encanto catholic movie review

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Movie Review: ‘Encanto’

by Alyssa Aldape | Jan 12, 2022 | Opinion

(Credit: Disney / 'Encanto' Publicity Still Photo / https://tinyurl.com/43rbfjnp)

By now you have heard of or seen Disney’s newest movie “Encanto.” Or, at the very least, you have seen a lot of content unpacking the movie.

One example I’ve seen on my very niche, progressive Christian timeline is an enneagram breakdown of each character, which I strongly urge you to stop doing.

Why? First, I thought the cardinal rule of the enneagram – aside from talking about it incessantly – was never numbering people before they can number themselves.

Second, it feels oddly racist. I’m not sure how, but I’ll find a way it is tied to white supremacy.

I was excited for this movie to come out, as it was the second of two movies representing Latine culture. The first being “Coco.” Four years later, “Encanto” followed.

“Encanto” tells the story of a magical family that lives in a secluded village deep in the forests of Colombia. Each member is given a magical gift at their coming of age.

[**SPOILER ALERT**]

But this is not the case for the main character Mirabel of the family Madrigal. We find out at the end of the first musical number that Mirabel is left out and has no gift.

The movie follows the Madrigals on the day the next family member Antonio is to receive his gift. Abuela, the matriarch of the family, makes it quite clear to Mirabel that, due to her lack of magic, she is a threat to what the family has.

In one particular scene, Mirabel is left out of a family picture and the scene is heartbreaking. For any person who has felt like the outsider in space that is meant to be safe and caring, the grief was palpable.

Chaos ensues as they learn what it means to be “ordinary” as their magic fades. With the help of Mirabel and her estranged uncle Bruno, the family finds a way to restore the light of their magic.

The movie has so many themes that touch on how we operate in our communities and families.

From a sister who must be the strong one and hold it all in her hands to another sister who must be perfect at all times to the ostracized uncle they never speak of, there’s a musical number for every one.

I cried while Louisa sang about the pressure of being the strong one. For all my firstborn comrades of first generation families, that one was for us.

Mirabel’s gift, it turns out, is the gift of truth and tending. She finds a way to guide her family into their truth while also helping them explore ideas they would not have otherwise.

But as much as I loved the movie and have toyed with the idea of creating a “So You’ve Seen ‘Encanto’ and You Think You Might Need a Hug and Some Therapy” reading list, there was something that felt “off” about the movie.

So, I started group chat with friends and, of course, these wise mujeres were able to name what was missing.

One friend Jennifer wrote, “The creators went with the pan ethnic narrative story line and failed to capture actual Colombians. If you’re gonna have an enchanted something , let it be an actual place in Colombia — not a non-distinct secluded place.”

It was as if the creators and directors thought we would all be happy that Lin Manuel Miranda did the music and called it a day.

And while I recognize that no work of media will ever get representation right, the glaring blanket assumptions of “Latinidad ” was evident.

As I have written before, I love when mi gente are represented in mainstream media. Our music, our inside jokes, our many manifestations of a tamal-damelo .

Disney movies are no different. When “Coco” was released in 2017, it was one of the first times characters who spoke like me and my family were main characters, not just comedic relief.

But was there a need for the afterlife to be policed like the borders? As if it was some joke we all love that Mexicans measure cultural representation by how we are perceived by American policy?

In “Encanto,” Colombian friends felt like the culture was swapped out for a general representation of Latine culture. It seems that when it comes to representation, the details are oddly specific or far too broad.

Naturally, the themes of “Encanto” and my pushback on the production made me wonder about representation in the church.

How often have we heard churches yearn to be welcoming and diverse places for all people? And how often has the church missed the mark by either tokenizing one leader or only highlighting the diversity on Pentecost Sunday during the Acts 2 reading while casting misfits out because they don’t quite fit in?

Disney and downtown churches can learn a lot about what it means to think critically and with the intention of creating a diverse representation of the world.

If the church of Jesus Christ is the casita, then the cracks have started to show in the foundation. Will we continue to miss the mark? Or will we see the magic in each person while truly learning what that means?

In the end, I will continue to watch both “Coco” and “Encanto” and cry my eyes out, appreciating what they are while remaining hopeful for what can be. The stories in each are beautiful, and I need to make sure I have every detail of Mirabel’s outfit memorized for Halloween.

I can hold both the joy of Black and brown children screaming with joy when they see a character that looks like them on the screen, while also hoping and pushing for the gift of honest representation of my people.

MPAA Rating: PG for some thematic elements and mild peril.

Directors: Jared Bush, Byron Howard and Charise Castro Smith.

Writers: Screenplay by Charise Castro Smith and Jared Bush; story by Byron Howard.

Cast: Stephanie Beatriz: Mirabel; María Cecilia Botero: Abuela Alma; John Leguizamo: Bruno; Mauro Castillo: Félix; Jessica Darrow: Luisa; Angie Cepeda: Julieta; Carolina Gaitan: Pepa; Diane Guerrero: Isabela.

The movie’s website is here .

Contributing correspondent for Good Faith Media.

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Fantasy miraculous or magical powers

Superpowers

Importance of family relationships and friendships

Living in the mountains of Columbia

Jungle animals

S omewhere in the mountains of Colombia, a group of families are looking for a new home. After losing her husband to marauders, Alma Madrigal says a prayer for safety to a candle. Unknown to her, the candle all of a sudden comes to life with a miracle. From that candle, a house appears, along with a thriving village for the rest of the group.

As the years passed, each Madrigal family member is given a magical gift from the candle. That is, all except Mirabel (voice of Stephanie Beatriz ). Why not her? That’s a mystery. And, things continue to get more mysterious when Mirabel notices her family’s casita starting to crack and break. In addition, several family members are losing their gifts. It’s up to Mirabel to solve this mystery and help protect her family.

Entertainment Quality

“Encanto” is a high-quality film. The animation is lush and breathtaking. Full of picturesque choices and authentic backgrounds, Disney Animation continues to push the envelope when it comes to creative choices. There’s also more detail in the costumes, as well as some fantastic choreography to the musical numbers.

Speaking of being a musical, Lin-Manuel Miranda has delivered another superb soundtrack here. The stand-outs are Mirabel’s “I Want” song, “Waiting on a Miracle,” and the terrific ensemble piece, “We Don’t Talk About Bruno.” Older sister Luisa’s number, “Surface Pressure,” is a catchy number as well. Two of the songs, “Dos Oruguitas” and “Colombia, Mi Encanto,” are in Spanish and add to the film’s authenticity. The only song that didn’t seem to click for me was “What Else Can I Do?”, which isn’t a great match for the film tonally. Even so, it serves as strong character development for the middle child.

