encanto family movie review

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Vibrant visuals, catchy songs, moving messages.

A Lot or a Little?

What you will—and won't—find in this movie.

Includes many aspects of Colombian culture, like t

Lots of positive messages about value of empathy a

The Madrigals are helpful, strong, loyal. They lov

Depicts multigenerational, multiracial Madrigal fa

Flashbacks to a confrontation with armed men who k

A married couple is affectionate: kisses, embraces

Mirabel calls her sister "stupid perfect."

Nothing on camera, but off camera, the movie has t

A kid drinks coffee even after being told it's for

Parents need to know that Encanto is an animated Disney musical set in Colombia and featuring Mirabel Madrigal (voiced by Stephanie Beatriz), the youngest granddaughter in a family that protects their enchanted village with the magical powers they've had for two generations ... except for Mirabel. As she…

Educational Value

Includes many aspects of Colombian culture, like traditional dress, dancing, music, even cuisine (arepas, a national food, are made and eaten several times).

Positive Messages

Lots of positive messages about value of empathy and teamwork, importance of honesty and acceptance in families, the need to acknowledge various talents and character strengths of people you love.

Positive Role Models

The Madrigals are helpful, strong, loyal. They love one another and want to protect and defend their family, house, town. The family exhibits the pride of serving their community, learns to accept help later in the movie. Mirabel is selfless and wants to solve problems even as she's occasionally overlooked because of her lack of superpowers.

Diverse Representations

Depicts multigenerational, multiracial Madrigal family, as well as Encanto village that's full of residents who are Black, Brown, White. Women are strong, men are supportive (in this family, husbands don't have magical abilities, but their wives and children do), and a matriarch (Abuela) leads the family and village. Colombian culture is well portrayed in form of music, costumes, dance sequences, even food, but filmmaking team, including songwriter Lin-Manuel Miranda , isn't of Colombian heritage.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Flashbacks to a confrontation with armed men who kill Mirabel's abuelo with their swords while her abuela watches, holding newborn triplets. The family's home begins to crumble, and a nearby mountain splits in two, posing a danger to the family and entire village. Bruno is frightening at first sight but is just lonely. A character dangles from the edge of a cliff, and it looks like they're plunging to injury, but they end up fine. The house eventually falls, and it's occasionally scary to see all the family members fail in their attempts to save the house and their magic candle.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

A married couple is affectionate: kisses, embraces, and partner dances in flashbacks to their wedding and other occasions.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Nothing on camera, but off camera, the movie has tie-ins to apparel, toys, figurines, even instruments.

Drinking, Drugs & Smoking

A kid drinks coffee even after being told it's for adults. Family toasts with an unspecified drink (presumably water) at a meal/event.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Encanto is an animated Disney musical set in Colombia and featuring Mirabel Madrigal (voiced by Stephanie Beatriz ), the youngest granddaughter in a family that protects their enchanted village with the magical powers they've had for two generations ... except for Mirabel. As she helps her cousin prepare for his coming-of-magical-age ritual, she begins to question her role in the family. Expect a few scenes of violence: Mirabel's grandfather is killed by armed men (the actual death isn't shown), and supernatural events and catastrophes threaten the characters. There's also mild name-calling and affection between married characters. Themes of empathy, teamwork, and courage are clear, and there's strong diverse representation on-screen, with White, Black, and multiracial characters all part of the same family and voiced by famous Colombian and Latin American actors. Colombian culture is also well portrayed in the form of music, costumes, dance sequences, and even food, but the filmmaking team, including songwriter Lin-Manuel Miranda , isn't of Colombian heritage. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

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Community Reviews

• Parents say (127)
• Kids say (249)

Based on 127 parent reviews

This film is everything. Truly.

It was hard for my 4 yr old granddaughter to follow, to much singing, not easy story line. if it was not for all the movment i would have left with my granddaughter. she asked to leave 3 times, but i kept hoping it would get better, what's the story.

In ENCANTO, Mirabel (voiced by Stephanie Beatriz ) is a member of the magical Madrigal family, who were bestowed with supernatural gifts emanating from a miracle candle that also created their village and magical house, la casita . Unfortunately for Mirabel, while her relatives have gifts as wide-ranging as controlling the weather, super strength, making flowers grow, healing with food, shape-shifting, super hearing, and seeing the future, she didn't receive a supernatural gift during her coming-of-age ceremony. As her youngest cousin approaches the day that a magical door will reveal his gift, the family nervously prepares. On the day itself, Mirabel has a vision of the casita cracking and crumbling, and she dedicates herself to saving the Madrigals' magical home -- even if it means looking for her mysterious estranged Tio Bruno ( John Leguizamo ), who could predict the future, and putting herself in dangerous situations.

Is It Any Good?

Disney's delightful animated musical is a tribute to Colombian culture, magical realism, and the power of multigenerational families. Encanto works on multiple levels. It's a kid-friendly musical with a magical house and relatives, most of them teens and tweens. Main character Mirabel is lovable and loyal, but also the family's beloved but underappreciated underdog, which makes her easy to cheer for and relate to as she tries to prove she's worthy of the family name. Deeper still, the movie's thematic elements are an homage to magical realism, the literary genre that legendary late Colombian author Gabriel Garcia Marquez was famous for elevating, with magical golden butterflies reminding viewers of migration, change, and hope. Beatriz is terrific as Mirabel, and the cast of Colombian actors and singers does a great job with the Germaine Franco-composed/Lin-Manuel Miranda-penned songs, particularly "The Family Madrigal," "We Don't Talk About Bruno," and "All of You." Colombian superstars Carlos Vives and Sebastián Yatra are also prominent on the authentic, cumbia-infused soundtrack (listen for the accordion and percussion!). The movie's attention to cultural detail also includes traditional dress (the embroidered, ruffled tops and skirts and the black-and-white cane hats are iconic) and the making of typical foods like the healing arepas that Mirabel's mami (Angie Cepeda) feeds family and villagers.

Beyond the cultural sensitivity (and it should be noted that, behind the scenes, none of the writer-directors -- Jared Bush, Byron Howard, and Charise Castro Smith -- are Colombian), this is a funny and deeper-than-it-looks family adventure. Audiences will laugh aloud at the animal cameos (Tio Bruno's pet rats are especially entertaining) and the chorus of three village kids who pop up at various key moments for comic relief. They'll also sing along to Miranda's toe-tapping choruses "We don't talk about Bruno-no-no-no" and the Anna-and-Elsa-like duets between Mirabel and each of her two sisters -- big-and-strong Luisa (Jessica Darrow) and perfect-and-pretty Isabela (Diane Guerrero). It's a joy to watch Mirabel bravely protect her family and her town. There's also a simmering truth to the idea that people are much more than what they initially seem. Everyone has gifts and strengths, whether they're obvious or subtle, and what's meaningful is how people use them.

Talk to Your Kids About ...

Families can talk about Encanto 's messages about embracing differences, learning to rethink weaknesses and strengths, and the importance of family togetherness. What are some other positive themes in the story?

Talk about the family dynamics in the movie. Why does Mirabel feel like she has to prove her worth to her family? How does she display courage , empathy , and teamwork ? Why are those important character strengths?

What aspects of Colombian culture are highlighted in the story? How do costumes, music, dance, and food play a role in the movie? How is magical realism, which is associated with Latin American literature, a big part of the movie?

Why does representation behind the camera matter as much as in front of the camera? While most of the movie's cast and the soundtrack's performing musicians are Colombian, the filmmakers themselves aren't. How could a Colombian filmmaker have enriched the film?

Movie Details

• In theaters : November 24, 2021
• On DVD or streaming : February 8, 2022
• Cast : Stephanie Beatriz , John Leguizamo , Wilmer Valderrama
• Directors : Jared Bush , Byron Howard
• Inclusion Information : Gay directors, Female actors, Bisexual actors, Latino actors
• Studio : Walt Disney Studios Motion Pictures
• Genre : Family and Kids
• Topics : Magic and Fantasy , Brothers and Sisters , Music and Sing-Along
• Character Strengths : Courage , Empathy , Teamwork
• Run time : 99 minutes
• MPAA rating : PG
• MPAA explanation : some thematic elements and mild peril
• Awards : Academy Award , Common Sense Selection , Golden Globe , Kids' Choice Award
• Last updated : May 13, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Critic’s Pick

‘Encanto’ Review: In This House, We Make Magic

Disney’s new film, about a gifted family in Colombia, has stunning animation, a beautifully composed story and spellbinding songs by Lin-Manuel Miranda.

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By Maya Phillips

For better or worse, Disney has always been in the business of making magic. We all know the worst: the unimpressive secondhand sorcery of formulaic plots, flavorless songs and lifeless animation. But the best — well, that’s the kind of magic that gets passed on for generations.

So it’s not unlike the magic of Casita, the living house of the Madrigal family in Disney’s brilliant new animated film “Encanto.” Forget Alexa — Casita’s a smart home like no other. She speaks in a language of clapped tiles and flapping window shutters, and helps keep things in order.

And she has her traditions: When each young Madrigal comes of age, she grants them a gift and a door to a new bedroom, an impossibly large and elaborately designed chamber themed around a special ability. It all started years ago, when the Madrigal matriarch, Abuela Alma (María Cecilia Botero), and her family fled the violence of their village. After a tragic loss, however, a miracle appeared in the form of a candle that granted the kids their powers. There’s a shape-shifter, a prophet, a healer and more — and then there’s Mirabel (a perfectly cast Stephanie Beatriz), the muggle of the clan.

When Mirabel finds herself in the middle of a mystery about the future of her family’s magic, she goes on a mission to figure out how she can stop the worst from happening. It’s a surprisingly small-scale story: Instead of on a journey, the action unfolds in and around the Madrigal home. But that’s because “Encanto” is most interested in the love and struggles of family, without silly side characters or romantic leads.

The computer animation, some of the best from any major studio in the last several years, presents a dazzling confabulation of hues and a meticulous weaving of precious details — like the embroidery on skirts, the golden-brown crust of a cheese arepa and the selection of native Colombian flora.

In “Encanto” there’s a robust engagement with, and respect for, Latino culture in all of its dimensions. The Madrigal family members’ skin tones range from lighter to darker, their hair textures from straight to kinky-curly. And the grand pooh-bah of the contemporary musical movie score, Lin-Manuel Miranda , provides a spellbinding soundtrack of songs combining salsa, bachata and hip-hop played with traditional folk instruments from Colombia.

The directors, Jared Bush and Byron Howard, last collaborated on another of Disney’s brightest gems of the last decade, the racially aware “ Zootopia ,” and they subtly incorporate an important political message into this film as well. This is a story about displaced people who build a home from nothing. Their history is the source of their magic, and they use that magic to selflessly improve their community, without needing to assimilate into it. Given our nation’s track record on these subjects, to see such a tale in a children’s movie is quietly extraordinary.

But “Encanto” also resists having its magical characters fall into the trope of the model immigrants — that they have only earned their place because of their special abilities. The Madrigal family members belong even when they’re not conjuring roses or transforming the weather. And even with these fantastic feats of wizardry, the Madrigals, with all of their relatable family dynamics, are believably loving, funny and flawed.

If home is where the heart is, my heart’s with Casita.

Encanto Rated PG. Running time: 1 hour 39 minutes. In theaters.

Maya Phillips is a critic at large. She is the author of the poetry collection “Erou” and “NERD: Adventures in Fandom From This Universe to the Multiverse,” forthcoming from Atria Books. More about Maya Phillips

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Finding something the whole family can watch during the holidays is a perennial challenge. It’s as much a part of tradition as turkey on Thanksgiving and Christmas carols on the radio soon after. This holiday season, Disney is serving up a warm, feel-good family friendly movie called “Encanto,” a Colombian magical realist tale of a family that received special powers after surviving a tragedy. Now, a few generations later, they live together in a magical house and each member develops their own talent, like the ability to control the weather, shapeshift into other people, and talk to animals. Their casita (house) responds to the family’s requests and responds to their moods. Each bedroom is magically tailored to the relative and their magical gift. All except for one, Mirabel ( Stephanie Beatriz ). 

“Encanto” follows the “girl with no apparent gift” Mirabel, who tries her best to fit in a family so extraordinary that her judgmental Abuela Alma ( María Cecilia Botero ) offers only her disappointment at every turn. For Mirabel, it’s tough to stand out when her mom, Julieta ( Angie Cepeda ), can heal wounds with her cooking—more specifically, her arepas con queso, her sister Luisa ( Jessica Darrow ) can lift the heaviest of objects with ease, and her sister Isabela ( Diane Guerrero ) can grow the most beautiful flowers without barely thinking about it. Mirabel notices the family’s casita is starting to show cracks, but no one believes her and downplays her worries as something her estranged eccentric uncle Bruno ( John Leguizamo ) would say. It’s up to Mirabel to find out what’s happening to save both her family and her home. 

Directors Jared Bush and Byron Howard (“ Zootopia ”) and co-director Charise Castro Smith (” Raya and the Last Dragon ”), who bears more than a passing resemblance to the movie’s main character, have created another kind hearted movie about misfits trying to do the right thing. Most notably, there’s no villain in this Disney movie, just a nebulous “unknown” threatening the family and their home. The conflict is minimal at best, which allows for Mirabel to spend more time learning about what she can do despite her lack of powers, but it also leaves the movie feeling a bit meandering. To make up for lost action, the movie shines in its animation and design, really making use of the house with doors to new worlds and musical sequences that allow for a little more abstract artistic freedom. 

Speaking of those musical sequences, I think it’s time Lin-Manuel Miranda takes a break. After knocking it out of the park with “In the Heights,” “ Hamilton ” and “ Moana ,” his 2021 offerings have been a little lackluster. For this review, I finally watched the movie “ Vivo ,” in which he voices the title character as well as handles the song writing duties. Those numbers sounded flimsy and forgettable. In one song, he rhymes “drum” with… “drum.” In “Encanto,” the odds are a little better, more songs fare better than others, but there’s still a sense that these musical numbers are the reheated leftovers from other projects. They sound like his work, but don’t offer anything new or exciting to get stuck in our heads. Isabela and Luisa’s disposable pop songs "What Else Can I Do?" and "Surface Pressure" are cloyingly repetitive. “The Family Madrigal” is a less effective version of the opening song from “In the Heights.” Only Carlos Vives’ rendition of Miranda’s song "Colombia, Mi Encanto" sounds like a memorable stand-out.

Unimpressive songs are an unfortunate thing to befall an animated musical like “Encanto.” Thankfully, there are other elements to enjoy like the movie’s boisterous voice cast that includes Carolina Gaitán , Rhenzy Feliz , Ravi Cabot-Conyers , Wilmer Valderrama , Mauro Castillo , and one-name Latin music stars Maluma and Adassa. It’s also impressive to see an animated Disney movie finally include varying skin tones and hair textures in the same family, while also incorporating Colombian fashion like ponchos, flowing embroidered skirts, colorful dresses and guayaberas as part of a character’s details. Beatriz is magnificent as Mirabel, embodying both pain and love in her voice throughout the film, yet never losing a sense of the goofy playfulness that makes her character so likeable. Abuela’s singing voice comes from the one and only Olga Merediz , another “In the Heights” alum.

Similar to how Pixar’s “ Coco ” paid tribute to Mexican culture, “Encanto” holds many nods to its Colombian roots, from the use of flowers and animals specific to the regions to crafting songs that incorporated their respective countries’ musical palette. In both stories, the matriarchal abuelas have to also go through an emotional journey just as much (if not more) than the younger protagonists in the movie. It’s an interesting development to see both Pixar and Disney Animation move into the world tour phase of their storytelling, but I hope they avoid repeating each other in thematic and narrative elements. 

