Movie Review ~ Spellbound (2024)

The intertwining of sincere family dynamics with catchy tunes and fantastical escapades has long been a pillar of the animated musical. From The Little Mermaid to Encanto, these films remind us that kids and their parents often have more in common than they think—if they can stop fighting long enough to sing about it.  Add in some magic (i.e., Snow White’s evil queen and Brave’s transformative bear curse), and you have a family dispute that turns monstrous in the most literal sense.  Netflix’s Spellbound ambitiously continues these traditions, though not without some occasionally unwieldy stumbles along the way.

While Spellbound brims with potential, aiming to mix emotional depth with pure spectacle, its uneven execution keeps it from reaching the lofty heights of its animated predecessors. Set in the magical kingdom of Lumbria, the film tells the story of Ellian, a rebellious princess tasked with rescuing her parents from a mysterious spell that has turned them into monsters. Ellian is brought to life with exuberance and charm by Rachel Zegler, radiant both in dialogue and song.  Zegler anchors the film with genuine authenticity, lending depth to a character who is otherwise navigating a fairly predictable hero’s journey.

After Lumbria’s idyllic life is shattered when King Solon (Javier Bardem, Skyfall) and Queen Ellsmere (Nicole Kidman, Malice) fall victim to a shadowy spell, Spellbound is shining the brightest when it delves into its more mature themes. Director Vicky Jenson, known for her work on Shrek, crafts poignant moments where Ellian grapples with her parents’ imperfections—laid bare by their monstrous transformations. These sequences resonate with a depth beyond your typical animated fare, offering younger viewers a window into the messy, humanizing aspects of family relationships, exploring how they cope with seeing their parents as imperfect, maybe for the first time. However, this richness is often diluted by an overreliance on comedic distractions, including sidekicks and requisite slapstick, which sometimes feel at odds with the film’s more introspective ambitions, resulting in tonal inconsistencies.

The voice cast is an impressive ensemble on paper, though their performances vary in effectiveness.  Clarion-voiced Zegler (West Side Story) is a standout, with her singing and speaking voice matching up with the character as animated.  Nicole Kidman and Javier Bardem easily provide Queen Ellsmere and King Solon with regal gravitas, but their comedic moments—central to the plot—often feel forced. Bardem, in particular, seems uncomfortable navigating his character’s humorous and musical elements, delivering songs that lack the finesse necessary to truly land.

In stark contrast, Nathan Lane (Beau is Afraid) and Tituss Burgess (Schmigadoon!), as rival oracles Sunny and Ludo, steal the spotlight whenever they appear, injecting much-needed energy and humor into the proceedings. Their toe-tapping duet is one of the few truly memorable musical numbers. John Lithgow’s (Pitch Perfect 3) Minister Bolinar gets perhaps too much screen time, while the criminally underutilized Jenifer Lewis (Christmas on the Square) makes every moment count as the intriguing Minister Prone.

The film’s animation, developed through a collaboration between Skydance Animation and Ilion Animation Studios, showcases the polish expected of a big-budget production. Completed remotely during the pandemic, Spellbound achieves a sleek aesthetic but lacks the distinctive visual style that could elevate it from polished to iconic. The world of Lumbria, while beautifully rendered, feels like a lesser imitation of other animated kingdoms rather than a place that stands uniquely on its own. A cookie cutter quality to much of the animation keeps the film from breaking out of its shell, a sameness that becomes frustrating as the film progresses.

The music, composed by the celebrated multiple Oscar-winner Alan Menken with lyrics by Glenn Slater, is serviceable but ultimately underwhelming. Menken’s name carries a legacy of unforgettable Disney classics, but the songs here lack the irresistible hooks and touching crescendos that once defined his work. Even Zegler’s vocal talents can’t entirely rescue melodies that drift into the realm of the forgettable. This shortfall, combined with the film’s overlong runtime of 110 minutes, leaves the overall pacing feeling stretched. While younger audiences may stay entertained by the vivid visuals and corny humor, adults might find their attention wandering.

Despite its shortcomings, Spellbound conjures moments of genuine magic, particularly in exploring how children reconcile their parents’ humanity. These emotional beats provide the film’s most compelling moments, even if they’re inconsistently delivered. Its strongest scenes will likely spark thoughtful conversations between parents and kids, a hallmark of the best family films.  With Wicked set to debut in theaters this weekend, bringing Broadway grandeur to the big screen, Netflix’s latest offering faces stiff competition. The comparison is unavoidable, and unfortunately, Spellbound lacks the sharp storytelling and musical brilliance necessary to stand tall alongside other genre-defining films.

That said, its existence has value, and I don’t want to write this one off entirely.  At a time in the industry where animated musicals are becoming rarer, Spellbound’s willingness to tackle emotional complexity, even imperfectly, is worth applauding. It may not be a future classic, but for families seeking a cozy night of entertainment from the comfort of their couch, it offers enough whimsy to pass the time.