It is also nice to see the film stick to Central American-based talent in the voice cast. Beatriz and John Leguizamo are the exceptions, but they are terrific in their lead roles. Jessica Darrow nails the toughness of Luisa, while Carolina Gaitan nails the changing moods of her character, and Ravi Cabot-Conyers is adorable as Antonio.

Meanwhile, the story does a wonderful job balancing its characters, giving them each a distinct personality, while keeping the focus on Mirabel. There are a few twists in the script that work really well, and the ending succeeds in being emotionally-compelling.

On the downside, some of the dialog does zip by at such a quick rate that it may inhibit overall understanding (I had a similar issue with “In the Heights”). This is true in a couple of the songs as well.

Positive Messages

“Encanto” stresses the importance of familial love , and the importance of honesty and transparency. Mirabel kindly shows love to each and every family member, even when they may not include her in several events. She gives Luisa a big hug after hearing her open up. She helps Antonio during a scary moment for both of them.

Now. Of course, Mirabel has moments where she might cross the line, but everything she does is purely out of love for her family.

Meanwhile, the rest of the Madrigals certainly mean well, but they learn a thing or two about appreciating each and every one’s gifts and talents. And they also learn that it’s not just someone’s gift that defines them, and that it’s important to use your gift wisely . And, like almost any family, there’s some tension here and there.

There’s a verse in Proverbs about how the family unit is to be respected and valued.

“The one who troubles his family will inherit nothing, and the fool will be a servant to the wise person .” — Proverbs 11:29

Another strong message in the movie comes in the form of community and helping others. When the Madrigals are shown to be at their most vulnerable, their community steps up to help in a tremendous way. This reflects Galatians 6:2, which encourages us to bear each other’s burdens.

Negative Content

SPIRITUAL: The film’s main note of caution involves the family’s magical abilities. One person is able to look into the future (using leaves and sand) and tell people their future, another controls the weather, and another can heal others’ injuries. The Madrigal’s house appears to be alive and communicates with Mirabel. However, all of the family’s powers stem from a candle that appears to be miraculous or magical. The family seems to believe they have been divinely blessed and that they should use their miraculous gifts to bless others.

The characters seem to be rooted in Roman Catholicism. They pray in front of the candle, a priest character appears a few times, two characters are married in a church, and crosses appear in a few scenes.

LANGUAGE: The worst we hear is an “oh my gosh” and “jeez.”

ADULT CONTENT: The only thing of note here is a brief comment about someone expected to be a Mom to five children (her face looks shocked), and there are a few kisses between married couples.

DRUGS/ALCOHOL: Glasses of wine are seen at dinner.

VIOLENCE: There are some scenes of peril. People are blown away in a windy rainstorm. Mirabel leaps across a gorge and nearly falls during a sudden earthquake . She’s nearly trapped by raging sand as well. There are some close calls, and a semi-scary image of a three-headed Cerberus during a musical number. A house collapses. In a flashback, someone is suggested to have been murdered by sword-wielding marauders. Someone is bonked in the nose repeatedly. Someone has a swollen hand and nose in response to bee stings. A black eye and broken arm are briefly seen (but healed).

Elsewhere, Mirabel is disrespectful to her grandmother at one point. Some family members argue in a few places. One member of the family is able to shape-shift into different people of opposite genders.

“Encanto” (which translates into English as “charmed,” “spell,” “joy” or “delight” ) is a different film for the Mouse House. Instead of a fairy tale or a story that is all about female empowerment, this one is all about the bonds of family (and an imperfect, magical one at that). It’s an infectious, entertaining, well-crafted, and moving film that hit all the right notes emotionally for me. The music is fantastic, the animation is beautiful, the characters are fun, and there’s a strong, heartfelt story at the center. For me, this is definitely one of Disney’s best from the past decade.

There are a few intense moments here and there for little ones, and the Madrigals’ miraculous or magical abilities might be a red flag for some families (particularly Bruno’s attempt to contact the other side and his ability to see and predict the future). The Bible is clear that attempts at divination are wrong and forbidden by God.

What is divination ?

What is a necromancer and what does the Bible say about them?

What is a “ familiar spirit ”?

The Occult —What does the Bible say about it?

That being said, the film’s magical elements seem fantasy-based and do not appear to originate from witchcraft, demonic or occultic influence. Rather the message is that despite ups and downs, belonging to a caring, loving family is the real magic.

Ultimately, with strong positive messages on familial love, honesty, and community, and relatively few content concerns, “Encanto” is a film I enjoyed overall.

• Scariness: Moderate
• Violence: Mild
• Occult: Minor
• Drugs/Alcohol: Minor
• Profane language: Minor
• Vulgar/Crude language: None
• Nudity: None

See list of Relevant Issues—questions-and-answers .

• Young people
• Non-viewer comments

PLEASE share your observations and insights to be posted here.

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Disney's 'Encanto' teaches us to see God in ourselves and others

A scene from the movie "Encanto" (CNS/Disney)

by Facundo Gonzalez Icardi

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Join the Conversation

Disney's new animated movie, "Encanto," provides deep insight into the spiritual nature of human beings and our yearning to encounter God.

NCR goes to the movies

On March 25, NCR Opinion & Culture Editor Olga Segura moderated a conversation about the 2022 Oscars with Jose Solís and Sr. Rose Pacatte. This year's awards ceremony, honoring movies released in 2021, is Sunday, March 27. Here are the nominated movies NCR has reviewed. " Being the Ricardos " " The Hand of God " " CODA " " The Eyes of Tammy Faye " " Attica " " Don't Look Up " " Dune " " Encanto " " No Time To Die " " Nightmare Alley "

Set in Colombia, the movie revolves around la familia Madrigal , a family blessed with an encanto , a magical enchantment that gives all the members of the family a gift. These include superhuman strength, the ability to communicate with animals, controlling the weather or shapeshifting. All members of the family receive their gift at age 6 and use it to help their village; all of them, that is, except Mirabel.

The movie, with music composed by the genius of Lin-Manuel Miranda, tackles intergenerational trauma and the pressure to uphold family expectations among complicated family dynamics and relationships. Being the only member of her family without a gift, Mirabel feels constantly neglected and rejected by her family, especially the family matriarch Abuela Alma, whose general attitude of disapproval toward Mirabel sets the foundation for Mirabel's feeling of not belonging.

All these feelings are captured in the song, "Waiting on a Miracle," in which Mirabel describes her yearning to belong, to be like the rest of her family. In a quasi-spiritual manner, she prays that she can be blessed with a miracle.