One difference is that “Encanto” explores the Madrigals’ backstory beyond their household, showing the Madrigal grandparents fleeing their homeland for safety and Abuelo’s ultimate sacrifice in an artistic flashback. The story of a homeland lost and the family who rebuilt in a new land is not an uncommon one for many immigrant families, and by sensitively including it as part of a charming Disney movie, perhaps will give a new generation a better sense of belonging or at least the comfort that others have shared their experience. It may help kids who didn’t grow up with those stories of a “paradise lost” to understand those that did. Maybe that’s an optimistic view for a movie many will flock to in a post-turkey coma, but despite a few missteps, “Encanto” is one of the more charming animated movies to hit theaters this year. 

Exclusively in theaters today. 

Monica Castillo

Monica Castillo is a critic, journalist, programmer, and curator based in New York City. She is the Senior Film Programmer at the Jacob Burns Film Center and a contributor to  RogerEbert.com .

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Film credits.

Encanto (2021)

Rated PG for some thematic elements and mild peril.

Stephanie Beatriz as Mirabel Madrigal (voice)

John Leguizamo as Bruno Madrigal (voice)

María Cecilia Botero as Abuela Alma Madrigal (voice)

Wilmer Valderrama as Agustín Madrigal (voice)

Diane Guerrero as Isabela Madrigal (voice)

Jessica Darrow as Luisa Madrigal (voice)

Angie Cepeda as Julieta Madrigal (voice)

Adassa as Dolores Madrigal (voice)

Mauro Castillo as Félix Madrigal (voice)

Rhenzy Feliz as Camilo Madrigal (voice)

Carolina Gaitán as Pepa Madrigal (voice)

Ravi Cabot-Conyers as Antonio Madrigal (voice)

Maluma as Mariano (voice)

Alan Tudyk as Pico (voice)

• Byron Howard

Co-director

• Charise Castro Smith

Writer (story by)

• Lin-Manuel Miranda

Cinematographer

• Alessandro Jacomini
• Daniel Rice
• Nathan Detroit Warner
• Jeremy Milton

Composer (original score composed by)

• Germaine Franco

Composer (original songs by)

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‘Encanto’ Review: Disney Animation’s Latest Is a Heartwarming Celebration of Family

Disney Animation makes plenty of films for families, but ‘Encanto’ puts family at the center of the story.

Walt Disney Animation Studios (WDAS), like most major animation studios, makes movies for families. Animated films are expensive, they take about 4-5 years to make, they need to appeal to a wide audience, and that means pulling in families. Doing this for decades has reinforced the notion that animated films are family films, and yet they’re rarely about families. Look at the last decade of WDAS pictures and while family is a part of the plot, they’re not really what the movies are about. Encanto changes that by making a family film that’s entirely about family. Directors Byron Howard , Jared Bush , and Charise Castro Smith use a big, joyous musical framework to explore how the expectations of family can distract us from what really matters in our familial relationships. With catchy tunes, gorgeous animation, and a lovely story, Encanto is another winner from Disney Animation.

Alma Madrigal ( María Cecilia Botero ), her husband, and their three children fled persecution, and in their most desperate hour, prayed for a miracle. The miracle not only repelled those who sought to bring them harm, but also became the basis for an enchanted town in the mountains of Columbia. The miracle not only provides a magical house for the Madrigals but also gives each of them a unique power when they turn a certain age like the ability to change the weather or heal others. That is, every Madrigal receives a gift except Alma’s granddaughter Mirabel ( Stephanie Beatriz ). Mirabel tries to keep her spirits up and be a supportive family member, but when she discovers that the magic may be fading, she resolves to figure out the cause and save the Family Madrigal.

RELATED: 'Encanto': New Song Clip Introduces Audiences to the Familia Madrigal Through a Song

Not to spoil anything about Encanto , but I love that the movie isn’t about Mirabel discovering she had a gift all along because that kind of works at cross-purposes for what the movie is trying to do. As Mirabel investigates, she learns that these “gifts” have become almost curses for the family members who have them. Her sister Luisa ( Jessica Darrow ) has super-strength, but that has manifested as Luisa feeling like she always needs to be strong, never complain, and always carry the burden. Her other sister Isabela ( Diane Guerrero ) is “perfect”, but Mirabel learns that such a perception has made Isabela feel like she can never be creative or do anything other than create beautiful flower arrangements with her powers. And as for her uncle Bruno ( John Leguizamo ), he disappeared and now no one even talks about him because his ability to see into the future caused so much strife.

I don’t know what you would call this problem (“toxic talent nurturing?”), but it’s a thoughtful approach where family identity becomes tied to what you can do rather than simply being a member of the family. That’s a tricky line to walk because it’s not like Mirabel is the “black sheep”; she’s not a screw-up, and she’s incredibly supportive and empathetic, but she’s also considered an “embarrassment” when the metric for being a good Madrigal is what you can do for the family and the town rather than being a good sister or daughter or cousin. For any family member who has ever felt outshined because they weren’t as “talented” as a sibling or cousin, Encanto comes in with a warm hug and says, “You are enough because family is enough.”

That comforting, heartfelt vibe flows through the entire film. The color palette is stunning, and it kicks into overdrive during the musical numbers where you can feel the animation team really letting loose and taking advantage of the medium where a traditional musical would be bound by setting. Encanto has no such problem and provides some the best musical numbers Disney has produced since The Princess and the Frog . With music by Lin-Manuel Miranda , who never met a tune he couldn’t get stuck inside your head for weeks on end, Encanto still feels like its own musical entity rather than mimicking the music he produced for Moana or Hamilton .

It’s probably a cliché by now to say that Disney made a family movie with heart, but I don’t know what to tell you. They did it again. Encanto simply works as a great movie for families. I wish my in-laws could take their kids and grandkids to see it right now because I know they’d all have a great time and probably tear up a time or two. It may not be a groundbreaking statement to uphold the value of family for the sake of family, but Encanto manages to do it without forcing an antagonist or doubling back on its thesis that Mirabel doesn’t need a superpower to be special. At a time when people are trying to argue that they’re “brands” and they’re constantly trying to prove their “value” by making the catchiest social media post, it’s really nice that there’s a movie that says you have value not because of a talent but because family means never having to be in a talent competition.

Encanto opens in theaters on November 24th.

KEEP READING: 'Encanto' Character Posters Show off the Magical Powers of Familia Madrigal

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‘encanto’: film review.

A Colombian teenager has to save her extended family’s magic although she has no special gift of her own in Disney’s animated musical adventure with original songs by Lin-Manuel Miranda.

By David Rooney

David Rooney

Chief Film Critic

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Disney’s Encanto is, well, enchanting. It’s tricky to make an animated film so infused with exuberant sweetness without it becoming cloying. But this whimsical dose of magic realism set amid the lush greenery of the Colombian mountains benefits as much from the purity of the storytelling as the stunning vibrancy of the visuals. Aside from a quick nod to the inescapable Frozen anthem, “Let It Go,” and a funny throwaway gag about valet parking for burros, there are remarkably few of the usual winking cultural anachronisms designed to pander to contemporary kids. Instead, this is a film that commits to the timeless folklore of its South American setting to a transporting degree.

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The project is led by two of the directors behind Zootopia , Jared Bush and Byron Howard, with co-direction from lead screenwriter Charise Castro Smith, a playwright making an impressive leap into features after TV credits ranging from Devious Maids to The Haunting of Hill House . The other indispensable member of the creative team is Lin-Manuel Miranda , who contributes eight buoyant original songs that blend his passion for traditional musical theater with Colombian music and the rapid-fire wordplay of hip-hop.

Release date : Wednesday, Nov. 24 Cast : Stephanie Beatriz, María Cecilia Botero, Angie Cepeda, Wilmer Valderrama, Diane Guererro, Jessica Darrow, Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Ravi Cabot-Conyers, John Leguizamo, Maluma, Alan Tudyk Directors : Jared Bush, Byron Howard Co-director : Charise Castro Smith Screenwriters : Charise Castro Smith, Jared Bush

The opening number does exactly what a good musical starter should do — it deftly sets the tone, maps out the history and breakdown of the large gallery of characters, and zooms in on the principal figure, Mirabel Madrigal. Voiced with delightful verve by Stephanie Beatriz ( Brooklyn Nine-Nine ), the 15-year-old is a beloved member of the extended family but also something of an outsider, who hides her melancholy feelings of inferiority by being a model of cheery helpfulness.

That same song, “The Family Madrigal,” also introduces their casita, a multistory fairy-tale house with its own magical powers. Its roof and floor tiles, doors and windows all move in rhythm with the music, communicating with the Madrigals in inventive ways and nudging the physical comedy.

Mirabel’s grandmother, Abuela Alma (María Cecilia Botero), has the warmth of the classic salt-of-the-earth matriarch but also a watchful sternness. She is literally the keeper of the flame, a candle delivered to her in a time of tragedy that burns eternally, fueling the family’s magic. Forced to flee her native village with three newborn infants, Alma lost her husband, Pedro, in an attack by bandits. The candle caused the Madrigal house to appear out of uninhabited jungle and has granted a special gift to all Alma’s children and grandchildren ever since, revealed on each one’s fifth birthday.

Mirabel’s mother, Julieta (Angie Cepeda), can heal any illness with her cooking; her sister Isabela (Diane Guererro) is a dazzling beauty who makes flowers bloom; eldest sibling Luisa (Jessica Darrow) possesses superhuman strength; Aunt Pepa (Carolina Gaitán) can control the weather with her feelings; cousin Dolores (Adassa) has extraordinary hearing; and another cousin, Camilo (Rhenzy Feliz), is an irrepressible entertainer with shape-shifting powers.

Only Mirabel has no gift. The anticlimax of her fifth birthday celebration, when the magical doorway with her name on it simply crumbled to dust, still weighs heavily on her 10 years later. On her Abuela too, especially with the gift ceremony of Mirabel’s young cousin Antonio (Ravi Cabot-Conyers) fast approaching. Alma is concerned that the magic — which has cocooned the family for three generations and supported the village community that sprung up around them — may be burning out.

When Mirabel has a vision of the enchanted casita cracking up, she fears the worst, her apprehension shared by Abuela and by Luisa, who begins to find her Herculean feats an effort. She reveals the unsuspected vulnerability beneath her mighty strength in the song, “Surface Pressure,” another standout.

Feeling that her lack of a gift has let the family down — and in need of some uplifting self-validation, in accordance with the Disney rulebook — Mirabel takes it upon herself to investigate what’s jeopardizing the magic, a quest that takes her through hidden passages and vast chambers inside the walls of the house to track down her mysterious Uncle Bruno (John Leguizamo), who disappeared years earlier.

Much of the movie’s considerable charm comes from the fact that despite the magical elements inherent even in its title, the story is basically about the dynamics of any large, close-knit family of contrasting personalities. The majority of the Madrigals’ gifts correspond to qualities often found among more ordinary mortals — the tradition-bound grandmother; the nurturing mother; the impossibly pretty golden-child sister (whose mean-girl attitude is frequently directed at Mirabel); and the selfless, hardworking older sibling, burdened by a sense of responsibility. Mirabel is basically any teenager perceived as unexceptional, who really just wants to be seen and acknowledged for her own special traits.

The characters who have married into the family are equally recognizable types: Mirabel’s father, Agustín (Wilmer Valderrama), is a lovably clumsy dad who dotes on all the women that dominate the household; and there’s a life-of-the-party uncle like Pepa’s husband, Félix (Mauro Castillo), in every family.

As much as the story hinges on Mirabel discovering what threatens the Madrigal magic and endangers their refuge, on a more fundamental level it’s about this big, complicated group reestablishing its harmony, learning to appreciate, even celebrate, one another’s qualities, whether they are extravagant or simple. And it’s about a community coming together to rebuild what’s lost and fortify one another in the process.

Those sentiments are expertly drawn out by the excellent voice cast and evoked in Miranda’s flavorful songs, including two numbers written in Spanish: “Dos Oruguitas,” performed by Colombian singer-songwriter Sebastián Yatra, is a soulful allegorical retelling of the love story between Abuela Alma and her late husband; and “Colombia, Mi Encanto” is a stirring homeland salute sung by national pop superstar Carlos Vives. In a nice touch of artistic continuity, Alma’s singing voice is provided by Miranda’s In the Heights Abuela, Olga Merediz.

The film continues Disney’s reach for more diverse representation in its animated features, following recent titles Moana , Raya and the Last Dragon and Pixar’s Coco , which shares a Latin American setting but is entirely different in its distinctly Mexican sensibility.

The colors of Encanto are sumptuous, as is the marvelous detail in the costumes and production design, nowhere more so than the Madrigals’ truly animated house — a merchandizing opportunity waiting to happen. The natural settings are even more beautiful, notably a river fed by cascades where Abuela takes Mirabel to share her story. And the animal life that’s so much a part of the classic Disney toon is not neglected, with a cheeky toucan “voiced” by Alan Tudyk and a whole menagerie that appears in connection to one character’s gift, including a jaguar, tapirs, capybaras, even cute rats. Luisa’s rounding up of the wandering donkeys gets big laughs.

Disney clearly recognizes the potential to reach family audiences over the holidays with this Thanksgiving release; the touching, tender but ultimately joyous story is going the theatrical route, with a Disney+ premiere to follow in December. Encanto is ideally paired with Far From the Tree , a lovely seven-minute short, written and directed by Natalie Nourigat, which mirrors the feature’s themes of family and the safety of home in its captivating story of a strict but loving raccoon parent struggling to keep its curious offspring from harm.

Full credits

Distributor: Disney Production company: Walt Disney Animation Studios Cast: Stephanie Beatriz, María Cecilia Botero, Angie Cepeda, Wilmer Valderrama, Diane Guererro, Jessica Darrow, Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Ravi Cabot-Conyers, John Leguizamo, Maluma, Alan Tudyk Directors: Jared Bush, Byron Howard Co-director: Charise Castro Smith Screenwriters: Charise Castro Smith, Jared Bush; story by Jared Bush, Byron Howard, Charise Castro Smith, Jason Hand, Nancy Kruse, Lin-Manuel Miranda Producers: Yvett Merino, Clark Spencer Executive producer: Jennifer Lee Directors of photography: Nathan Detroit Warner, Alessandro Jacomini Production designer: Ian Gooding Music: Germaine Franco Original songs: Lin-Manuel Miranda Editor: Jeremy Milton Sound designer: Nia Hansen Visual effects supervisor: Scott Kersavage Casting: Jamie Sparer Roberts

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‘Encanto’ Review: Disney’s Lush and Lovely Animated Fairy Tale, Fueled by a Tasty Batch of Lin-Manuel Miranda Songs

Like a follow-up to "Frozen," it's a magical fable of girl power, in this case about the only member of her Colombian family who feels like she doesn't have it.

By Owen Gleiberman

Owen Gleiberman

Chief Film Critic

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“ Encanto ” is a lively, lovely, lushly enveloping digitally animated musical fairy tale. It’s the 60th animated feature produced by the Walt Disney company, and to borrow a phrase from the old Disney TV series, it’s set in a wonderful world of color — a rapturously imagined, rainbow-gorgeous village tucked inside the misty green mountains of Colombia, where the members of the Madrigal family lead a magical existence. The ornate designer tiles of La Casa Madrigal, their idyllic mansion, turn into a synchronized army of domestic helpers, and each family member is endowed with his or her own superhuman gift. Actually, one of them has no gift. That would be the heroine, Mirabel (voiced by Stephanie Beatriz), who is just like us — which means, within her family, that she’s the odd girl out.

Directed by Jared Bush and Byron Howard (the co-writer and co-director of “Zootopia”), with Charise Castro Smith as co-director, “Encanto” has been visualized with a vivacious naturalistic glow (swirling flower petals, eye-candy pastels) that, at moments, is nearly psychedelic. The songs, by Lin-Manuel Miranda , are syncopatedly infectious, word-weavingly clever, and unabashedly romantic; they keep the film bopping. And the whole picture is intricate and accomplished enough to make the era when your average Disney house animated feature was several tiers below that of Pixar seem like ancient history. Yet for all the dazzle on display, none of it would mean much if “Encanto” didn’t present its heroine’s moving journey in a way that kept surprising you. That’s the key to enthralling animation — it stays one jubilant beat ahead of the audience.

