into an industry-driven entity rather than a purely artistic venture.

In essence, “Wish” comes across as dishearteningly processed, with a strong emphasis on commercial viability over artistic merit. The reviewer, having witnessed the cycles of Disney’s success and failure, expresses disappointment in the film’s lack of genuine artistic depth. The wish here seems crafted more by a producer’s room with an eye for profit than falling organically from the sky, leaving audiences longing for something more human and true.

The film is set to hit theaters on Wednesday, November 22nd.

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