As I was rewatching the movie, a good friend pointed out a particular line in the song, where Mirabel sings: "I am ready, come on, I'm ready / I've been patient, and steadfast, and steady / bless me now as you blessed us all those years ago." Mirabel is longing, yearning for a gift, something out of the ordinary and grandiose to prove that she belongs, that she is worthy of her family's love.

She begs and pleads for something to happen. How often do we pray, and plead, and beg for God to perform something extraordinary in our life? How often are we waiting on a miracle?

Someone once told me that miracles are nothing but God's ordinary truth seen with surprised eyes. That which is surprising to us is recognizing God by who God is: an omnipotent being, capable of moving mountains and turning water into wine.

Yet too often these are the only actions that we think of as miraculous. How frequently, though, do we think of the mundane as miraculous as well? St. Ignatius reminds us that we can find God in all things since all creation reveals God's majesty and grandeur. God's presence is all around us, and recognizing that presence is recognizing a miracle.

Toward the end of the movie, Mirabel realizes that the true miracle is not the extraordinary gifts that her family has, but rather the ordinary ways in which they can show each other how they love, care for and support one another. She realizes, as do we, that the miracle that she is yearning for has been around her this whole time.

The real miracle is not strength, the ability to communicate with animals or shapeshifting. The miracle, as the last song reveals, is all of them, coming together, loving each other and embracing their true selves, without reservations, and unconditionally.

In one of the most moving scenes in the film, Mirabel and Abuela Alma talk by the river where the family's magic was born. The younger Madrigal acknowledges and centers Alma's pain and suffering at raising her three kids after losing her husband and home. Together, both women listen to one another and help each other heal.

Each family member, in one way or another, learns that the miracle — the magic — was in who God created them to be. They embrace and love every aspect of themselves, recognizing the fearful and wonderful miracle that we each possess as human beings.

"Encanto" is a story of self-discovery and self-worth, where the characters learn to embrace and love their true, authentic selves through intergenerational familial healing.

*An earlier version of this essay misspelled Mirabel's name. 

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‘Encanto’ Celebrates Family and Community

Catholic commentators assess the refreshing themes of the latest Disney movie.

“Did Disney just make the most Christian movie ever?”

Professor and author Jessica Hooten Wilson, sitting beside her children in the theater, found herself “completely shocked” at the animated movie Encanto unfolding in front of her. It wasn’t forcing its protagonist to become totally autonomous or preaching a need to save oneself as she had seen in Disney movies past. Instead, she found an abundance of Christian symbolism.

Encanto , nominated for two Academy Awards, “Best Animated Feature” and “Best Original Score,” tells the story of Mirabel, a young Colombian woman facing the difficulty of being the only member of her family lacking magical powers. In her attempts to love her family well, she confronts the apparently wavering strength of her family’s magic and the judgment of her abuela (grandmother). 

Directors Byron Howard and Jared Bush knew they didn’t want the story to extend beyond the home and the multigenerational family within it. 

“The idea of bringing in these gifts, telling the story inspired by magical realism, allowed it to elevate, allowed us to do something visually that only animation could do,” Bush said, according to Deadline . “And that was the really exciting plus part. But that foundation in true family dynamics was the most important thing.” 

In a clip included in a home-video release of the movie, songwriter Lin-Manuel Miranda spoke about the crucial themes of family within the story. 

“We really wanted to say, 'What happens if we can capture the complexity of a family?’” Miranda, of Hamilton fame, said. “I think, especially in Latin cultures, family is so important. I come from a big family, everyone I know comes from a big family, so we wanted to be able to capture that complexity in an animated world.

Father Juan Ochoa, director of the Office for Divine Worship for the Archdiocese of Los Angeles and pastor at Christ the King Church, similarly emphasized the authentic depiction of Latin family culture within the movie.

“When we say family, especially in the Latino community, we don’t just refer to our immediate family. We’re referring to our uncles or aunts or grandparents,” Father Ochoa told the Register. “Two thousand years ago, that was Jesus’ context about family.”

Love of Family

The first few times Encanto played in author and radio-show host Katie Prejean McGrady’s home, she was doing chores and paying it little mind. When she did sit down to watch it in its entirety, her 4-year-old daughter at her side, she was struck by how intensely family-oriented the film was.

“This was a story about a family, living all together in this magical house, deeply aware of one another’s gifts and flaws, and that was intensely relatable, even with the magical gift element,” McGrady told the Register. “I found myself understanding and relating to the conflicts and resolutions of the movie far more than I have with any Disney princess movie.” 

She loved what the film illustrated to her children: They can thrive, heal and grow, all as a family. She appreciated seeing a story that looked like her own family’s play out on screen. 

“Messy, imperfect, but fiercely protective and trying to figure it out as best we can,” she said. 

The representation of married couples and portrayal of the men, specifically, also differed from what Disney typically displays. In their limited screen time, the married couples indicate strong, loving dynamics within their relationships that allow them to complement each other well.  

The grandfather sacrifices his life to save his family from physical danger, an uncle encourages his wife while also challenging her, and Mirabel’s father stands up for his daughter when Abuela dismisses her. Their roles are more significant and serious than usually seen in Disney media, which often makes male characters into punchlines.

Discovery of Identity

Father Ochoa pointed out that the film also displays generational trauma that Abuela causes by refusing to face the shock she experienced after her husband’s death, which goes on to affect her children and grandchildren. 

“Being able to save anybody, even yourself, doesn't work in this film,” Wilson told the Register. “Everything starts breaking apart when someone tries to do that, when the grandmother thinks that she can work to earn a miracle and earn grace.” 

That theme opposes the typical cultural narrative, Wilson explained, that pushes a kind of “workspace dignity” — the idea that what you do gives you worth as a human being.  

“The miracle is you,” Abuela croons at the end of the movie. “Not some gift, just you.” 

“We need these kinds of films to show us a life that is worth living,” Wilson said. “And if we continually have films that lie to us, that the only life worth living is the one in which we consume the most, we are selfish, we only look out for ourselves, we write our own stories — all of those lies, those kinds of films and books — we will have the culture that we have now: We’re polarized. We’re divided; we’re selfish; we’re violent.”

The miracle behaves as an allegory for grace — freely given, the Madrigal family can receive and cooperate with it, but when they try to earn it, their attempts cause a rift between both themselves and the “magic,” as well as one another.

“That’s something we can say about this movie, from the Catholic perspective: It’s not ignoring the spiritual life of the people,” Father Ochoa said. “We focus on just what we’re able to perceive through our five senses, but in this movie, there’s recognition that there’s something more in life than just what’s functional and mechanical.” 