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It may be ironic, but it’s certainly undeniable that a key force that turned girl power into an engine of popular culture was Walt Disney Studios. You could, if you wanted, date the age of contemporary girl power back to two Disney films: “The Little Mermaid” (1989), with the self-actualizing retro moxie of its title heroine, and then, the following year, “Pretty Woman,” which put its stamp on the age of hip princess feminism as surely as “Sex and the City” did eight years later. The Disney animators kept the girl-power torch burning in everything from “Brave” to “Sofia the First,” but it was in “ Frozen ,” the 2013 global megasmash, that Disney forged a girl-power epiphany. Elsa, the princess who could freeze anything in her orbit, was like a superhero endowed with powers she experienced as too strong; she was a primal metaphor for the doubts a girl can feel about unleashing the fullness of her own being.

“Encanto,” while neither as grand nor as haunting as “Frozen,” is very much a follow-up rhapsody on what it feels like for a girl to reach for abilities that will unleash her true self. Mirabel, with laughing saucer eyes and the vibe of a brainy freshman at Stanford, is kind, spunky, and self-sufficient, and she accepts her place within her family — or, at least, works awfully hard to. But she’s like the only mortal in a clan of X-Men, and for her that’s dispiriting.

Her mother, the doting Julieta (Angie Cepeda), has the ability to heal people’s ailments with her cooking, but Mirabel’s siblings and relatives tend to be self-obsessed superstars of their own imaginations. Like, for instance, her comically hulking, low-voiced sister Luisa (Jessica Darrow), who has super-strength but defines her existence entirely through that attribute, or her Aunt Pepa (Carolina Gaitán), a tempestuous sort who carries a mini rainstorm over her head, or her shape-shifting cousin Camilo (Rhenzy Feliz), who suffers from a weak identity, or, most prominently, her sister Isa (Diane Guerrero), a haughty “perfect” princess who can make flowers bloom anywhere, which means that she never loses an opportunity to flaunt her flowery narcissism.

All these powers and personalities will come into play, and we’ve seen enough fables of superheroism to presume that Mirabel will ultimately locate her own magical destiny. But “Encanto” is subtler than that. The magic of the Madrigals is real, but it’s got a dark backstory (they were refugees whose fate was changed by a miracle and is now sustained by a precarious burning candle). Their magic flows into the town, infusing and protecting the entire community of Encanto. It’s a kind of utopia. Until, quite literally, it starts to come apart at the seams.

When the candle begins to flicker, and the Madrigal house starts breaking into fissures and cracks, Mirabel, now under the suspicious eye of the family matriarch, Abuela (María Cecilia Botero), takes it upon herself to investigate, and the movie turns into a domestic psychological detective story. A key figure is Bruno, Mirabel’s uncle, voiced with winningly insecure aplomb by John Leguizamo. His ability to see the future got him ostracized — because he kept getting blamed for the tiniest bit of bad news. But Bruno holds the key to what turns out to be an emotionally engrossing puzzle.

An important clue, Mirabel is told, lies in her trying to get along with the obnoxious Isa. But why would that solve anything? Their spiky and rousing duet, “What Else Can I Do?,” gives us a rapturous hint. That’s one of eight original songs Miranda wrote for the film, all of them good, several of them gems, like the strong-woman Luisa ripping through the exhilaratingly knotty wordplay of “Surface Pressure” or the ensemble number “We Don’t Talk About Bruno,” which has a riff catchy enough to rival Camila Cabello’s “Havana.” The whole movie has a mercurial, mood-hopping free-form vibe that, at its best, suggests Disney with a touch of “Yellow Submarine.” When Isa begins to see the light, instead of beautiful flowers she produces a cactus. Prickly, but at least it’s her. That’s the kind of movie “Encanto” is. Is there a villain? For a while, it sure seems like it. But it turns out that the most dastardly thing in this canny and touching fairy tale is to ignore the love under our noses.

Reviewed at AMC Lincoln Square, Nov. 8, 2021. MPAA Rating: PG. Running time: 99 MIN.

• Production: A Walt Disney Studios Motion Pictures release of a Walt Disney Animation Studios, Walt Disney Pictures production. Producers: Yvett Merino, Clark Spencer. Executive producer: Jennifer Lee.
• Crew: Directors: Jared Bush, Byron Howard. Co-director: Charise Castro Smith. Screenplay: Charise Castro Smith, Jared Bush. Camera: Alessandro Jacomini, Daniel Rice, Nathan Detroit Warner. Editor: Jeremy Milton. Music: Germaine Franco, Lin-Manuel Miranda.
• With: Stephanie Beatriz, María Cecilia Botero, Diane Guerrero, Angie Cepeda, John Leguizamo, Jessica Darrow, Wilmer Valderrama, Carolina Gaitán, Maura Castillo, Adassa, Rhenzy Feliz.

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Review: Disney’s animated musical ‘Encanto’ delivers an empathetic brand of charm

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They’re gifted and they’re kooky, even a little spooky. It’s not the Addams Family but the Magical Madrigals. “Encanto,” the latest Disney Animation film, sweeps audiences away to a colorful, enchanted world of Colombian magical realism, introducing the Madrigal family, who have all been granted extraordinary gifts except one member, our heroine, Mirabel ( Stefanie Beatriz ), who has yet to discover her own magic.

Jared Bush and Byron Howard, who co-wrote and co-directed the Oscar-winning “Zootopia,” have teamed with Charise Castro Smith for writing and directing duties on “Encanto,” while Jason Hand, Nancy Kruse and Lin-Manuel Miranda contributed to the story. The result is an animated musical that’s typically rousing and compassionate, rooted in the kind of therapy-inspired personal lessons about self-worth that often underpin these movies, soundtracked by Latin pop tunes written by Miranda.

The Madrigal family magic was borne of extreme trauma and pain when matriarch Abuela Alma (María Cecilia Botero) lost her husband while fleeing violence in their village. In desperation, she cried out for protection for herself and her infant triplets, and a magical candle raised mountains around a charmed casita, where she has raised her family since. Each Madrigal receives their gift in a coming-of-age ceremony, with powers rangingfrom super strength, high-powered hearing or talking to animals to spinning flowers out of thin air, shape-shifting, future divining, weather controlling or food healing.

The only exception to the magical rule so far is the sweet, smart Mirabel (Stephanie Beatriz), who never received her gift and has since felt like the family outcast, bending over backward to earn her place. As she starts to see cracks in the foundation of their beloved casita, Mirabel probes deeper into the family’s magic. She ultimately realizes that all of her family members are caught in the trap of perfectionism, believing that they have to use their gifts in the ways others want them to without remaining authentic to themselves and their desires.

The animation is a vibrantly hued and energetic swirl of almost nonstop motion, and Miranda’s songs skip from genre to genre, from traditional Disney ballads to reggaeton-inspired tunes and even a tribute to Colombia’s own rock goddess, Shakira. The script is fast and furious, packed with jokes and references. There are times where you wish everything would slow down for a moment to allow time to get to know some of the supporting characters better, but the story of “Encanto” is refreshingly, and satisfyingly, swift and contained.

Mirabel’s magic shines through in who she has been all along: a good listener, empathetic and caring. She allows her family members to share their stories and vulnerabilities and creates a safe space for their authenticity. With her diminutive stature, round glasses and curly hair, she’s like a mini super-therapist for her family; indeed, sometimes finding that person who allows you to be yourself, whatever that may be, does feel like the greatest gift of all. It’s a simple but resonant tale, but “Encanto” is a charmed and charming film that just might offer a bit of healing too.

Katie Walsh is a Tribune News Service film critic.

Rated: PG, for some thematic elements and mild peril Running time: 1 hour, 39 minutes Playing: Starts Nov. 24 in general release

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Encanto Reviews

One of Disney's most magical animated movies yet

Full Review | Jul 26, 2023

A heartfelt watch that families will undoubtedly latch onto.

Full Review | Original Score: 3/5 | Jul 25, 2023

To cap it all off, the story by Jared Bush, Bryon Howard, and Charise Castro Smith focuses on empathy perfectly. It’s a wonderful watch for the whole family.

Full Review | Feb 10, 2023

What makes this particular instalment of Disney dream-weaving a little bit different is texture. Pulling from a colourful Central American tradition that features brilliant cotton and woollen embroidery, we can almost feel the threads of every garment...

Full Review | Original Score: 3.5/5 | Dec 5, 2022

By exploring the traditional and non-traditional nature of family, their most common modern go-to theme, they keep connected to their familiar and beloved roots while taking audiences on unfamiliar journeys.

Full Review | Original Score: 3.5/4 | Nov 26, 2022

It is in its overall focus that Encanto grasps at richer themes about how the family's magic is only part of what defines them.

Full Review | Original Score: 3/4 | Sep 23, 2022

Absolutely a must if you’re into this sort of thing, and it’s a very easy, engaging sit even if you aren’t.

Full Review | Aug 20, 2022

The screenplay has dark undertones, as all good magic realism does, but this is rooted in the troubled social history of Columbia.

Full Review | Original Score: 4/5 | Aug 16, 2022

Encanto is one of the most aesthetically arresting and epically emotional animated features of the year, complete with a cast of colorful and captivating characters who are sure to become new fan favorites.

Full Review | Original Score: 8/10 | Jul 14, 2022

Vibrant, rich, tender, sincere and lively.

Full Review | Jul 8, 2022

A fun and dazzling musical adventure that celebrates the power of familia.

Full Review | Jun 23, 2022

At its best when it's intimate and warm, Encanto's fast-paced adventure sequences and rampant physical comedy can be hit or miss. [Full review in Spanish]

Full Review | Jun 22, 2022

An impactful view of generational trauma told through impeccable songs, beautiful animation, and a moving story.

Full Review | Original Score: 4.5/5 | Apr 4, 2022

ENCANTO is a visually stunning animated film with wonderful songs and score, a deep, resonating emotional core and just a very positive, charming vibe to it.

Full Review | Original Score: 8/10 | Mar 15, 2022

Love the music and the cultural urgency and accuracy of Encanto. The richness, poetry, [and] resiliance of the Colombian culture... makes Encanto such a refreshing thrill.

Full Review | Original Score: 4/5 | Mar 4, 2022

Encanto is a Disney film that delights without smashing expectations. Its easy to forget that the target audience for this genre are simply interested in fun and wonder, something that this movie delivers in spades.

Full Review | Original Score: 3/5 | Mar 3, 2022

Gorgeously animated, relatable narrative, and admirable themes!

Full Review | Original Score: B | Feb 27, 2022

"A spirit of communal celebration persists even after a first-act ceremony takes a turn for the ominous, and fleeting moments of chisme between cousins provide the movies breakneck pacing with instantly relatable doses of Latino-family bonding."

Full Review | Feb 21, 2022

Surface Pressure unlocked the movie for me and made it more compelling than what I thought it would be - the inevitable discovery of Mirabel's gift... it's a discovery borne out of a family's denial.

Full Review | Original Score: 3.5/5 | Feb 18, 2022

Disney deserves some credit for abandoning its typical formula with Encanto. You wont see a princess sing songs about personal actualization. The film celebrates community and doesnt even have a villain.

Full Review | Original Score: 4/4 | Feb 17, 2022

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Encanto review: Disney's magical realist take on superheroes is charming but breezy

The new animated musical is set in Colombia and features original songs by Lin-Manuel Miranda

Christian Holub is a writer covering comics and other geeky pop culture. He's still mad about 'Firefly' getting canceled.

The latest stop on Disney Animation Studios' world tour, following Raya and the Last Dragon 's riff on Fantasy Asia earlier this year, is Colombia. The most famous work of art to come out of Colombia (and a strong contender for the designation of greatest novel ever written) is Gabriel Garcia Marquez's One Hundred Years of Solitude , and the studio's new film Encanto pays homage to that magical realist masterwork with its story of a multi-generational family blessed by wonderful enchantments.

It's hard to miss the rhyme between "Encanto," which is both the title of the film and a word often used by its characters to refer to the miracle that made a home for them deep in the mountains, and "Macondo," the town founded by Marquez's unforgettable Buendia family in the middle of the jungle. Of course, One Hundred Years of Solitude delves deeply into sex, politics, and the bloodstained history of imperialism in Latin America — none of which are quite suitable subjects for a Disney kids' movie. So for its structure and rhythm, Encanto leans on more familiar U.S. media touchstones.

Like the X-Men, almost every member of the Madrigal family is blessed with their own unique power: Luisa (Jessica Darrow) is strong enough to lift anything, while Isabela (Diane Guerrero) can make beautiful flowers bloom all around her. But like The Umbrella Academy , the story of Encanto focuses on the only family member who doesn't have an evident superpower: Mirabel ( Stephanie Beatriz ), the younger sister of Luisa and Isabela who desperately wants to prove she can support her family and community just as well as they can. Her lack of power seems to suggest that the family's enchantment is fading, so Mirabel decides to try investigating the source of this decline and see if it can be fixed.

Maribel embarks on a search for her prodigal uncle Bruno ( John Leguizamo ), who exiled himself from the family after his precognitive visions were dismissed as self-fulfilling doomsaying instead of helpful warnings against coming troubles. Mirabel's quest to find the truth involves reaching out to various other family members for help as well. Through charming songs, we learn that Luisa is starting to crack under the pressure of always needing to be strong, while Isabela actually possesses the spirit of a colorful, rebel artist beneath her golden child facade.

Encanto is directed by Byron Howard and Jared Bush, but the film's original songs were composed by Hamilton maestro Lin-Manuel Miranda . Together with Netflix's Vivo and Tick, Tick...Boom! , that makes Encanto the third film to heavily feature Miranda's touch in as many months (to say nothing of In the Heights earlier this year). It's no crime to be such a prolific artist, especially with COVID-19 delaying releases, but it also doesn't feel like the Encanto soundtrack is Miranda's best work. The songs are breezy and fun, they communicate the character beats they need to, but they probably won't be stuck in your head for days afterward.

It's not easy squeezing a multi-generational magical epic into an hour and a half, and some gaps in Encanto 's mythology might leave you scratching your head (if it's true that Mirabel doesn't have a power of her own, then why does she seem to possess such a unique level of affinity and control over the family's living house…?). But a smiling tale about familial reconciliation and learning to see your relatives for who they are rather than who you wish they were is never unwelcome. In this story, sometimes families condemned to 100 years of solitude do get a second chance on Earth. B

Related content:

• Lin-Manuel Miranda's Disney animated musical Encanto reveals enchanting first trailer
• Vivo review: Lin-Manuel Miranda's rapping kinkajou movie could use a little less rapping kinkajou
• Tick, Tick...Boom! review: Jonathan Larson's story shines in a musical that sings from the heart

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Encanto Parent Guide

With a heartwarming story, vibrant visual design, and catchy music, this delightful film is a surefire pick for family viewing..

In Theaters: Born to a magical family, Mirabel is simply ordinary. But when the magic that surrounds her family's home is in danger, Mirabel realizes that she might be the only one who can save it.

Release date November 24, 2021

Run Time: 99 minutes

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The guide to our grades, parent movie review by savannah sillito.

Hidden in the mountains of Colombia is a magical place called Encanto, protected by the Madrigal family. Each member of the Madrigals is blessed with a unique gift, except for Mirabel (Stephanie Beatriz), who is unaccountably… normal. But when the magic of Encanto is threatened, Mirabel sets out to save her home and find her place in the family.

Disney Animation’s output over the last decade or so has been wildly inconsistent. Highs like Moana are offset by cinematic disasters like Ralph Breaks the Internet , and the latter category seems to be outnumbering the former. I went into Encanto hopeful,but also readying myself for potential disappointment. I am so happy to report that Encanto more than exceeded my wildest hopes.

I think the story could have benefited from another script review or two, as there are some minor pacing issues and an ending that comes together a bit too cleanly to be satisfying. These are minor quibbles, and well hidden behind the humor, heart, and fun Encanto has to offer.