In a connection to Encanto, Wilson, who teaches at University of Dallas, referenced a line in a poem by Gerard Manley Hopkins, the Jesuit priest-poet: “For Christ plays in ten thousand places.”

There’s diversity and multiplicity of gifts within the Church, Wilson explained. 

Everyone cannot be hands, or eyes, or heads, because that causes a loss of the whole Body of Christ. The relationships within the film indicate the necessity of everyone having a different role.

Love of Neighbor

According to Wilson, Encanto portrays Abuela and Mirabel carrying on the flame of something beautiful and necessary to the next generation, rather than just authoring their own stories.

“That’s where it begins: family,” Wilson said. “That’s where your knowledge of who you are and why you’re here and what you’re doing in the world comes from.”

Wilson observed that as Mirabel helps her family discover how to see themselves, she does so from an understanding that identity can’t be wholly defined apart from other people. 

“We often forget we belong to other people,” Wilson said simply. “We’re responsible for one another.” 

McGrady admired Mirabel’s character, who continually portrays the importance of being supportive, loving and steady for the people she loves. 

“It’s a beautiful snapshot of empathy and the gift of presence and the virtue of kindness that we can bring to others’ lives,” McGrady said, “and how often it’s when we are present to those we know best, our family, we can come to thrive and love each other well.”

Many children’s movies focus on main characters whose quests require them to conquer the problem at hand on their own in some way, McGrady said, but Mirabel’s burden requires the aid of community.

“The Madrigal family is the anchor of the community. Families are the anchor of society,” McGrady said. “If our families are healthy, and holy, we can only hope that seeps into the world and the culture we’re creating.”

• meghan schultz
• catholic values
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Meghan Schultz A former Register news intern and Hillsdale College graduate, Meghan Schultz works in public relations based in Washington, D.C. More of her freelance writing can be found here and at her Twitter, @schultzmeghannn.

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Disney’s “Encanto” Offers a Fresh Kind of Magic

David paul baird, december 9, 2021.

Home › Articles › Disney’s “Encanto” Offers a Fresh Kind of Magic

He who sees something good in a thing is almost always right; he who sees only bad is almost always wrong. With these sage words in mind, I try whenever possible to review films I suspect I might like. To be honest, walking into Disney’s latest theatrical release Encanto felt like a stretch.

For a while now, I have felt critical of what has seemed Disney’s overall sugar-coating approach to the real character of human existence. A spoonful of sugar might help the medicine go down, but when there is no medicine involved, all we get is candy.

In other words, it has seemed to me that the House of Mouse could rightfully be accused of hawking falsity in the name of fantasy: come and enter our colorful little worlds of film and our amusement park only to escape the real world for a while.

Come be happy at the expense of reality.

At first blush, Encanto, whose Spanish title translates as “charm” or “spell,” would seem to encapsulate this approach to a tee. What the film delivers, though, is the promise at the heart of fantasy at its best: not an escape from reality but a route, however indirect, into its most beautiful and elusive truths.

The setup of the film is simple, almost silly. Far away in a secluded Colombian valley, there is a magical house in which each family member commands some magical power: superlative strength, effortless grace, the ability to heal any ailment through down-home South American cooking, etc.

It feels at first like a flimsy excuse for yet another brand-faithful glimpse into a cookie-cutter, geo-diverse, shadowless land of lucrative make believe.

Yet the first hints of a deeper kind of magic enter the scene with the one member of the fantastical household, Mirabel, who has no special gift.

To convey the profundity of what follows with a minimum of spoilers, suffice it to say that Mirabel’s dramatic interactions with the more conspicuously gifted members of her family offer an extended meditation upon the paradoxical way in which weakness can turn out to be its own kind of gift.

(spoilers ahead)

For example, one of the most impressive insights in Encanto occurs in the conflict between Mirabel and the matriarch of the family, Abuela Alma. When cracks begin to appear in the enchanted house as well as in each family member’s magical abilities, the unmagical Mirabel increasingly becomes the target of her grandmother’s determined efforts to protect her loved ones from any kind of harm.

As the “disabled one” in the family, Mirabel comes to represent — and even becomes labeled the cause of — its vulnerability. With no patience for any sort of suffering among those she cares about, Abuela scapegoats Mirabel, and this relationally calamitous rejection of her granddaughter turns out to harken back to another calamity earlier in the old woman’s life.

Like many grandmothers, Abuela once had a husband, yet unlike many, hers was murdered while defending her and their children from harm. This self-sacrifice, we discover, is the source of the magic now found among his descendants, their house, and the mountains which spontaneously sprang up around them as shields from the perils of the outer world.

After the family magic fractures though, Mirabel flees through the corresponding splits in these protective mountains, and “out there,” in the dangerous world beyond the borders of the secluded world of enchantment, Mirabel and her abuela meet again and enjoy their most intimate conversation.

Her grandmother’s severe attitude toward weakness, Mirabel learns, stems from her own experience of suffering and expresses that paradox of great pain whereby it sometimes endows its victims, at the same time, with a great capacity and total intolerance for further hardship.

In her own person, Abuela might be able to put up with more discomfort than many, as nothing will be worse than what she experienced already. At the same time, because what she experienced was so terrible, she exerts the full force of her being to prevent anything like it reoccurring in the lives of those she holds dear. An unanticipated side effect of the latter, though, is a refusal to countenance any kind of imperfection among these same persons. What originates as a fierce, uncompromising affection in the giver inflicts its own kind of hardship upon the receivers precisely by trying to eliminate from them the vulnerability at the root of her own pain.

In this context, Mirabel’s “disability” proves a counterintuitive kind of gift.  Unable to pretend she has no need of aid from others, Mirabel stands not merely as an icon of the imperfection that is part of every human life but also, more positively, of our interdependence.

“Blessed are the poor . . . the meek . . . the hungry,” in part, perhaps, because such persons invite all men and women into a deeper recognition of the reality of their identities before God and other men. Created in the image and likeness of divine persons who do not merely have relationships but are relations, every man needs other persons simply to be the person he is.

At the same time, every woman who loves someone with a lasting disability must learn not only to remain open and engaged with the uncomfortable, inconvenient, and chronically unresolved aspects of our shared human situation, but she must also discover in that person an ongoing invitation to come to terms with her own, perhaps less obvious, weaknesses, dependence, and need.

Like cracks in our proverbial protective mountains, our inabilities not only open inroads for the agonies of the dangerous outside world, they also create the space for truly personal encounters and, accordingly, real intimacy.

A few weeks ago, I attended an academic conference on the topic of human dignity. One of its most striking features was the way in which a few parents of children with cognitive disabilities spoke on the subject. For these highly gifted, eloquent intellectuals, living with weakness, dependence, and need was not merely a topic of theoretical interest.

They knew about it because they lived it.

Walking away from these conference papers, I was struck not so much by the details of the presentations as the luminous compassion of the presenters. The heartiest recommendation I can make for Encanto is that the enchanted place opened up by its fantastical imaginary world offers a vista upon the same truly magical territory. The film features original songs (in English and Spanish) composed by Lin-Manuel Miranda and a fine score by Coco ’ s Germaine Franco, but for me, the music was a secondary attraction when compared to such a compelling story.

For some time now, I have been suspicious of the sort of “Disney-fied reality” produced by the animation titan, but if this is the sort of fantasy we might expect from future features — imagination deployed not as a diversion from the real world but as a means of more profoundly appreciating what makes life in it meaningful — this just might turn out to be a new beginning for its latest fan.  

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In defense of ‘Encanto’ from Christian critics

The trailers for “Encanto” never interested me. In fact, I busied myself with other matters when my family first watched the film. And when I did finally see it myself, I can’t say I particularly enjoyed it.

I could appreciate its artistry, but I didn’t consider it something worth repeat viewing. The rest of my family, however, fell in the love with the story from the get-go, and with each successive watch, I have come to appreciate it more and more.

Strangely enough, the more I have grown in my love for this movie, the more I’ve heard from my film-critic friends (I am blessed to know a handful) whose responses to the film have ranged from indifference to forceful opposition. The more negative opinions I hear, the more motivated I’ve become to share why I think “Encanto” warrants more appreciation and less criticism — especially from Christian audiences.

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Before we go any further, I need to make a couple of clarifications. First, I am not the biggest fan of Disney as of late. Many of the conglomerate’s business practices and ideological leanings rub me wrong. So when people lob critiques at the company, I’m not the first to rush to Mickey’s defense. This case is an exception to the rule.

Second, attention must be drawn to the songs written by Lin-Manuel Miranda. They may not be to everyone’s tastes, but Miranda does something strikingly original (for a Disney film, at least): he weaves melodic phrases and lyrics throughout the movie so that a snippet of one song will show up in another.

There is a thematic continuity among the musical numbers, where each relies on the others for its full and complete expression. The interconnectivity between the songs provides a rich musical tapestry, rewarding each successive viewing with additional insights on what that particular line means, why this particular sentiment is phrased exactly like it is, or why that musical measure appears in that particular section of the song. A proper evaluation of “Encanto” must take into account the wealth of information included in the film’s musical numbers.

Fair warning: the following analysis contains spoilers galore. You would do well to watch the film before reading any further.

As I see it, most of the serious objections to “Encanto” are based on a mischaracterization of Abuela , the matriarchal figure, as the functional villain. Abuela may be an antagonist in a technical sense (in that she opposes Mirabel , the heroin, on nearly every step of her journey), but she is not the antagonist in the sense of being a villain, or heavy, or “bad guy.”

The movie doesn’t have a villain in the traditional sense , choosing rather to find conflict in family relationship tensions . Imagining Abuela as the film’s functional villain morphs her character into something it is not and warps the narrative intent of the filmmakers.

If there is a functional villain (from the standpoint of the characters in the story, at least), it is Bruno , the self-exiled son of Abuela. We find out, of course, that Bruno is not a bad guy. Far from it. If anything, he plays the crucial role of mentor in Mirabel’s “mission quest thing” ( so to speak ). For much of the film, however, the Madrigal family operates as if Bruno is a bad guy, emphasizing their memories of him with the lime-green colors of traditional Disney villains in the song “We Don’t Talk About Bruno.” (We’ll discuss Bruno more in a bit.)

For her part, Abuela is a character who has failed to properly deal with the loss of her husband for the last 50 years. Grasping at the memory she has of him (personified by their wedding candle, which has been transformed into a dispenser of magical gifts), she has dedicated her life to “ keep the miracle burning ,” controlled by her fear of losing anyone or anything else.

This reality is illustrated throughout the movie. For one, she repeatedly dons a black shawl, stuck in a cycle of unending grief. For another, the song “Dos Oruguitas” (“Two Caterpillars”), which plays over her backstory, includes the repeated refrain “Don’t you hold on too tight,” since both she and her husband (the “caterpillars” of the song) must part ways and be reunited later.

The melody for “Dos Oruguitas” plays under Abuela’s part in the film’s opening number, “The Family Madrigal,” hinting thematically at what is controlling her — an insistence on “hold[ing] on too tight” and refusing to let her husband go. She confesses as much in the song, “All of You”:

And I’m sorry I held on too tight Just so afraid I’d lose you too The miracle is not some magic that you’ve got The miracle is you, not some gift, just you The miracle is you

Abuela first comes to this realization when she has returned to the river where she lost her husband. It is here where the song “Dos Oruguitas” stops referring to her as a caterpillar and starts referring to her as a butterfly, underscoring the reality that Abuela is crawling out of the cocoon of her grief-infused fears, which enables her to love her children and grandchildren for who they are, not how they can help her keep a precarious balance ignoring family problems for the sake of a mirage she heretofore has failed to relinquish.

It is this understanding of Abuela’s character arc that informs and clarifies the narrative beats of the rest of the film.

The paradox of an 'earned' salvation

For example, Abuela’s refusal to accept the loss of her husband, and the literal salvation obtained by his self-sacrifice, leads her to view the magical gifts her family has received into an achievement they have acquired. In religious language, she has turned salvation by grace into salvation by works.

This paradigm of earning salvation through self-effort underscores her entire demeanor, as well as the standard she imposes upon her children and grandchildren: “Make your family proud.” As the story shows, this standard is proving, over time, to slowly suffocate her family. Those under the matriarch’s rule are buckling under the weight of her expectations.

Abuela’s lofty standards are shown, not only in her words and actions but also in many of “Encanto’s” songs. During the opening number, as we have already seen, Abuela sings about how the family must “earn the miracle” they have received. Hers is a paradigm that requires nothing less than perfection from its adherents.

And sure enough, when Mirabel sings about her two older sisters, she shows how Abuela’s mindset has infiltrated her own thinking: “My older sisters…[are] perfect in every way”; and “The beauty [Isabela] and the brawn [Luisa] do no wrong.” That’s the expectation passed down from Abuela: absolute perfection.