The overall message of the film is deeper and more nuanced than is often tackled by children’s media. At its core, this is a story about family legacy and expectations, and the need for everyone to be loved unconditionally as a whole person; not just for their skills, talents, or general usefulness. The message comes across well, although it takes a while to get there. Mirabel, our hero, is a great protagonist because anyone can relate to her and her struggles. Feeling like you don’t fit in with your family is a relatable emotion for many of us, at least at some point in our lives. Depending on your perspective, Mirabel can be seen as having a disability in that she is unable to do many of the things that her family sees as normal. What we learn along with her is that she doesn’t need to “overcome” her lack of a gift; her family needs to learn to accept who she is and what she brings to the household just by being herself.

With very little in the way of negative content, aside from brief scenes of peril, Encanto is a movie the whole family can enjoy. I will warn you, though: bring tissues.

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Encanto Rating & Content Info

Why is Encanto rated PG? Encanto is rated PG by the MPAA for some thematic elements and mild peril

Violence: A group of men are briefly seen setting fire to homes and driving people away. One of those men is shown carrying a machete and it is implied, but not shown, that he kills a man with it. Sexual Content: A married couple kiss. Profanity: None. Alcohol / Drug Use: A woman makes a joke about “strong drinks”. Adults are seen drinking what looks like wine at dinner.

Page last updated February 24, 2022

Encanto Parents' Guide

How does Abuela treat the members of her family and how does it affect them? How are the members of the family defined and how do they break free of those narrow definitions? How can we embrace the people in our lives unconditionally?

Related home video titles:

Mexican heritage is animated in lush, lively colors in Coco, a story about a young boy who travels into the land of the dead as part of his quest to make his musical dreams come true.

More Hispanic culture comes to vibrant life in Vivo , in which a kinkajou from Cuba stows away to Florida to make an old friend’s dream come true.

In Moana , a young girl sets off to save her people and, in the process, restores lost knowledge about their seafaring past.

The Incredibles and The Incredibles 2 feature another gifted family. The Parrs are all superheroes and they use their unique gifts to (what else) save the world.

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• DVD & Streaming
• Animation , Kids , Musical , Sci-Fi/Fantasy

Content Caution

In Theaters

• November 24, 2021
• Voices of Stephanie Beatriz as Mirabel; María Cecilia Botero as Abuela Alma; John Leguizamo as Bruno; Mauro Castillo as Félix; Jessica Darrow as Luisa; Angie Cepeda as Julieta; Carolina Gaitan as Pepa; Diane Guerrero as Isabela; Wilmer Valderrama as Agustín; Rhenzy Feliz as Camilo; Ravi Cabot-Conyers as Antonio; Adassa as Dolores

Home Release Date

• December 25, 2021
• Jared Bush; Byron Howard; Charlise Castro Smith

Distributor

• Walt Disney Studios Motion Pictures

Movie Review

“Happy families are all alike,” Leo Tolstoy once wrote. “Every unhappy family is unhappy in its own way.”

The Madrigal family might want to have a word with ol’ Leo.

The Madrigals, who live in a secret valley in Colombia, are happy. Happy , they say. And they’re magical, too, which makes them pretty unique.

For decades, this family has lived in a magical house and has cranked out magical kids. Abuela Alma says it’s all because of a very special candle—one that was mysteriously granted to the Madrigals 50 years ago, one that has never gone out since. Since that candle first flamed, each of Abuela’s children and grandchildren have been supernaturally blessed: Julieta can heal almost any wound with a bit of her home cooking; Pepa’s mood is given away by the clouds and/or sunshine that forever float above her head. Dolores can hear a vole whisper a few zip codes over. Why, even the family’s requisite black sheep—Bruno—had his own black gift: the ability to see into the future.

Yes, each and every member of the Madrigal family is spe—

What’s that? Mirabel ? Oh, yes. Each and every member of the Madrigal family is special, except for Mirabel. Which, um,  makes her special in her own un-special way, right?

It’s not her fault. During the age-old family ceremony, where each new Madrigal touches the doorknob of a special gifting door, no gift came to Mirabel. And while the townsfolk were disappointed and Abuela was slightly scandalized, Mirabel’s shame and pain of being the only non-gifted Madrigal has slowly ebbed to just a dull, throbbing embarrassment. “Gift or no gift, I’m just as special as anyone in my family,” the now teenage Mirabel tells herself. And she might even believe it sometimes.

But during the family’s next gifting ceremony, Mirabel notices something she’s never seen before. Shortly after young Antonio Madrigal receives his gift from the glowing door, cracks shoot through the walls. The house seems to heave. Mirabel turns her head up to the magic candle—perched as it always is in her Abuela’s window—and she sees it flicker.

Naturally, the cracks quickly vanish. Naturally, no one believes that they were ever there in the first place—or so it would seem. And yet, as Mirabel begins to investigate, she finds that the family itself might be showing a few cracks.

Perhaps Tolstoy was right after all. Perhaps the Madrigal family is not as happy as it seems.

Positive Elements

Let’s begin with the gifts—not the gifts themselves, but what they’re used for.

As both the Bible and Spider-Man say, gifts come with responsibility: If you’ve been given much, you should use those gifts wisely, and for the benefit of others. So it is with Abuela’s brood, who use their abilities to bless the town around them. And the Madrigals—especially matriarch Abuela Alma—feel responsible to keep those blessings flowing.

Yes, Mirabel does feel a little put out sometimes that she’s the only Madrigal without a gift. But she deals with it with grace. And when Antonio, her young cousin, is terrified of failing his own gifting ceremony, he turns to Mirabel for support—even making her walk with him, hand in hand, to the magic door. It must be painful for Mirabel, given that her own walk ended in such disappointment. But she does it all the same.

“You don’t have to worry about me,” she tells Antonio shortly before he undergoes his ceremony. “Because I have an amazing family.” Indeed, all the Madrigals have a deep regard for the fam—even a character or two you’d never expect.

But if there’s a core message in this movie it’s this: Families are wonderful. But they’re also fallible and imperfect. Sometimes their sheer wonderfulness, in fact, can be a burden—just like our own individual gifts can be. It’s an important lesson, and one we’ll unpack more in our conclusion.

Spiritual Elements

Encanto suggests (albeit in passing) that the Madrigals are, at the very least, nominally Christian. The town’s Catholic priest becomes a familiar (if not overly important) character. And when Luisa helps put the edifice on a literally firmer foundation, the priest crosses himself. Abuela and her beau are also shown getting married in church, in front of a prominent cross.

But certainly Encanto’s biggest spiritual element is its magic.

Abuela calls the family’s magical candle (and all the gifts it has bestowed) a “miracle.” (A whole song reinforces that whole “miracle” angle, too.) And while it’s never stated, she and other family members seem to believe that their gifts are divine blessings, and to be used to bless others.

The magic manifests itself in very Disney-like ways, if you will: The house itself is a character, with its roof tiles banging out messages and its stairs turning into slides (to keep curious kids away from the second floor). And most of the magical abilities that members of the family have also seem relatively innocuous. Pepe’s moods are telegraphed by the clouds hovering over her head. Super-strong Luisa piles donkeys on her back and kicks a building back into place. And so on.

But there is one exception: One family member has the ability to see into the future (something forbidden by the Bible, actually), and his process feels far more like a magic spell. That character lights candles and pours what looks to be sand into a circle that he and Mirabel sit in. The diviner’s eyes go a little crazy as he peers into the misty future. But as is the case with many fortune tellers, his prophecies can be pretty ambiguous or predictable. (The priest, for instance, recalls how the diviner prophesied that he’d lose his hair. Decades later, the priest lifts a toupee off his scalp and laments how right he was.)

Sexual Content

In flashback, we see the romance of Abuela and her beau—her eventual husband and father of their triplets. They kiss in church as they get married during a wedding ceremony.

Mirabel’s sister, the impossibly lovely and graceful Isabela, is dating the town hunk, Mariano; the two almost get engaged. But another Madrigal family member also has eyes for Mariano.

Camilo can change his appearance at will—and he masquerades as both male and female members of the Madrigal family.

Violent Content

The movie’s most violent moment is just suggested: In flashback, soldiers thunder toward innocent civilians, one unsheathing his sword as he prepares to strike. We learn, from the horrified expression of a survivor, that the strike hit home.

Marrying into the Madrigal family apparently involves a bit of danger, as Mariano discovers. Occasionally, as the Madrigal magic goes wrong, various elements pop out and bop the guy in the nose. (We see his schnoz bandaged at one point.)

Augustin, Mirabel’s non-magical pops, is allergic to bee stings. We see his nose and ear seriously (if comically) swollen from the venom. But wife Julieta’s magical cooking solves the problem right away. Julieta also serves a bit of food to a guy with an obviously broken arm.

Characters experience quite a bit of peril, too—leaping over a large gorge and dealing with the Madrigal’s crumbling house. All the donkeys that Luisa carts get bonked about a good bit, too.

Crude or Profane Language

We hear a “jeez,” but that’s about the closest we get to profanity here.

Drug and Alcohol Content

After a Madrigal ceremony (attended by most of the townsfolk) seems to experience a hiccup, Abuela assures her guests, “The magic is strong! And so are the drinks!”

Other Negative Elements

Every family has its own tensions, and members of the Madrigal family fight at times. Sometimes those fights are between siblings (venting longtime grievances). Other rifts arise between generations, with a youngster arguably treating an elder with disrespect.

Encanto is a great movie, almost any way you slice it. It’s colorful, funny and filled with some pretty fantastic songs. But that’s not what makes it great: Plenty an animated spectacle can charm in the moment. But Encanto sticks with you. Why? Loads of reasons, really, but let me offer one.

The Madrigal family is, with all due respect to Tolstoy, unlike any you’ve ever seen. And yet the dynamics in play can feel very familiar—even universal.

Our own brothers and sisters may not cause flowers to sprout at a touch (like Isabela); but we can still feel the hopeless pressure of trying to live up to a gifted sibling’s example. We may not be able to hoist pianos on our shoulders (like Luisa), but sometimes we can feel the weight of responsibility there—trying like crazy to carry what we’ve been given and feeling with every step that we just might fail. We know folks like Aunt Pepe, whose every mood is reflected in her being. We know folks like Camilo, who seem to morph into someone else for any social situation.

The Madrigal family is, magic or no, a lot like mine. And probably yours, too.

And therein lies the movie’s power: This isn’t so much the story of a magical family as it’s about the “magic” found in family itself—how wonderful, and how difficult, our closest kin can be.

It’s about community, too. The movie reminds us, as the Bible does, that we’re all designed to be part of a bigger picture. Yes, we’re called to use our gifts to help others, but there’s no sin or weakness in asking for a little help when we need it, too. It reminds us that even our talents can trap us, not free us—that we can become the sum of what we do. But that’s not how God looks at us, and not how we should look at ourselves.

Our gifts are just a small part of who we are. And who we are is our real gift.

When I watched Encanto , I was reminded a little of Jesus’ parable of the house built upon the rock. In many ways, the Madrigal house was built upon a rock—its foundations laid in the midst of tragedy, its walls built of magic and duty and care and, yes, love. But we learn that, while all those ingredients are strong indeed, a bit of cement can hold it even better: honesty. Transparency. Grace.

In 2 Corinthians 12, Paul writes, “But he said to me, ‘My grace is sufficient for you, for my power is made perfect in weakness.’ Therefore I will boast all the more gladly of my weaknesses, so that the power of Christ may rest upon me.”

Christ is not mentioned in Encanto , and some of the magic we see here would never earn acclaim from Paul. But we do see how weakness can become our strengths. However great we are, it’s grace that counts most. Encanto knows this, and it reminds us in one of the most entertaining ways possible.

Paul Asay has been part of the Plugged In staff since 2007, watching and reviewing roughly 15 quintillion movies and television shows. He’s written for a number of other publications, too, including Time, The Washington Post and Christianity Today. The author of several books, Paul loves to find spirituality in unexpected places, including popular entertainment, and he loves all things superhero. His vices include James Bond films, Mountain Dew and terrible B-grade movies. He’s married, has two children and a neurotic dog, runs marathons on occasion and hopes to someday own his own tuxedo. Feel free to follow him on Twitter @AsayPaul.

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Encanto Review

The lineage of Disney castles goes all the way back to Snow White And The Seven Dwarfs — but there’s never been one like La Casa Madrigal in Encanto . The canonical 60th animated feature from Walt Disney Animation Studios (the actual numbering is far more complex) takes Zootropolis directors Jared Bush and Byron Howard — here with co-director Charise Castro Smith — and teams them up with Moana songwriter Lin-Manuel Miranda for a blast of colour, energy and South American rhythms; all of which permeate through the Madrigal house. It’s a beautiful, imaginative canvas (stairs that transform into slides, TARDIS-like rooms) on which to tell a personal family story, eschewing the expansive fantasy kingdoms of Frozen and Raya And The Last Dragon for a more intimate adventure that never feels small.

The latest addition to the Disney-heroine canon is Mirabel Madrigal (a spirited Stephanie Beatriz) who fits neatly alongside Moana, Anna and Raya — sweet, sardonic, and ready to chase down her destiny. Except, Mirabel’s purpose is unclear. Everyone else in her family has been granted magic powers (from typical X-Men fare like weather control to more idiosyncratic abilities: Mirabel’s mother makes food that literally heals you when eaten) by the same mysterious force that erected their enchanted home. But when the time came for Mirabel to receive her ‘gift’, she got nothing, forced to swallow her disappointment while her family flourished around her.

Lin-Manuel Miranda's songs once again display his abundant talent for magical melodies and wondrous wordplay

Instead of a quest narrative that sends Mirabel out into the world, Encanto is a mystery which sends her further into the hidden secrets of her own home. Can she work out the part she’ll play in the Madrigal destiny, reconnect with clairvoyant black sheep Bruno ( John Leguizamo ), and discover why she’s seeing cracks in the casa walls that nobody else can see? Mirabel’s journey plays out with nuance, confronting Abuela’s (María Cecilia Botero) tragic past and need for tradition at the expense of progress, while facing up to the strained relationships with her empowered sisters — super-strong Luisa (Jessica Darrow, a standout) and ever-perfect Isabela ( Diane Guerrero ) — that require repair. The characters are well drawn — though the lack of a sidekick like Maui or Olaf feels like a missed opportunity.

It all plays out to a set of Lin-Manuel Miranda songs — think the hip-hop/pop of In The Heights meets Moana ’s lush island vibes — that once again display his abundant talent for magical melodies and wondrous wordplay. Hyperactive ditty ‘The Family Madrigal’ offers a toe-tapping introduction to Mirabel’s extended clan; her defiant ache in ‘Waiting On A Miracle’ is classic “I want...” song terrain; and Isabela’s expressive anthem ‘What Else Can I Do?’ is a vibrant, upbeat twist on the ‘Let It Go’ formula. Whether they become as iconic as Miranda’s last clutch of Disney hits remains to be seen — but they’re in the same ballpark.

As the film brings it all home with an emotional finale that, as per recent Disney, favours rebalance over good-versus-evil brawls, you have another modern-day fairy tale that’s — appropriately enough — enchanting.

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‘Encanto’: A tale of family and fitting in, set to music

• By Stephen Humphries Staff writer @steve_humphries

November 23, 2021

In Disney’s animated musical “Encanto,” an ordinary teen struggles to fit into an extraordinary world.

Mirabel Madrigal lives in a house you won’t find on Zillow. Tucked into a mountain range, it’s a magical villa that bestows a unique power on each of its inhabitants. For example, Mirabel’s mother can heal others with her cooking. Her aunt controls the weather. One of her cousins is a shape-shifter. Her middle sister, Luisa, has superhuman strength. And Mirabel? She’s the only member of the family who doesn’t have a special gift. She’s like a Muggle at Hogwarts.

“Encanto” is set in a pre-computer era Colombia. Yet the magical realist story about comparing oneself to others seems tailored for today’s teens, who spend hours scrolling through images of seemingly perfect lives. Mirabel doesn’t need a social media feed to feel inadequate. She only has to glance across the courtyard to observe the graceful pirouettes of her oldest sister, Isabela, who can make flowers instantly bloom. Mirabel’s mother assures her that she’s special, too. Yet when the family gathers for a group photo, they neglect to include the youngest daughter. 

Why We Wrote This

“Encanto” takes place in a pre-computer era Colombia. But as Monitor Chief Culture Writer Stephen Humphries notes, the story about comparing oneself to others seems tailored for today’s social media-minded teens.

But – metaphor alert! – the villa’s impeccable facade is masking serious flaws. The magical home is a living entity. Its floors move like a conveyor belt and its staircase can transform into a slide. But cracks have started developing in the walls. When Mirabel expresses concern to her grandmother, the stern matriarch quickly shuts her down. And why won’t anyone talk with her about Uncle Bruno, the clairvoyant who disappeared years ago?

Before Mirabel can embark upon her quest to save the magic house, “Encanto” has to lay out its backstory. Plus introduce all 12 family members. It’s a lot to take in at once. An expository musical number, “Welcome to the Family Madrigal,” sets the vibrant tone of the movie. The song showcases the witty lyrics of Lin-Manuel Miranda. These days, the musical maven seems to be juggling more enterprises than Elon Musk: “Encanto” follows “In the Heights” and “Tick, Tick ... Boom!” as his third movie this year. Miranda’s wordplay here bops along to the polyrhythms of cumbia music, aided by the work of composer Germaine Franco. The melodies aren’t initially memorable, but the energy of the music complements the movie’s dynamic direction. When muscular Luisa (voiced by Jessica Darrow) sings “Surface Pressure,” a song about carrying hidden burdens, it’s accompanied by a kaleidoscopic, “Fantasia”-like dream sequence. We get to see Luisa literally move mountains. 

Throughout “Encanto,” directors Byron Howard, Jared Bush, and Charise Castro Smith utilize computers to create camera moves that not even a drone could pull off in the real world.

Thanks to the movie’s colorful palette, each frame pops like a firework. “Encanto” also sets a new benchmark in computer animation for its detailed renderings. You can almost count the individual threads in the characters’ ponchos. The ripples in the stucco walls are as tactile as Braille. Mirabel’s brown irises seem to contain galaxies.

The animated aesthetics are considerably more wondrous than the magical elements in the story. La Casita Madrigal aspires to be South America’s answer to Shangri-La. Yet the story lacks the imaginative surprises of the best fantasy tales. “Encanto” compensates with gentle humor – there’s something deeply hilarious about the indifferent expression of a capybara – and Indiana Jones-like action sequences. 

Mirabel (Stephanie Beatriz from “Brooklyn Nine-Nine” and “In the Heights”) is a winsome protagonist. The most fun character, however, is the eccentric Uncle Bruno (John Leguizamo), who reappears. He helps his niece gain a whole new perspective on a family “so full of stars that everyone wants to shine.” As Mirabel learns to look beyond superficial appearances, she discovers her true place within the family constellation.

“Encanto” is rated PG for some thematic elements and mild peril. The film is available in theaters as of Nov. 24 and will stream on Disney+ starting Dec. 24.

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Disney’s ‘Encanto’ has a simple but powerful message: It’s not what you do, but who you are that counts

Mirabel Madrigal has a problem — or maybe she is the problem.

The 15-year-old heroine of “Encanto,” Disney’s the latest shoo-in for an animated-feature Oscar nomination, belongs to a very special family. Years ago, when her grandmother (voice of María Cecilia Botero) was forced to flee her home with infant triplets, she was “granted a miracle,” though by whom and why is never explained. First part of that miracle? A magical house, high in the mountains of Colombia, that is almost a living organism. Second: Every member of the Madrigal family — not including in-laws — is given a special ability as a child. Mirabel’s mother (Angie Cepeda) can heal injury and sickness with her cooking. Aunt Pepa (Carolina Gaitan) controls the weather via her emotions. One sister has super-strength, while another is effortlessly graceful, gorgeous and can summon flowers from thin air. But Mirabel (Stephanie Beatriz) has no gift.

Her grandmother reminds her of this often.

When the house’s foundations start to crack, and her relatives’ gifts begin dimming and disappearing, Mirabel decides to track down the problem. What follows is delightfully complicated; it’s a quest in which our heroine never leaves home, and the enemy — if there is one — isn’t who you’d expect. Even if the story lacks logic at some points, when you keep in mind that the whole saga started with an unexplained miracle, it’s easy enough to forgive the lack of cohesion. The characters deepen marvelously as the story goes on, and it becomes clearer that the blessings received as children have now become burdens. If you can manipulate the weather, for example, there’s a lot of pressure to keep things sunny. And the film’s overarching message, while one we’ve heard before — people are worthy of love because of who they are, not what they do — is simple yet powerful.

The visuals are lush and lovely, down to such tiny details as the reflections in Mirabel’s glasses. (In an important step for representation, she’s the first bespectacled Disney “princess.”) Her adorably rumpled curls beg the questions: What product does she use to keep then from going frizzy in the Colombian humidity? Directors Jared Bush, Byron Howard and Charise Castro Smith rely heavily on close-ups: Watching Mirabel’s “performance” is a joy on par with watching a master actor at work. The slightest movement of an eyebrow or the twitch of her mouth conveys so much meaning that it’s easy to forget you’re watching someone who doesn’t actually exist. Combined with Beatriz’s excellent voice work, the character animation makes Mirabel a welcome addition to the pantheon of Disney heroines.

While Germaine Franco’s score is outstanding, the original songs by Lin-Manuel Miranda don’t have the catchiness or the power we’ve come to expect from other Disney films. They’re also incredibly similar, though inarguably weaker, than Miranda’s earlier work. The big number “Waiting on a Miracle” sounds so much like “Burn” from “Hamilton” that it feels plagiarized. Some of the songs also feel unnecessary; they don’t move the story along or deepen our understanding of the characters. It’s like Miranda was trying to make a quota.

Anyone who has ever felt left out by their family will see themselves in Mirabel. (Frankly, anyone who has a family will recognize — or identify with — someone in this movie.) While Mirabel is at the center of “Encanto,” the story is really about the Madrigals as a whole. What makes a family? Who belongs in what role? How can familial approval be something that both heals and hurts? It’s a creative, fresh take on a story that is much more complex than your standard fairy tale.

PG.  At area theaters; available Dec. 24 on Disney Plus. Contains mature thematic elements and mild peril. 109 minutes

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Encanto (2021) Review

A COLORFUL TALE OF

The amazing madrigal family.

In 2013, Walt Disney Animated Studios released Frozen , their 53 rd animated feature film that was loosely based on the Snow Queen narrative from Hans Christen Anderson. The cartoon movie proved to be a rousing success for the “house of mouse” by generating large profit at the worldwide box office and scoring big amongst critics and moviegoers, who looked upon the film as a somewhat “second renaissance” from the studio. In a sense, that statement rung true, with Disney finding its mojo rhythm back of its own animated identity of strong female lead characters, fun sidekick animal characters, and memorable songs to sing about. Thus, while the studio did continue venture out and produce several animated movies of their non-traditional signature roots (i.e., Big Hero 6 , Zootopia , Ralph Breaks the Internet , and Raya and the Last Dragon ), Disney did continue presenting several of their cartoon films in the ways and means of their traditional cannon endeavors, especially with the releases of Moana in 2016 and Frozen II in 2019. Now, after the success of their first film of 2021 ( Raya and the Last Dragon ), Walt Disney Animated Studios and directors Jared Bush and Bryon Howard present the studio’s sixth animated movie with the release of Encanto . Does this latest cartoon film provide new ground for the illustrious animated studio to explore or has Disney lost touch with their viewer and provide just another “run-of-the-mill” animated project?

Deep with the jungle forest in South America, Abuela Alma Madrigal (Maria Cecilia Botero) was left a widow by an enraged community, left to raise her three children on her own. Fleeing for her life and the love of her recently deceased husband triggered a special magic contained within an eternal flame, which spread to the creation of a hidden village where she could raise her family surrounded by safety and loved ones. Two generations have passed, and Alma’s granddaughter Mirabel (Stephanie Beatriz) is a bubbly teenager trying to keep up with the locals, as everyone around her is endowed with an ability that makes them special due to family’s eternal flame, including her sisters, the super strong Luisa (Jessica Darrow) and the floral blossoming Isabela (Diane Guerrero), who relish in their magical abilities as a normal part of their life. Such magic skipped Mirabel, left to wonder why she’s been left out of the family heritage, feeling distanced from others despite her best efforts to participate within her family. During the celebration of the newest family member to receive their respective gift, Mirabel witnesses cracks forming within their magical casita dwelling, and the family’s special candle is nearly extinguished, with an uncertainty threatening the village safety of which Abuela Alma denies. Setting out to understand what’s going on, Mirabel takes a journey in her family’s history, learning more about their family outcast Bruno (John Leguizamo), an uncle who left long ago because of the gift bestowed upon him. However, as search for answers continues, Mirabel begins to wonder if she is the cause of her family’s disarray, with their various family members beginning to lose their special powers.

THE GOOD / THE BAD

As I’ve stated several times in many of reviews for animated films, I am a big fan of Disney. Always have and always will be. Like many out there, Disney projects (most notable their animated feature films) are deeply rooted in my childhood memories and have been a part of me for much of life, reliving their enchanting tales of whimsical characters, stylish animation, memorable moments, and famously made songs that are tailored made for these cartoon adventures. With over 59 animated movies in their library, Disney has certainly made their mark on the industry of children’s entertainment, and it clearly shows that, with the company providing various generations with their feature films. Of course, I do have my personal favorite and, while some might argue over which ones are the “all-time” greatest, most will agree that Disney animated movies are the stuff of childhood memories that still linger into their adulthood. Of course, the somewhat resurgence of Disney’s signature identity of female princesses, talking animal sidekicks, and musical songs was definitely a welcomed “breath of fresh air” with the release of Frozen, which felt to me that the studio was get back to their roots and sticking to what made some of their past animated hits memorable. And I think that they were right about that. That’s not to say that I didn’t like some of their newer non-traditional releases like Zootopia or Raya and the Last Dragon , but I felt like Frozen (and its 2019 sequel) and Moana were the studios way to harken back to past efforts and embracing their signature identity wholeheartedly, which I think is a step in the right direction and I hope that Disney continues that trend with some of their future projects.

Naturally, this brings me back to talking about my review for Encanto , a 2021 animated feature film and Disney’s 60 th animated movie. I can’t remember exactly when I first heard about this movie (I think it was sometime last year), but I definitely had inherit hype for this project, especially since it was going to be a Disney animated movie, which (again) definitely has a proven track record with their recent releases. I think I remember seeing some conceptual artwork for this movie as well as Raya and the Last Dragon , with the former resembling more of a Disney film than the latter, with Encanto images giving me a sort of Coco feeling, but with a bit of different context. Of course, a few months later, promotional efforts were in full swing as the film’s movie trailers showcases the upcoming animated project and looked to be a Disney movie through and through; complete with a female protagonist, a journey of self-discovery, magic, and songs, which were going to be written by Lin-Manuel Miranda. Thus, I was definitely on-board to see Encanto when it was scheduled to be released for a Thanksgiving week release in 2021. While I did see it during its opening day (the day before Thanksgiving), my work schedule for the holiday season got pretty overloaded, which me to delay my review for this particular movie. Now, I finally have some free time and I’m willing to share my personal opinion on this latest animated Disney movie. And what did I think of it? Well, I liked it. Despite hitting familiar beats and not really breaking the mold, Encanto is still a magical animated film that has plenty of visual flair, dazzling musical songs, and a strong voice talents. It doesn’t beat out Frozen or Moana , but it holds its own and is still a solid Disney movie from start to finish.

Encanto is directed by Jared Bush and Bryon Howard, whose previous directorial works includes Tangled , Bolt , and Zootopia . Thus, given their overall familiarity with past Disney animated films endeavors (as well as collaboration together as directors of Zootopia ), Bush and Howard seem like a perfect suitable choice for helming a project like Encanto . In addition, writer Charise Castro Smith helps co-direct the film. Thus, the trio combination of Bush, Howard, and Smith make up the directorial efforts for Encanto, which ultimately reflects with the final presentation of the feature itself. The result…. the movie mostly works cohesively, with a few rough patches that could’ve been ironed out during the storyboarding staging, but what still remains is a wonderful Disney animated film that captures both the spirt of the animation studio as well as adhering to modern audiences of today’s world. As to be expected from a Disney animated film, Encanto keeps up the traditional of the signature mantra of enrich a cartoon world with plenty of colorful characters and musical singing / dancing throughout as well as having a female protagonist character. That’s not to say that the movie has it embraces other ideals, but trio of directors do certainly take the ideas of what the animated studio is known for and embraces it wholeheartedly….and that’s kind of good thing. This, of course, makes Encanto feel like a Disney movie through and through; creating a lush, animated world of various characters and providing a bountiful cartoon playground of that’s lively and colorful from onset to conclusion.

The film is a bit more “smaller” in scale than some of their endeavors, but that doesn’t mean that the trio of director diminish the palpable nature of what Encanto has to offer within its story, with themes and message being presented having very impactful purpose. This includes the importance of family (legacy and present day) as well as indomitable determination of self-worth and love oneself. In addition, I do feel that the film’s comedy is pretty good and delivering those larger-than-life moments that appeal to the film inherit natures, for I found myself laughing out loud a good deal. Yet, despite all that, I do feel that the film’s more tender moments is where the feature shines the best; bringing a sense of warmth and comfort that can easily be reflected in almost everyone….in some shape or form. Well, perhaps I do have to say that various moments where the characters are singing and dancing are probably the big highlight of the feature, which (again) speaks to Disney’s identity of their past, with Encanto having a sort of jubilant energy through most of these sequences (more on that below). In short, while there might be a few areas that could’ve been smoothed out, the positives that Encanto presents are just as palpable, fun, and entertaining; making the film another fine addition to studio’s illustrious history of animated feature films.

In the presentation category, Encanto is visually dazzling from start to finish. Say what you will about this movie (whether good or bad), but the perhaps the best and strongest aspect that the movie has going for it (that no one can deny) is how utterly beautifully animated the feature is. It’s definitely one of the best-looking Disney animated films to date, for everything piece of the feature is elegantly detailed and intricately laced together in such a vibrant way that is truly a visual feast for the eyes. Colors are flushed and bright, theirs a natural feeling to this animated world, and the intricately detailed nuances are vivid and life-like, which brings the enchanted casita of the Madrigal family to life (as well as the various other areas that the movie explores). Thus, the film’s animation team should be highly praised for their technical achievement wizardry in bringing this Columbian family (and their lush background) to life. In addition, the various “behind the scenes” members of Encanto , including Lorelay Bove and Ian Gooding (production design), Camille Andre, Mehrdad Isvandi, and Bill Schwab (art direction), and Alessandro Jacomini, Daniel Rice, and Nathan Warner (cinematography) should also be praised for making the film’s visual aesthetics amazingly rich and detailed throughout. In short, Encanto definitely has the “look” of a Disney animated feature and is one of the most colorfully detailed movie to date.

As mentioned, the music for Encanto is terrific and definitely fits right in line with being a Disney movie. Naturally, with the songs being written by Hamilton creator Lin-Manuel Miranda, you know that the various songs featured in the film are going to be great and well-crafter of which they are; providing the signature style of Miranda talent of modern-ish flavor of lyrical wording fast-talking singing. It all fits into the movie and I do love it. The songs in Encanto might not reach the same level of “Let It Go” from Frozen or “How Far I’ll Go” from Moana , but they definitely hold their own and are cut above the rest of musical songs in an animated feature of today’s non-Disney variety. Perhaps my favorite one would be “The Family Madrigal”, which kicks the musical song selection off, with Beatriz showcasing her talent right from the get-go as Mirabel as well as presenting to us (the viewers) a look into the Madrigal family members and their unique magical gifts. I would also say that the songs “Surface Pressure” and “What Else Can I Do?” are great character-building songs that showcases the personal struggles of Mirabel’s two older sisters. Additionally, I think the song “We Don’t Talk About Bruno” is kind of fun. Overall, I like the songs in Encanto , which definitely had the energy and warmth that one would expect to find within a Disney animated endeavor. Lastly, the film’s score, which was composed by Germaine Franco, is solid throughout the entire film; providing plenty of jubilant energy to accompany the various scenes as well as a soft tenderness for character-built moments. Definitely a good score soundtrack for a Disney movie.