This expectation is recognized with frustration by both Luisa and Isabela in their respective songs. In “Surface Pressure,” Luisa focuses mostly on the pressure placed on her specifically (“I feel,” “I can’t,” “I fail,” etc.), but she also mentions how the entire family feels the same weight (“ we measure this growing pressure,” “all we know is pressure”).

Similarly, in “What Else Can I Do?” Isabela sings how she makes “perfect, practiced poses,” but after accidentally creating her first cactus (instead of roses), she says, “It’s not symmetrical or perfect,” and adds later, “What could I do if I just knew it didn’t need to be perfect?”

The demand from an authority figure to be perfect — which Isabela clearly experiences throughout the film — is a burden no child can bear without pride (in the face of perceived success) or despondency (in the face of perceived failure). (Interestingly enough, as we get to know these characters, Isabela demonstrates the former, while Luisa demonstrates the latter.)

The burden of Abuela’s expectations is felt by her family members, even if it’s not fully understood. No less than three of Abuela’s grandchildren try to convince themselves in song form that they are fine: Mirabel tells herself (unconvincingly), “I'm fine, I am totally fine” (in “Waiting on a Miracle”), and both Dolores and Isabela insist (unconvincingly), “I’m fine!” (in “We Don’t Talk about Bruno”). There are relational problems within the family Madrigal, but those problems are being neither acknowledged nor addressed.

So when Isabela is finally able to confess the burden of the façade she’s been keeping up (to make her family proud), it enables her to create more than just roses: now she can create cacti, jacarandas, figs, vines, a Palma de Cera, tabebuia, and so on.

This newfound creativity is not just simply another example of our culture’s hyper-individualized, “follow your heart” indoctrination; it is not the result of Isabela rejecting her gift for the purpose of self-expression to the detriment of her family. Rather, her newfound creativity is the expression of her freedom from what is essentially works-righteousness. This freedom allows her to utilize her gift more fully. She is finally experiencing what it’s like to live outside of the crushing burden of her grandmother’s unrealistic expectations.

A manly woman and unmanly men?

Before evaluating a few key thematic applications of “Encanto,” there are a couple of specific critiques I wish to briefly address. Both of them have to do with gender roles.

First is the character design of Luisa . With a large and muscular build, she is considered by some to be an assault on reality , and a subtle and intentional effort by Disney to substitute masculinity for femininity. While I can understand where this criticism comes from (I don’t think it’s being pulled entirely out of thin air), I haven’t found the supporting evidence for a literal conspiracy to be convincing. The most glaring hole in this argument is the fact that it was Luisa’s artists — not Disney executives — that pushed for her particular body build. In fact, Luisa’s character designers had to fight Disney for their vision of Luisa’s character, as the studio pushed for a more petite design .

Second, is the role of men in the film. Some consider each and every male character to be passive, sidelined and lacking any real agency. While I can see traces of evidence that would lead some to such a conclusion, I don’t think that does justice to the full scope of these characters’ personalities.

Mirabel’s father (and mother) actively work to protect and encourage their daughter. They remind Mirabel (in what appears to be a daily, or at least a repeated, ritual), “Remember, you have nothing to prove.” And when the father, Agustín , is confronted by Abuela about keeping Bruno’s vision a secret, with her saying, “You should have told me right away — think about the family,” he doesn’t back down: “I was thinking about my daughter!”

Mirabel’s uncle, Félix , shows obvious affection for his family, and persistent patience with his emotionally fraught, storm-causing wife, Pepa . This patience is shown in at least a couple of places. First, when Pepa is singing about how Bruno ruined her wedding day, Félix sings along with her, and when she complains about Bruno’s actions, the natural thing would have been for Félix to agree with her. And yet he gently pushes back against her soiled memory of the day by singing, “What a joyous day, but anyway.”

Her sentiments don’t exactly match his, and he’s not afraid to (gently) push back. And near the end of the movie, when Bruno clarifies his words to Pepa on her wedding day (singing, “I wanted you to know that your bro loves you so”), Félix responds with, “That’s what I’m always saying.”

Then, of course, there’s Bruno. He’s absent for much of the film, but it is his vision, and his encouragement of Mirabel that propels the story forward, enabling Mirabel to find the solution to the disintegration of their home, Casa Madrigal (or Casita).

And while it’s even been said that the song “We Don’t Talk About Bruno” could be a clandestine way of the filmmakers saying, “We don’t talk about men,” the reality is that everyone involved in singing that song is shown to be wrong — utterly and completely wrong. Not talking about Bruno (and, if you so choose to believe, not talking about men in general) is a mistake based on misinformation. In the end, the characters do talk about — and love and celebrate — Bruno. And rightly so.

Not to mention, of course, the single and greatest act of selfless love shown in the entire movie: when Pedro — a man — sacrifices his life for the good of his family. His actions not only save Abuela and her three newborns but also usher in the miracle that protects them throughout the rest of the film. Pedro is a man who chooses not to be served, but to serve, and to give his life as a ransom for many.

In short, if not for the men of “Encanto,” there would be no “Encanto.”

Grief and grace and growth, oh my!

As it seems was intended by the filmmakers, “Encanto” acts as an exploration of a wrong response to grief and loss. As not intended by the filmmakers, “Encanto” can illustrate numerous distinctly Christian themes as well. We will briefly explore just three.

First, and as hinted at earlier, the story illustrates the difference between law and Gospel, between the freedom of grace and the bondage of legalism. As a friend of mine puts it in an online discussion: “[T]he more [the Madrigals] drift away from the joy and unity [the miracle] intended to bring to the family… the more harm they suffer in their relationships and souls. It is when they stop trying to be perfect for the sake of maintaining the miracle that they really experience peace and enjoy it.”

Second, Encanto acts as an adept examination of the Church and spiritual gifts . Just as the Madrigals emphasized their more demonstratively magical members (Isabela and Luisa), so can the church prioritize the more flashy gifts (prophecy, healings, etc.) at the expense of more “mundane” gifts (mercy, administration, etc.). And yet, as the body of Christ, we all need each other. As 1 Corinthians 12:22 points out, “[T]hose members of the body which seem to be weaker are necessary.”

There should be no division within the church between “special” and “not special” members and gifts: “there should be no schism in the body, but that the members should have the same care for one another” (v. 25).

Third, Encanto shows how God can use suffering to correct our priorities and provide us with what we really need rather than what we think we need. When we petition God to help us grow in faith and love and every grace , He often answers by inserting trials into our lives and showing us more of our sin. This brings us to the end of ourselves, which drives us closer to God and enables us to enjoy and glorify him more.