Unfortunately, Encanto , while a still a solid animated film, doesn’t quite it the benchmark that is set by the high standards of past Disney releases, with the cartoon movie struggling in a few areas that it can’t overcome. That’s not to say these points of criticisms rob the feature of being colorful fun and vibrantly entertaining, but they do hold the movie back from being something truly fantastical in the Disney library. Perhaps the most prevalent ones that many will see while watching this feature is the simple fact that Encanto is (for lack of a better term) the most safest animated feature in a few years. Yes, I do praise the movie for being a Disney animated film by retaining its own signature identity that are similar in the veins of the two Frozen features and Moana . However, Encanto just feels like the studio is going “through the motions” a bit by providing all the right stuff and checking off everything that is required for a Disney movie. Every ingredient is almost there and provides the sort of level of “comfort food” watch for a Disney animated movie endeavor, which is a great thing. That being said, the film itself seems quite contempt staying within the boundaries of what to be expected instead of going outside the lines to provide something slightly different or original. This, of course, makes Encanto having a feeling of playing it safe and doesn’t take any type of risks; providing a secure, yet quite familiar Disney animated tale that doesn’t break the mold.

In conjunction with this, Encanto (as a result of this “no risk, no reward” mantra) hits a lot of familiar beats within its narrative, which (naturally) makes the story predictable and formulaic. Within the first few minutes, it’s quite easy to guess what is going to happen and type of self-discovery journey that Mirabel and her extended family will have to go through in the movie in their own personal trials and tribulations. Again, it is quite a proven formula to play around with and, while what is presented definitely works, I sort of felt that Disney could’ve done a sort of different approach and presented those same scenario slightly different for a more dynamic and unexpected way. As a result of this, there is really no surprises or curve balls that throws at Encanto’s narrative. Personally, I kind of did want a little bit more of an adventurous aspect thrown into the mix, which definitely could’ve provided plenty of heightened excitement and a better angle towards understanding the magical casita dwelling where Mirabel’s family lives in. I mean, the secretive doors to the rooms of which the various magical family members reside is revealed in the movie, but not all and could’ve played a large role in the grand scheme of Encanto’s plot.

In addition, I think that the movie’s story lacks a worth adversary for the characters to face off against. As many know, Disney is quite well-known for providing great villains for their animated films, with the Disney villains being just as theatrically bold / memorable than the protagonist heroes. Unfortunately, Encanto doesn’t really have the classic Disney villain, which is felt in the movie and definitely aided in strengthening the narrative’s excitement level / adventurous narrative possibilities. Again, all these points of criticisms are there and, while I still loved Encanto , there is no denying the fact that the filmmakers played a bit too safe, with the film having the potential of “what if” scenario.

What definitely helps this animated feature rise above those negative criticisms is the voice talents that Encanto has enlisted, which are incredibly solid across the board. Disney animated movies have always had a great voice cast work for their endeavors and this film is no exception, with the selection of actors and actresses bring their “A” game to this animated project with plenty of energy and heart throughout. Leading the charge in the movie is actress Stephanie Beatriz, who provides the voice for the lead role protagonist character of Mirabel, the bubbly yet the only non-magical endowed girl in her family. Known for her roles in Brooklyn Nine Nine , Short Term 12 , and In the Heights , Beatriz shines immensely in the feature by providing the right amount of energy and sincerity throughout her vocal performance, which gives Mirabel plenty excitement in her character as well as tenderness. Plus, much like her performance in In the Heights , Beatriz has the vocal pipes to sing and musical performances in Encanto are just as impactful and strong…if not stronger. She has the right amount of rapid fire singing that Miranda’s lyrics call for, which makes her musical numbers that much more enjoyable and (again) are filled with energy. The character development of Mirabel is a bit of a classic “cookie cutter” mold for the Disney protagonist cloth, so her journey is a tad predictable. However, it is through Beatriz performance that makes the character that much more enjoyable and certainly rises above that criticism. Plus, Mirabel is so darling and sweetly fun to watch whenever on-screen that it makes it that much more easier to root for her on her self-discovery journey throughout the film. In short, I think that Beatriz was a perfect fit for a caring, yet lively Mirabel and makes for good female lead character (flaws and all).

In supporting roles behind Beatriz’s Mirabel is actor John Leguizamo, who provides the voice for Bruno, Mirabel’s uncle, who has the ability to see the future and who is excluded from the Madrigal family. Known for his roles in Spawn , Romeo + Juliet , and Moulin Rouge !, Leguizamo has been a veteran actor throughout his career and his voice that he gives Bruno is rather good and perfectly matches the inane quirks that his character plays upon. There’s a sense of familiarity with his character, but (much like Beatriz does with Mirabel, this is overlooked with the character of Bruno, with Leguizamo finds a right balance of humor and heart to towards his character. Behind him, actress Maria Cecilia Botero, who is known for her roles in Her Mother’s Killer , La Bruja , and Lorena , does a great job in playing the voice of Abuela Alma, the matriarch of the Madrigal family clan and grandmother to Mirabel. Botero has the gravitas sounding voice, which makes her vocals for Alma that much more effective, with the character walking a fine line of trying to keep the peace, yet also wanting perfection for her family’s heritage.

Additionally, in larger supporting players in the movie, Mirabel’s two older sisters (Luisa and Isabela) have their personal moments to shine in the story and definitely have their own personal plights and of self-worthy to uncover in Encanto . Of course, both actresses Jessica Darrow ( Feast of the Seven Fishes and Following Hannah Stone ) and Diane Guerrero ( Doom Patrol and Orange is the New Black ) give exceptional voice performance in their respective roles, with Darrow projecting the right amount vulnerability within super strength Luisa, while Guerrero displays the confidence struggles within the ever-beautiful blossom flowering of Isabela.

Rounding out the cast are the other various members of Mirabel’s family, which includes actress Carolina Gaitan ( Sin Senos Si Hay Paraiso and Celia) as Mirabel’s “overly emotional” weather controlling aunt Pepa, actor Mauro Castillo ( Paro de mi Corazón ) as Mirabel’s uncle and Pepa’s husband Felix, actress Angie Cepeda ( Love in the Time of Cholera and A Night in Old Mexico ) as Mirabel’s cooking / healing mother Julieta, actor Wilmer Valderrama ( That 70s Show and Larry Crowne ) as Mirabel’s dad / Julieta’s husband, musical artist Adessa (who makes her first theatrical appearance with this movie) as Pepa and Felix’s “enhanced hearing” daughter Dolores, actor Rhenzy Feliz ( Teen Wolf and Runaways ) as Pepa and Felix’s shape-shifting son Camilo, and actor Ravi-Cabot Conyers ( Justine and Ode to Joy ) as Pepa and Felix’s animal-talking son Antonio. Most of these characters are either secondary or minor supporting players in Encanto , but are all well-acted within their vocal performances, with the movie providing several moments for these particular family members of the Madrigal clan to shine in. Lastly, Disney veteran actor Alan Tudyk ( Frozen and Rogue One: A Star Wars Story ) does provide a small minor role in the movie as the clueless Toucan named Pico.

FINAL THOUGHTS

To save her family’s magical gifts and her enchanted casita, Mirabel Madrigal must unravel several past memories and go on a journey of self-discovery in the movie Encanto . Directors Jared Bush and Bryon Howard (as well as Charise Castro Smith) latest film is very much a solid Disney animated film for its 60 th cannon release; speaking to mantra of musical singing and colorful characters, while telling a narrative of family and of embracing self-worth. While the film doesn’t quite match the same level that the studio reached with some of their other popular releases (as well as trying to find ground within a few problematic areas), the movie itself is still very much entertaining and engaging film to watch, especially thanks to the film’s heartwarming story, various comedic bits, gorgeous animation, catchy musical songs, and a solid cast to bring these animated characters to life. Personally, I liked this movie. Yes, I definitely agree with that fact that film is probably the safest movie that Disney has created of its recent endeavors, but it is still a solid Disney movie through and through, which makes the whole feature enjoyable and fun to watch. The animation was amazing, the voice cast was fantastic, and the story was sweet. It just doesn’t beat out the likes of Frozen or Moana and (if you think about it) that is high bar of expectations to match. Thus, my recommendation for this movie is still a very favorable “highly recommended” one, especially fans of Disney and of the family friendly variety. There’s not much of darker elements in the feature, which will make it accessible for all ages to appreciate, a very suitable choice for a family movie night. In the end, while it won’t outpace some of its newer releases, Disney’s Encanto is still a wholesome and touching animated feature film from the illustration studio, proving once again the “house of mouse” still one of the leading animation studios out there for memorable endeavors in children’s entertainment.

4.2 Out of 5 (Highly Recommended)

Released on: november 24th, 2021, reviewed on: december 26th, 2021.

Encanto  is 99 minutes long and is rated PG for some thematic elements and mild peril

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The Entire Madrigal Family Tree In Encanto Explained

"Encanto" is a charming addition to the Disney canon. The 60th film from the Disney Animation studio catalog is full of magic and whimsy. It achieves a uniquely immersive level of engagement through elusive backstories, undisclosed locations, and a menagerie of seemingly random supernatural gifts.

While there are many magical moments in the film, they all belong to one group of individuals: the Madrigals. From the moment the movie starts, the Madrigal family takes center stage. While they're in the spotlight, though, it's easy to be overwhelmed by the sheer number of names and powers being described at any given moment. Mirabel's fast-paced song in the opening minutes of the movie is particularly discombobulating, although admittedly self-aware of that fact, as the granddaughter of the family rattles off generation after generation of her relatives and their fantastical abilities.

It isn't necessary to know everyone's powers to enjoy the movie. Nevertheless, for those who like to understand what's going on, it can be challenging trying to sort things out while struggling to keep up with the who's who of Columbia's premier magical family as they strive to save their family's home from disaster.

With that in mind, we've rounded up each member of the Madrigal family and organized them by generation below for quick and easy reference, either while watching the film or talking about it afterward. Here is the entire Madrigal family tree from "Encanto." 

Abuela Alma and Abuelo Pedro

Alma Madrigal is the proud head of her family. Right from the get-go, we see that Abuela Alma has been through some really unpleasant life experiences. She starts her life with the dashing-yet-lovable Pedro Madrigal, only to have their young love cut short not long after the birth of their triplets — whom we'll meet in a minute. This happens when Pedro sacrifices himself to buy his family and neighbors time to escape from a group of vicious marauders. The harrowing event leads to the creation of the enchanted surrounding mountains and Casa Madrigal.

Abuela herself doesn't have a specific power. At least, she doesn't have a flashy, entertaining ability. However, the matriarch serves as the steady guide for her community and the leader of her extended family for half a century, which is impressive all on its own. And that doesn't even touch on the fact that the overwhelming effect of her grief at the death of her husband seems to have a direct impact on the magical transformation of the family's candle and the world that it creates.

Alma may be a stoic, reticent leader without any mesmerizingly magical tricks, but there is clearly inherent magic hidden within her, all the same.

Julieta and Agustín

Abuela Alma's eldest daughter is Julieta. While mere moments older than her siblings, Julieta immediately gives off a nurturing air, which is reinforced by her special gift. Julieta is given the ability to create food that can, get this, heal anyone who eats it. And we're not talking about some potently nutritious medicinal concoction that helps someone heal quicker than usual. Julieta's culinary concoctions, be they buñuelos, arepas, or anything else, can heal even the most gruesome wounds within a matter of seconds.

We see this magic at work early and often, largely thanks to Julieta's bumbling-though-sweet husband, Agustín. Agustín is one of the two Madrigal in-laws. Not surprisingly, he doesn't have a gift of his own, though he seems to be okay with that fact. He enjoys his life with Julieta, a life in which he encounters many painful injuries that his wife lovingly heals with her cooking.

These two love birds have three children: Isabela, Luisa, and Mirabel, all three of whom play important roles throughout the film. It's also worth noting that, according to the matriarchal model, when the time comes for the elderly Alma to shuffle off her mortal coil, Julieta would probably be the next one in line to inherit the role as head of the family. Having a healer and nurturer as the head of a peaceful, hidden community sounds about as idyllic as it gets.

Pepa and Félix

Abuela Alma's second-oldest child and daughter is Pepa. Pepa Madrigal is easy to spot, even from a mile away, due to the near-perpetual clouds, rain, hail, wind, and other disruptive weather elements constantly swirling around her. That's right, Pepa's power is to control the weather — although "control" is a very generous word here.

We're not talking about Storm from the X-Men, as Pepa can't create and manipulate weather events with her mind. Instead, she influences the weather with her emotions. This irrational, oft-uncontrollable power makes Pepa's influence on events both erratic and entertaining. From soaking socks to destroying decorations, Pepa Madrigal's powers are one of the more off-beat gifts that a member of the family receives.

Balancing out Pepa's moody nature is her husband, the endlessly positive Félix. Félix is the second in-law to marry into the family, and thus another magic-less character. However, what Félix lacks in powers, he more than makes up for in personality. The fellow is energetic and always ready to crack a joke or bust out a dance move. His smile and cheery personality are perfect tools to keep Pepa grounded as she tries to manage her emotions.

The couple ushers in the next generation of family members by having three children: Dolores, Camilo, and Antonio. While they aren't in the spotlight quite as often as Julieta and her dependents, Pepa and her family certainly add a lot of color to the daily life of the Madrigals.

We don't talk about Bruno. After all, he's seven feet tall, has rats on his back, and goes around making people pass out by telling people that bad things will happen to them, all for his own enjoyment.

Except that, yeah, none of that's true — except for the rat part. The most misunderstood member of the family, Bruno is the third and youngest of Alma's triplets. By the time the story starts, Bruno has spent years in hiding , leaving only mystery and intrigue behind.

As he is rediscovered and introduced into the film, though, we meet a character that is nothing like his intimidating reputation would imply. Sure, Bruno is a bit of an insecure fellow with some socially awkward behaviors, but it turns out that he's a good egg. He clearly cares about the family and is invested in their well-being. In fact, his disappearance was merely a withdrawal into the walls of the house where he's spent years keeping watch from nearby.

Of course, the most fascinating thing about Bruno is his ability to see the future. This isn't just a linear activity, either. He is also able to see various potential timelines, as is the case with his unclear vision of Mirabel's influence on the house and the future of the family.

Isabela is the oldest daughter of Julieta and Agustín and the golden child of the entire Madrigal family. Her gift is to control plant life. This may sound simple, but Isabela manages to use her power in very splashy, visually stunning ways.

Like her mother, we're not talking about a slow-acting gift. Isabela isn't just a really good gardener with a green thumb. She can instantly create botanical life of all shapes and sizes. This has a variety of uses, which we see throughout the film. Some of these are tame, such as decorating for a party. Others are fun, like growing vines to swing on. They can even be life-saving, like conjuring a thick bed of flowers to break a fall.

Isabela may be the golden child on the surface, but toward the end of the film, we discover that she's also living a fake, vainglorious life. Her choices all revolve around what's best for the family, from how she appears in public right down to her choice of a husband. Fortunately, Mirabel helps her release some of that false sense of responsibility to help her older sister truly grow into the incredible potential of her gift.

Luisa Madrigal is the second oldest child of Julieta and Agustín. She's also basically a textbook superhero thanks to her superhuman strength. In the same way that a character like the Hulk can keep taking on more weight without any clear limitation, Luisa's abilities are hard to gauge precisely. One minute she's moving a piano, the next, she's lifting a boulder or a church. In every case, she acts like the weight is nothing, which turns out to be pretty true.