In the same vein, Abuela prays (so to speak) the following: “Open my eyes. If the answer is here, help me find it. Help me protect our family.” What she doesn’t realize is that she is the one damaging her family. Mirabel’s actions disrupt Abuela’s overbearing and precarious control, razing the matriarch’s misaligned priorities (and the family’s home) to the ground. The answer to Abuela’s prayer feels at first like the opposite of what she wants, and yet it is exactly what she needs. She asked for protection, and what she receives is an awareness of her sin, leading to repentance, absolution, and the rebuilding of the family (and their home) on a new and better foundation. What better protection could there be for her family than that?

A charming and magical gift

“Encanto” is not a perfect film. Certain story beats stretch credibility, certain character arcs are relegated to song lyrics , and one particular resolution (related to the infamous Bruno) feels rushed. Nevertheless, and especially after multiple viewings, the film’s strengths outweigh its weaknesses.

“Encanto” is a charming break from the Disney mold, beautifully (albeit, inadvertently) promoting a distinctly Christian understanding of the world in a kaleidoscope of narrative elements, the likes of which have not been seen in a Disney film in years — if not decades.

Cap Stewart is the author of the curriculum  Personal Purity Isn’t Enough: The Long-Forgotten Secret to Making Scriptural Entertainment Choices . As a cultural commentator, he has contributed to  Cultural Engagement: A Crash Course in Contemporary Issues  (Zondervan Academic, 2019), among other print and online publications. He has been blogging at  capstewart.com  since 2006.

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Movie review: Encanto

Above: This is a scene from the movie "Encanto." The Catholic News Service classification is A-II -- adults and adolescents. The Motion Picture Association rating is PG -- parental guidance suggested. Some material may not be suitable for children. (CNS photo/Disney)

NEW YORK (CNS) — Will viewers be charmed by “Encanto” (Disney)? For the most part, the answer is probably yes, though this vivacious animated musical does include content that could be of concern for the parents of impressionable kids.

The setting, from which the film takes its title, is an enchanted enclave in Colombia. Long ago, this realm became home to Alma (voice of María Cecilia Botero), a then-young refugee mother who had recently been widowed when her courageous husband fell afoul of a band of soldiers.

Now, Abuela Alma presides as the matriarch of both her community and her family, the Madrigals, each member of which has traditionally received a supernatural talent on reaching the age of 5. All, that is, except Alma’s 15-year-old granddaughter Mirabel (voice of Stephanie Beatriz) who, a decade back, awaited her gift in vain.

As Mirabel, strong-willed Alma and Mirabel’s protective parents, Julieta (voice of Angie Cepeda) and Agustín (voice of Wilmer Valderrama), continue to wrestle with this misfortune, they find themselves threatened with a far worse one. A dark vision of the whole clan’s doom granted years before to Mirabel’s Uncle Bruno (voice of John Leguizamo) seems on the verge of fulfillment.

Amid colorful visuals and catchy songs by Lin-Manuel Miranda, the script, penned by Charise Castro Smith and Jared Bush (both of whom co-directed with Byron Howard), delivers worthy messages about community service, cooperation and family reconciliation. Yet “Encanto” may not be a good fit for the youngest moviegoers for a variety of reasons.

Along with the screenplay’s strong emphasis on magic — including divination — and the vivid dangers through which Mirabel must pass, the movie also includes a slightly ambiguous treatment of religion.

Thus the namesake area includes a church whose amiable, briefly glimpsed priest is shown to be a local leader. Yet if the mystical is pervasive — the Madrigals, for example, live in a house that’s essentially alive and that moves its elements around to protect and accommodate them — Christianity has only a marginal presence in the movie. That’s an imbalance that might be hard to explain to small fry.

On the other hand, there’s certainly no note of animosity against the faith discernable in the proceedings. Instead, Catholicism seems to be momentarily acknowledged as part of the culture, but then implicitly relegated to a state of mild-mannered irrelevance.

“Encanto” is preceded by a sweet-natured short cartoon, “Far From the Tree.” The story of an overly curious young racoon, it includes some potentially scary moments, but is otherwise acceptable for all.

The film contains nonscriptural beliefs and practices and characters in peril. The Catholic News Service classification is A-II — adults and adolescents. The Motion Picture Association rating is PG — parental guidance suggested. Some material may not be suitable for children.

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“Encanto” (Disney)

This is a scene from the movie "Encanto." The Catholic News Service classification is A-II -- adults and adolescents. (CNS/Disney)

By Catholic News Service

Vivacious animated musical about a teen girl (voice of Stephanie Beatriz) living in an enchanted enclave in Colombia who is the sole member of her family not to have received a supernatural talent on her fifth birthday. As she, her strong-willed grandmother (voice of María Cecilia Botero) and protective parents (voices of Angie Cepeda and Wilmer Valderrama) continue to wrestle with this decade-old misfortune, a dark vision of the whole clan’s doom granted years before to the lass’ uncle (voice of John Leguizamo) seems on the verge of fulfillment.

Amid colorful visuals and catchy songs by Lin-Manuel Miranda, the script, penned by Charise Castro Smith and Jared Bush (both of whom co-directed with Byron Howard), delivers worthy messages about community service, cooperation and family reconciliation. Yet, while the sequestered setting includes a Catholic church whose amiable, briefly glimpsed priest is shown to be a local leader, the strong emphasis on magic, including divination, together with the dangers through which the protagonist passes, may be a source of concern for the parents of impressionable youngsters.

Nonscriptural beliefs and practices, characters in peril. The Catholic News Service classification is A-II — adults and adolescents. The Motion Picture Association rating is PG — parental guidance suggested. Some material may not be suitable for children.

Click here for full reviews of this and other current movies by Catholic News Service.

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This is the movie poster for “Encanto.” The Catholic News Service classification is A-II — adults and adolescents. The Motion Picture Association rating is PG — parental guidance suggested. Some material may not be suitable for children. (CNS photo/Disney)

20211119T1030-MOVIE-REVIEW-ENCANTO-1512541 cr.jpg

This is a scene from the movie “Encanto.” The Catholic News Service classification is A-II — adults and adolescents. The Motion Picture Association rating is PG — parental guidance suggested. Some material may not be suitable for children. (CNS photo/Disney)

20211119T1030-MOVIE-REVIEW-ENCANTO-1512540 cr.jpg

NEW YORK — Will viewers be charmed by “Encanto” (Disney)? For the most part, the answer is probably yes, though this vivacious animated musical does include content that could be of concern for the parents of impressionable kids.