When the magic starts fading early in the movie, Luisa complains that the donkeys she was carrying actually felt heavy. This implies that part of her gift isn't just to be strong but to not even notice the comparative weight difference between various objects.

Regardless of its weight limits or lack thereof, one thing that Luisa's gift doesn't have is an emotional component. The hulking granddaughter of the family is all too willing to take on everyone else's needs, which eventually leads to an emotional and mental crisis for the character. It isn't until Luisa learns to manage her compulsive need to help others that she finally finds what we're all looking for these days: some good ol' work-life balance.

The youngest member of the Julieta and Agustín family unit is Mirabel . Mirabel is also the lone standout in the family that doesn't get a gift. At least, she's the only one of Alma's biological descendants not to get a nifty power. Of course, Abuela Alma doesn't have a day-to-day superpower either — and the comparison between the two is apparent early and often throughout the film.

Much like her matriarchal grandmother, Mirabel is a born leader. She's insightful, resourceful, and infinitely hopeful. She's humble and able to serve those that she cares about. She is also committed to the success and health of her family, which falls right in line with the desires of her Abuela.

Does the shared interest mean that the two characters butt heads from time to time? Sure. However, it doesn't change the fact that Mirabel is a clear leader among the Madrigals. She loves her relatives and is willing to stop at nothing to ensure that their magical story remains a happy one. What's more, her final act of resurrecting Casita with "her own door" shows that, like Alma, there is clearly deep, inherent magic in her, even if it doesn't come in the form of a snazzy gift.

Swinging over to the other side of the grandchild level of the generational family tree, we have the oldest child and only daughter of Pepa and Félix, Dolores. Dolores is a quiet addition to the family, and with good reason, too. She's endowed with incredible hearing. She can hear a pin drop, literally, Mirabel explains. She can also listen to conversations from a mile away, as we see when she reports Isabel's suitor's intentions in real-time even while he's off in the town and she's in the family house.

Dolores' gift means she never feels the need to get loud. Her voice is always subdued, and she speaks in a whisper more often than not. Fortunately, it doesn't appear that her sharpened hearing overwhelms her emotionally or mentally in the same way as Luisa. Nevertheless, she grows up in the shadow of her other cousins, particularly Isabela, who is unhappily engaged to Dolores' childhood crush, Mariano. It isn't until she gets a burst of confidence from her bold little cousin, Mirabel, that she's able to talk to Mariano and help him "see" her.

Dolores tends to remain on the periphery of the story for most of the film. Nevertheless, her hearing prowess impacts the narrative in multiple scenes. She knows Bruno is around still, whispering in the walls. She eavesdrops on Mariano's family planning. Heck, she even listens in shock as she overhears Mirabel and Agustín discussing the possibility of the family's magic fading — which leads to her revealing that information to the entire family not long afterward.

Most of the Madrigal grandkids spend their time helping others and caring for their community and loved ones. Not so with Camilo. Pepa and Félix's second-oldest child and oldest son is a textbook teenager throughout the movie. He acts perpetually bored and loves to use his powers to cause mischief for his own amusement. Don't get us wrong — Camilo seems like a good enough kid. He's just clearly uninterested in just about anything that's going on around him.

This makes his ability to shapeshift into the appearance of anyone else particularly alarming. Throughout the movie, we see Camilo using his power to cause trouble. He appears as his sister Dolores to snag an extra helping of breakfast. He turns into a miniature version of his father to make fun of him. He even pops on the likeness of Isabela's fiancé, Mariano, to make fun of his older cousin as she preps for her unwanted political marriage.

While he loves a good prank, Camilo is clearly devoted to his family, too. He does his part to greet people during Antonio's gift ceremony, helps around the house when he can (or, at least, when he's willing to), and does his part in rebuilding the Casa Madrigal at the end of the film .

Antonio is a fun addition to the Madrigal family. The youngest son of Pepa and Félix doesn't have a power when the movie begins, but only because he's still too young to have gotten one yet. In fact, most of the first act of the movie takes place during his gifting ceremony. This leaves us wondering if Mirabel's lack of a gift was the end of the line for the family's magic or not.

It turns out to be the latter, as Antonio is imbued with the freaking awesome power of communicating with animals as soon as he touches his door. This falls in line with his animal-loving personality, and it's touching to see the young boy's childlike wonder as he spends the next few minutes talking, listening, and playing with his gaggle of new winged and four-legged friends.

While we don't see Antonio much throughout the film, there's no doubt that his animal gift has a profound impact on his personality. The little glimpses of the youngster that we do see show a boy who is quickly maturing into a man — thanks, in part, to the perpetual stream of information that he gets from his new animal friends.

The last member of the household that we absolutely have to include here is the Casa Madrigal itself. Sure, it's not a biological member of the clan, but neither are Félix or Agustín, and they made the cut. Besides, while it isn't explicitly stated, Casa Madrigal, or Casita for short, is clearly a member of the family. One could even say that it is Alma's "gift."

Family member opinions aside, Casita is an important part of the Madrigal family's lifestyle. The sentient house listens in on conversations, communicates with its inhabitants, and is constantly busying itself with the family business. In many ways, the house represents the dynamics of a deeply intertwined family in the first place.

What's more, the house is intimately involved in giving each person their gift. It also plays favorites, is extremely protective, and in many ways, is the heart and soul of the Madrigal family. It may not have two arms and legs, but if you're going to break down the family tree in detail, you have to include the structure that stands at the heart of the entire Madrigal experience.

John Leguizamo says Disney gave the 'Encanto' cast surprise bonuses because it was such a big hit

• John Leguizamo said that "Encanto" was such a huge success that he received a bonus from Disney.
• Leguizamo played Bruno in the film, which tells the story of a Colombian family with magical powers.
• Leguizamo said "Encanto" was remarkable because its story was so specific. 

Disney was apparently so pleased with the performance of its 2021 hit animated film "Encanto" that it gave members of the cast bonuses — at least, according to star John Leguizamo.

Leguizamo reflected on his career for the latest installment in Business Insider's Role Play series, where actors discuss their most iconic film and television roles. For Leguizamo, one of those was Bruno, the reclusive uncle from "Encanto," a Disney animated film about a Colombian family with magical powers.

"It was amazing," Leguizamo told BI. "It was such a big hit that we got bonuses that weren't in our contract — that's how big. Because Disney doesn't give you something that's not in your contracts."

"For them to give us a bonus on top of that after? Whew, you must have been huge," he added.

Disney did not respond to a request for comment sent to its general press line.

"Encanto" was indeed a massive hit . Disney+ said in March 2022 that subscribers who had watched the film streamed it an average of five times, with 180 million global re-watches since its launch. The Nielsen numbers show that it was a streaming hit as well: "Encanto" was the fifth-most watched program on streaming in 2022, falling only behind streaming television hits "Stranger Things," "NCIS," "Cocomelon," and "Ozark."

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That's not to mention the breakout success of "We Don't Talk About Bruno," an ensemble number about Leguizamo's character written by Lin-Manuel Miranda. The song hit No. 1 on the Billboard Hot 100 singles chart in February 2022 and stayed there for five weeks.

But past the numbers, Leguizamo told Business Insider that "Encanto" was so remarkable because of the specificity of its story.

"To be so specific, a Latin movie specifically about a Colombian family, and then to have what it looks like in my family, Afro-Latinos, indigenous Latinos in your family that look like that… It was so satisfying, and I'm sure healing, on so many levels," Leguizamo told BI.

The actor told BI that he had a blast working with the film's crew to shape his character, who reunites with his family at the end of the film after years of secluding himself for their protection. That's not even mentioning getting to sing a Lin-Manuel Miranda score .

"To work with Lin-Manuel Miranda, I mean, that's a dream come true," he said. "What a genius. He's a genius, if I can use the G-word.

"It was just such a talented crew," he continued. "I had so much fun improvising and coming up with this character that we made up together as we went along and made him hyper-sensitive, a Sigma male, a sensitive male figure."

There's been no official word on a sequel just yet, but Leguizamo didn't shut down the possibility of his involvement.

"Except I want it to be, all we do is talk about Bruno," he joked.

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• Trivia In a recent interview with ET, Carell expressed his excitement for his upcoming reunion with his Office co-star. The actor admitted that he has yet to start filming Imaginary Friends, but is full of anticipation for the opportunity to work with Krasinski again saying, "Well, I haven't started working on the film with him yet, but I can't wait. I'm anticipating just joy and fun. I mean, he's the best, and he's a great director. I'll put him through his paces, you know? I'll make him work for it. I might be one of those persnickety actors that doesn't always agree, or won't come out of my trailer. You think you hired somebody that is a friend, but you got that wrong!"

Cal : What if I told you imaginary friends are real? And when they're kids grow up, they're forgotten.

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The Best Mother’s Day Movies to Watch on Disney+, Ranked

Between the lessons and love found in Disney movies, hunker down with the family with Mother's Day to watch the best movies on Disney+.

• Disney movies help families learn and grow together by portraying helpful, sympathetic parents and teaching valuable lessons through charming characters.
• Inside Out reminds us it's okay to be sad and shares the importance of processing emotions during life events, resonating with parents and children.
• Turning Red explores the journey of women taking charge of their family's safety and portrays a mother-daughter relationship amidst puberty and traditions.

Though many parents originally subscribed to Disney+ with the intention of their children having control of the remote, there are dozens of movies that are meant for the whole family . Some movies are full of nostalgia, several musicals will have fans singing along at the top of their lungs, and then there are new original movies that help teach lessons in a fun and fresh way.

Since the days of 2D movies, Disney has come a long way with how it incorporates parents. Rather than the standard wicked step-mother or the absent parents, the writers, artists, and producers within Walt Disney Studios have created many films that portray helpful and sympathetic parents, or flawed ones that learn valuable lessons about themselves. Children around the world are learning how to better cope with their emotions and daily problems through the conflicts and resolutions that charming characters undergo in many Disney films. While you are gathered with your family this Mother's Day, check out the best movies to watch on Disney+ after a well-deserved meal and day of fun.

8 Inside Out

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Growing up is never easy, and emotions are often hard to control when you don't know exactly how to express yourself. Inside Out personifies the emotions of a young girl, Riley, when she is forced to uproot her life and move across the country with her parents. Instead of following a traditional storyline that focuses on Riley making friends and learning to cope with the change, Inside Out focuses on what is happening inside of Riley's mind and how she is processing the world around her.

It's Okay to Be Sad

This film has fans questioning themselves about how they allow their emotions to take over in certain situations, as well as how events cause us to feel different things. For Riley, with the help of her loving parents, she learns a lot about herself and how to process her emotions during life events. Inside Out ultimately reminds us that it's okay to be sad, and that if you are, maybe it's something you can share with your mother. A sequel to the movie is on its way.

7 The Incredibles 2

Incredibles 2.

Superhero movies are not new by any means, but when the film focuses on a single family of superheroes that deals with standard sibling quarrels as well as trying to keep their city safe, an interesting storyline emerges. In The Incredibles , each family member has a superpower that matches how they feel within the family. Then the baby, Jack-Jack, like most babies, is unpredictable as ever. It shows us that every family member has their own type of superpower that the others don't have, and each one is strengthened by the other.

What We Take for Granted About Moms

The Incredibles 2 , however, is a wonderful movie about the ways we take mothers for granted. When the matriarch of the family, Helen (played by Holly Hunter), begins taking on jobs of her own to help the family and the public trust of superheroes, Mr. Incredible (Craig T. Nelson) is forced to be a stay-at-home dad. As a result, he learns just how much his wife does for the family without him or the kids ever realizing.

Related: Best Non-Marvel or DC Superhero Movies, Ranked

This animated musical takes family obligations and acceptance to a whole new level. In Encanto , a quirky family made up of members with different abilities lives in a magical realm. There is one young woman, Mirabel, who does not happen to have any magical gifts, though she is a descendant of the matriarch, Alma Madrigal. For this, she is often made to feel like an outcast. Mirabel, however, is the only one to see her family's house literally cracking under the pressure of her grandmother's expectations.

What We Inherit from Our Mothers and Grandmothers

Through a unique journey and hard conversations, Mirabel and her family are able to restore not only their home, but also their love for one another . Encanto is a toe-tapping, beautifully animated, and surprisingly deep meditation on generational trauma and the ways our parents and grandparents have shaped the present.

5 The Little Mermaid II: Return to the Sea

The little mermaid 2: return to the sea (2000).

Ariel's daughter, Melody, lives on land but is fascinated by the sea despite her mother’s efforts to shield her from her origins. On her 12th birthday, Melody defies her mother and ventures into the ocean, where she encounters Morgana, sister to Ursula, and strikes a deal with her to see the surface. However, when the deal goes sour, Ariel must return to the ocean to save her daughter and her former kingdom from ruin.

It is seldom for a Disney princess to become a mom, but it is even rarer for the princess' child to grow up and find their own way into shenanigans. In The Little Mermaid II: Return to the Sea , Ariel's teenage daughter, Melody, has been kept away from the ocean due to Ursula's vengeful sister threatening to harm the child. Like most teenagers, her mother included, Melody is rebellious when told she cannot do something. Ariel forbids Melody from going into the ocean, so, naturally, she steals a boat and seeks out answers.

A Surprising Sequel Where the Little Mermaid Becomes the Mother

This movie complements its predecessor, The Little Mermaid , by showing how Ariel, now in the parental role, handles the troubles of rebellion with her own teenage daughter. Taken together, the two movies make a great study in maturity, showing how Ariel has grown up to raise a daughter who has the same adventurous impulses as her when she was a child, and how Ariel draws on how she was parented to try and help Melody.

4 The Parent Trap

The parent trap.

Lindsay Lohan stars as her own twin in the cheeky romantic comedy, The Parent Trap . Twin girls, Hallie and Annie, were separated at birth; one grew up living with her father on a vineyard in California, and the other lives in London with her fashion designer mother. When the two meet at summer camp, they plot to switch places and get to know the other parent. Knowing the adults will eventually figure out what happened, they will have to meet up.

Learning About Your Parents

The girls desperately hope sparks will fly and the romance between the two will be rekindled. However, plans like these are usually spoiled by a wicked woman, and in this movie, she wears Chanel. Innocence, romantic ploys, and some great supporting characters will have you doubled over laughing with this movie. While the movie is more about parenting in general, Emma Thompson is wonderful as the girls' mother.

3 Freaky Friday

Freaky friday.

Raising teenagers is a job by itself, but when Tess Coleman wakes up one morning to find that she and her rebellious teenage daughter have switched bodies, a real nightmare ensues. The two do their best to keep their switch a secret as they go about the other's daily life. For the mom and soon-to-be bride, that means reliving high school and dealing with bullies as well as boy. As for her daughter, Anna, she decides to give her mother's body a makeover and speak her mind on certain topics. For the two to switch back, they have to selflessly see the struggles the other deals with from a new perspective.

What It's Like to Be a Mom

Freaky Friday will have anyone laughing and cringing while remembering what it is like to be an angsty teenager going through the motions of high school or a set-in-their-ways parent who will simply not budge. Really, the whole body swap idea is a lesson in empathy, showing the characters what it's like to literally be in the other person's shoes. Maybe every mother and child needs a freaky Friday.

2 Turning Red

Turning red.

In this new Disney and Pixar collaboration, a 13-year-old girl named Meilin turns into a giant red panda whenever she gets too excited.

Though the film received some backlash for hidden messages, Turning Red is about women taking control and being in charge of their family's safety, and this is done in the cutest way possible. Mei Lee discovers that when her emotions are heightened, she turns into a giant red panda. When her emotions settle, she returns to her normal human form. At first, Mei tries to hide this from everyone, but her mother discovers her secret and explains that her transformation is a gift passed down to the women in the family. Mei then tries to be a normal girl, but with an overprotective mother and friends that know her secret, things get difficult.

A Girl Learns About Womanhood from Her Mother

Turning Red is an allegory for puberty and menstruation, a difficult but important time for mothers and daughters. This film not only shows how relationships can improve through communication and change in perspective, but it beautifully blends the traditions within Chinese culture and modern-day family roles.

Related: Turning Red Was About Periods and Puberty, and it Was Glorious

Merida is a princess with a fiery attitude to match her unruly red hair in the awesome Disney movie, Brave . Merida and her mother, Queen Elinor, do not see eye-to-eye on how a princess should behave. Instead of wanting to wear the pretty dresses, keep her composure, and marry a suitable prince, Merida wants to be her own woman and do things on her own terms.

A Mother and Daughter Adventure

As most fairytales go, a simple naive wish turns into a curse, and the queen gets turned into a bear. Merida finds that instead of constantly fighting with her mother, she is put in a position to defend her from the rest of the bear-hunting town. Through their adventures together, they learn a lot about one another. This Disney animated movie will remind you that it is important to look at things from different perspectives to find solutions and acceptance, a frequent them of parent-child movies, and this one is an absolute blast.

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‘The Blue Angels,’ filmed for IMAX, puts viewers in the ‘box’ with the elite flying squad

This image released by Amazon Prime shows a scene from the documentary “The Blue Angels.” (Amazon Prime via AP)

This image released by Amazon Prime shows a scene from the documentary “The Blue Angels.” (Rob Stone/Amazon Prime via AP)

This image released by Amazon Prime shows promotional art for the documentary “The Blue Angels.” (Amazon Prime via AP)

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If you’re looking for a little bit of that “ Top Gun: Maverick ” spectacle and thrill at the movie theater this summer , you’re in luck. A groundbreaking new documentary, “ The Blue Angels ,” is flying onto IMAX screens for one week, through May 22.

Using IMAX-certified cameras mounted on a helicopter, the filmmakers were granted unprecedented access to the U.S. Navy’s Flight Demonstration Squadron, both on the ground and in “the box,” the tightly guarded performance airspace. Unlike in a Hollywood movie, there were no staged recreations, second takes or computer-generated shots. And they had about “5% of the budget” “Top Gun” had, those involved estimated.

The film was the brainchild of Rob Stone and Greg “Boss” Woolridge, a former Blue Angel and subject of a 1994 film about one of their historic tours in Europe. COVID-19 derailed plans to follow their 75th anniversary season, but a silver lining would emerge in the delay. By that point, aerial coordinator Kevin LaRosa II had worked several times with actor Glen Powell, on “Top Gun” and “Devotion.” Powell, he’d learned, had grown up with a Blue Angels lithograph in his childhood bedroom.

“(Powell) said, ‘I’ll hook you up with the Creative Artist Agency in Hollywood and we’ll get this done,’” Woolridge said in a recent interview.

Soon, they were also talking to J.J. Abrams’ company Bad Robot and figuring out ways to collaborate with IMAX and show audiences things that no civilian has seen before, under the direction of filmmaker Paul Crowder.

Abrams, who also produced, had grown up living across the street from a former Blue Angel pilot and wrote in an email that he’d “always been intrigued by their skill, bravery and heroism.” This film would take that fascination to the next level.

“The footage was filmed especially for IMAX,” Abrams continued. “Watching these pilots do their thing in this format — the jets literally inches apart — is utterly bonkers. Truly spectacular to see.”

One of the craziest ideas was to put a helicopter with a camera mounted on it in the middle of a demonstration, in airspace where no civilian aircraft has ever been allowed. It would be during a practice demonstration, but Wooldridge is quick to remind that there is no real difference between a practice and the real show when it comes to execution, the level of excellence expected and the danger involved.

“When Kevin said, ‘let’s do this’ my eyes got as big as saucers,” Wooldridge said. “I led the (Blue Angels) on three occasions and I said, ‘I’m not sure I would allow this to happen.”

LaRosa had exhaustively studied how it might happen safely and ensured everyone was properly debriefed. Still, on the day, everyone was prepared to hear “no maneuver” over and over as everyone got used to the distraction of a helicopter in their airspace. Much to their surprise, the “boss” never called “no maneuver.” It all went according to plan.

“We researched every possible way to film that information, and everybody’s done it different ways from the ground. But to get into the air with a wing-mounted camera and all the cameras in the cockpit?” Woodridge said. “It was unbelievable.”

LaRosa had done such a good job flying the helicopter that they were able to inch even closer to the jets by the end of the shoot. Crowder also used a Phantom camera, which can shoot 1,000 frames per second (the standard is 24 fps), to get spectacular shots of the vapors coming off the jets.

Beyond the spectacle, the film looks at the people in the jets as well, including the first woman to fly with the squadron as a pilot, Lt. Amanda Lee, of Mounds View, Minnesota.

“You can read all you want, but until you’ve spent time in Pensacola at the air base and really spend time with these guys, watching them do what they do and dedicated everything that they are to it, you don’t really get it,” Crowder said. “What we were hoping to do in the film was to portray a lot of that.”

After its one-week IMAX run, “The Blue Angels” will be available to stream on Prime Video starting May 23. Crowder recommends ignoring “mom’s advice” and sitting as close to the screen as possible for the best viewing experience.

Woodridge, who led the Blue Angels three times, said the experience of watching this film is better than being up there.

“I’ve seen it from the cockpit, my cockpit, a bunch. I’ve seen it from the ground as we debrief,” he said. But I’ve never seen it the way you see it in this movie. The perspective was so much better than I ever saw as a pilot. I’m wowed and awed by it.”

MOVIES: Ryan Reynolds teams up with Cailey Fleming and John Krasinski in a not quite irresistable family film

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If you've got any time left over and watching hockey hasn't taken it all, there's much that's good and new in the movie theaters this week. You'll see quite a few high marks in the reviews below. And a very pleasing variety among these films.

IF : Here's a tribute to the power of imagination, a celebration of it in childhood and a call to stop it from slipping away as you grow up. Family films often claim to be doing that but rarely manage it. John Krasinski has done it in writing and directing this one and attracting a big crowd of his friends to do voice work. A-list actors, too many to mention, are listed in the end credits. They're heard beside nice guy Ryan Reynolds, Steve Carell, Fiona Shaw, Phoebe Waller-Bridge and Krasinski himself who top-line the cast while with an endearing young one, Cailey Fleming almost steals the show.

She's Bea who has the ability to see the imaginary friends, IF's, of other children around her. She finds that Reynolds has the same talent and joins him to boost it among people in general. There's a Matchmaking Agency to re-unite them with the imaginary friends they once had, using memories to revive them.

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A big purple fuzzy thing voiced by Steve Carell joins the effort and a whole batch of funny-looking creatures show up. Humans revive the dreams they had abandoned, Bea's grandmother's discarded wish to dance ballet, for instance. There's also a very lively party scene to Tina Turner's Better Be Good To Me. Off-topic but great fun. On topic is the support for imagination and curiosity. And not letting problems divert you from them, like when Krasinski as Bea's dad is in hospital for surgery. The message is good but clumsily told at times. And some of the talk about life itself may be above the younger ones but most children will like the general good mood of this film. (In theaters) 3 out of 5

JULY RHAPSODY : A long-neglected film from Hong Kong has been restored and sent out again and that's very welcome. First because it's a subtle and moving drama directed in 2001by Ann Hui, who is much acclaimed in HK. The film, whose Chinese title is Man Forty, won many Asian cinema awards for its depiction of a mid-life crisis felt by a professor and his wife. It's the last appearance by Anita Mui, a beloved star who died soon after, and, of special interest for us, the first appearance by Karena Kar-Yan Lam. She was born in Vancouver and is now a very busy actor in Hong Kong movies.

Jacky Cheung plays the man, a professor of Chinese literature who tries to interest his students in poetic writings about the “eternity of the Yangtze River” but comes across as something of a bore to them. Not to one student though, played by Karena. She flirts, gets extremely close and seductive. The temptation is there for him especially since his wife (Anita Mui) says she is going away for a time to care for an old teacher of theirs who has cancer. Oddly he's angry that she's going and the script deftly but slowly reveals a complex history that may be a factor in their faulty marriage. Cheung plays stoic but volatile and Lam innocent but forward. “You should respect my freedom,” she insists. The complexities here will stay with you for some time. (In theaters) 3 ½ out of 5

BACK TO BLACK : Some are billing this as a loving tribute to Amy Winehouse the fiery singer who recorded the legendary album of the same name and the song that is probably most familiar to us, Rehab which insists “No No No” to a get-off-drugs recommendation. Loving it is, but also a bit bland because of it. The harshest parts of her life, which ended with alcohol poisoning at age 27, are smoothed out or omitted. (At least, compared to the Oscar Winning documentary, Amy , which did lay out much more about them).

As an intro to her life story it works well enough if you're fresh to it. We get self-assertion, wanting as early as childhood to be a singer, grousing when her first album wouldn't get a US release because other women singers were ahead of her, favoring older musical styles (she recorded a duet with a hero of hers, Tony Bennett, near the end of her life) and refusing to be shaped by the record company executives she worked with. That belief in herself comes across in her music and in this film. Marisa Abela gets it perfectly in her acting and in the singing she actually did live. But her emotional problems, her bulimia and other issues are downplayed. Drugs, that her boyfriend turned her on to aren't quite the scourge we've heard. In fact there's more than a suggestion that her biggest issue was that she wanted a baby and a normal life as a mother. Really? Lesley Manville plays her grandmother, Eddie Marsan her dad amd Sam Taylor-Johnson directed. (In theaters) 2 ½ out of 5

WILFRED BUCK : Here's the latest, and maybe the most unique, entry in the trend I've been following: films by and about Indigenous people in Canada. Wildred Buck is a Cree from Manitoba who has picked up on an enterprise he says Indigeous people have engaged in forever: astronomy. They travelled using the stars for direction and also noted the constellations. He lectures about that and ties in a lot of history about his people and about himself. And he clearly enjoys doing it, even through the grim aspects.

His mother left for Winnipeg and died in the street. He was one of the "pill-popping, disaffected, dirty youth" who used to raise hell. He was picked up in the 1960s scoop and sent to a foster home. Worse than that, colonization almost destroyed his entire culture. Our "stories went to sleep on us," he says. He's part of a revival, with his talks on astronomy, alongside the pow-wows and the spreading sundance ceremonies. "We can regain that knowledge," he says. The film written and directed by Lisa Jackson uses re-enactments to tell of his life. Raymond Chartrand is a young him, Brandon Alexis the adult (and also the narrator with readings from his book "I Led Four Lives."). Points well-made. (In theaters) 3 ½ out of 5

SWEETLAND : Here's a uniquely Canadian story that should be better known across the country. In Newfoundland it's history that still has repercussions today. In the 1950s the provincial government there moved to resettle people from the remote and hard-to-service ourport communities to bigger centers. People were offered $100,000 to agree to the move and there was one stipulation: everybody in a community had to “sign on” or no deal. The film written and directed by Christian Sparkes shows what that can lead to, and probably did happen. Holdouts were shunned, pressured or worse by their neighbors. The story from a novel by Michael Crummey conveys a vibrant community feeling, which turns vengeful.

Moses Sweetland, played by Mark Lewis Jones, refuses to move. “Who's got it better than this?” he asks at two separate times. He was a fisherman, until a moratorium was brought in to save the cod stocks. He was a lighthouse keeper until automation replaced him. He doesn't want another painful change forced on him. There's also a great deal of his own history, the death of a friend, his mentoring of a grandson about fishing and boating and that boy as a symbol. Since he is what his mother terms “on the spectrum,” she wants the deal and the money so that she can take him to a specialist in the city. The pressures build up and in the latter half of the film a dreamy surreal aura takes over the debate. Mary Walsh has a small but important role. (In theaters) 3 ½ out of 5

THEY SHOT THE PIANO PLAYER : Not often do you get such a big spoiler right in the title. Still though, there's much mystery left that'll keep you interested, but also music and colorful animation that you can enjoy. It's a true story from 1976 but I don't know if it played out like this. The piano player was Francisco Tenório Júnior in Brazil whose samba and jazz recordings delighted a New York music journalist Jeff Harris, voiced in this animated film by Jeff Goldblum. Then Junior disappeared and Jeff who couldn't find out why went down there to investigate.

He interviews friends , relatives and others for a possible book. Everybody has memories but no answers. There were rumors that a new far-right government took him. That he fled to Argentina where the fascist government there got him. Or more simply: maybe mobsters got him. The only hard fact we have: he was in Buenos Aires for a show, went out one night to get a sandwich and was never seen again. Jeff does get a lead, then a source with real information. And a location: a notorious Navy School of Mechanics. Directed by Spaniards Javier Mariscal and Fernando TruebaI, it's good story to follow, as an investigation and for its thoughts on Brazilian music and totalitarian governments. (In theaters) 3 out of 5

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'If' movie review: Ryan Reynolds' imaginary friend fantasy might go over your kids' heads

Even with likable youngsters, a vast array of cartoonish characters, various pratfalls and shenanigans, and Ryan Reynolds in non- Deadpool mode, the family comedy “IF” isn’t really a "kids movie" – at least not in a conventional sense.

There’s a refreshing whiff of whimsy and playful originality to writer/director John Krasinski’s big-hearted fantasy (★★½ out of four; rated PG; in theaters Friday), which centers on a young girl who discovers a secret world of imaginary friends (aka IFs). What it can’t find is the common thread of universal appeal. Yeah, children are geared to like any movie with a cheery unicorn, superhero dog, flaming marshmallow with melting eye and assorted furry monsters. But “IF” features heady themes of parental loss and reconnecting with one’s youth, plus boasts a showstopping dance set to Tina Turner, and that all leans fairly adult. Mash those together and the result is akin to a live-action Pixar movie without the nuanced execution.

Twelve-year-old Bea (Cailey Fleming) doesn’t really think of herself as a kid anymore. Her mom died of a terminal illness and now her dad (Krasinski) is going into the hospital for surgery to fix his “broken heart,” so she’s staying with her grandma (Fiona Shaw) in New York City.

When poking around her new environment, Bea learns she has the ability to see imaginary friends. And she’s not the only one: Bea meets charmingly crusty upstairs neighbor Cal (Reynolds) as well as his IF pals, like spritely Blossom (voiced by Phoebe Waller-Bridge) and overly sensitive purple furry monster named Blue (Steve Carell). They run a sort of matchmaking agency to connect forgotten IFs whose kids have outgrown them with new children in need of their companionship, and Bea volunteers to help out.

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Bea is introduced to an IF retirement community located under a Coney Island carousel with a bevy of oddball personalities in the very kid-friendly middle section of the movie. “IF” low-key has the most starry supporting cast of any movie this summer because of all the A-listers voicing imaginary friends, an impressive list that includes Emily Blunt and Sam Rockwell as the aforementioned unicorn and superdog, Matt Damon as a helpful sunflower, George Clooney as a spaceman, Amy Schumer as a gummy bear and Bradley Cooper as an ice cube in a glass. (It's no talking raccoon, but it works.)

One of the movie's most poignant roles is a wise bear played by Louis Gossett Jr. in one of his final roles. Rather than just being a cameo, he’s nicely central to a key emotional scene.

While the best family flicks win over kids of all ages, “IF” is a film for grown-ups in PG dressing. The movie is amusing but safe in its humor, the overt earnestness overshadows some great bits of subversive silliness, and the thoughtful larger narrative, which reveals itself by the end to be much more than a story about a girl befriending a bunch of make-believe misfits, will go over some little ones’ heads. Tweens and teens, though, will likely engage with or feel seen by Bea’s character arc, struggling to move into a new phase of life while being tied to her younger years – not to mention worrying about her dad, who tries to make light of his medical situation for Bea.

Reynolds does his part enchanting all ages in this tale of two movies: He’s always got that irascible “fun uncle” vibe for kids, and he strikes a fun chemistry opposite Fleming that belies the serious stuff “IF” digs into frequently. But unless your child is into old movies, they probably won’t get why “Harvey” is playing in the background in a scene. And when “IF” reaches its cathartic finale, some kiddos might be wondering why their parents are sniffling and tearing up – if they're still paying attention and not off playing with their own imaginary friend by then.