The setting, from which the film takes its title, is an enchanted enclave in Colombia. Long ago, this realm became home to Alma (voice of María Cecilia Botero), a then-young refugee mother who had recently been widowed when her courageous husband fell afoul of a band of soldiers.

Now, Abuela Alma presides as the matriarch of both her community and her family, the Madrigals, each member of which has traditionally received a supernatural talent on reaching the age of 5. All, that is, except Alma’s 15-year-old granddaughter Mirabel (voice of Stephanie Beatriz) who, a decade back, awaited her gift in vain.

As Mirabel, strong-willed Alma and Mirabel’s protective parents, Julieta (voice of Angie Cepeda) and Agustín (voice of Wilmer Valderrama), continue to wrestle with this misfortune, they find themselves threatened with a far worse one. A dark vision of the whole clan’s doom granted years before to Mirabel’s Uncle Bruno (voice of John Leguizamo) seems on the verge of fulfillment.

Amid colorful visuals and catchy songs by Lin-Manuel Miranda, the script, penned by Charise Castro Smith and Jared Bush (both of whom co-directed with Byron Howard), delivers worthy messages about community service, cooperation and family reconciliation. Yet “Encanto” may not be a good fit for the youngest moviegoers for a variety of reasons.

Along with the screenplay’s strong emphasis on magic — including divination — and the vivid dangers through which Mirabel must pass, the movie also includes a slightly ambiguous treatment of religion.

Thus, the namesake area includes a church whose amiable, briefly glimpsed priest is shown to be a local leader. Yet if the mystical is pervasive — the Madrigals, for example, live in a house that’s essentially alive and that moves its elements around to protect and accommodate them — Christianity has only a marginal presence in the movie. That’s an imbalance that might be hard to explain to small fry.

On the other hand, there’s certainly no note of animosity against the faith in the proceedings. Instead, Catholicism seems to be momentarily acknowledged as part of the culture, but then implicitly relegated to a state of mild-mannered irrelevance.

“Encanto” is preceded by a sweet-natured short cartoon, “Far From the Tree.” The story of an overly curious young racoon, it includes some potentially scary moments, but is otherwise acceptable for all.

The film contains nonscriptural beliefs and practices and characters in peril. The Catholic News Service classification is A-II — adults and adolescents. The Motion Picture Association rating is PG — parental guidance suggested. Some material may not be suitable for children.

Mulderig is on the staff of Catholic News Service.

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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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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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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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Vivacious animated musical about a teen girl (voice of Stephanie Beatriz) living in an enchanted enclave in Colombia who is the sole member of her family not to have received a supernatural talent on her fifth birthday. As she, her strong-willed grandmother (voice of María Cecilia Botero) and protective parents (voices of Angie Cepeda and Wilmer Valderrama) continue to wrestle with this decade-old misfortune, a dark vision of the whole clan’s doom granted years before to the lass’ uncle (voice of John Leguizamo) seems on the verge of fulfillment. Amid colorful visuals and catchy songs by Lin-Manuel Miranda, the script, penned by Charise Castro Smith and Jared Bush (both of whom co-directed with Byron Howard), delivers worthy messages about community service, cooperation and family reconciliation. Yet, while the sequestered setting includes a Catholic church whose amiable, briefly glimpsed priest is shown to be a local leader, the strong emphasis on magic, including divination, together with the dangers through which the protagonist passes, may be a source of concern for the parents of impressionable youngsters. Nonscriptural beliefs and practices, characters in peril. The Catholic News Service classification is A-II — adults and adolescents. The Motion Picture Association rating is PG — parental guidance suggested. Some material may not be suitable for children.

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Opinions about watching the movie Encanto?

What do you guys think about watching this movie with kids as a Christian? I'm worried it might be demonic? Sorry if I come across as a helicopter parent, I'm really not, but tbh based off of the billboards I've seen, I'm not too sure about it?

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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

Videos and photos.

Community Reviews

• Parents say (129)
• Kids say (254)

Based on 129 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 , Kids' Choice Award , Golden Globe - Golden Globe Award Winner
• Last updated : July 5, 2024

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Encanto Review

Disney’s 60th animated film is a magical, joyful celebration..

Encanto debuts in theaters on Nov. 24.

Encanto is a movie about magic and so in some sense, it feels cliché to say that everything about it — from the music to the animation to the story — dazzles in a way one might consider, well… magical. But this magic is also what sets Encanto apart, as the film marks the first time Disney has dabbled in the trope of magical realism.

And that’s what makes the 60th animated feature one of Disney’s recent best.

Disney's Encanto Images

The story of Encanto revolves around 15-year-old Mirabel Madrigal (Stephanie Beatriz) and her family, who live hidden in the mountains of Colombia in an enchanted, vibrant house. Everyone in the Madrigal family receives a special and unique gift that “unlocks” when they’re 5 years old; these powers are generally based on their personality.

In a snappy, Lin-Manuel Miranda-flavored opening, we’re introduced to the family Madrigal: There’s sisters Luisa (Jessica Darrow) and Isabela (Diane Guerrero), who have the powers of super strength and the ability to make flowers bloom, respectively. There’s Mirabel’s mother Julieta (Angie Cepeda), who can heal people with her cooking, and her aunt, Pepa (Carolina Gaitan), who can control the weather. There’s cousin Dolores (Adassa), who has enhanced hearing; cousin Camilo (Rhenzy Feliz), who can shape-shift; and cousin Antonio (Ravi-Cabot Conyers) who can speak to animals. Abuela (Maria Cecilia Botero, with a singing voice some might recognize as In the Heights alum Olga Merediz) heads the Madrigal crew and keeps everyone in line — for better or for worse.

What's your favorite Lin-Manuel Miranda soundtrack?

Surrounded by a fantastical family, Mirabel is the only one who doesn’t have special powers, despite her quirky and empathetic personality. During a ceremony to reveal Antonio’s gift, she notices that her house seems to be in danger of falling apart. Mirabel’s constant warnings fall on deaf ears as everyone around her assumes she’s acting out due to being frustrated about not having a special gift. Determined to save her family’s home, she’s forced to follow clues left by her estranged cousin Bruno (John Leguizamo), who disappeared after his power of seeing the future made him, well, not the most popular member of the family.

So much about Encanto comes together to make the movie an eclectic and celebratory tale, particularly the stellar voice cast. As Mirabel, Beatriz — who showed off her singing chops earlier this year in In the Heights — brings just the right amount of charm and sincerity to the non-magical teenager. Similarly, as Bruno, Leguizamo manages to balance both the humor and the poignant resentment of someone who harbors years of deep hurt and shame. Darrow and Guerrero as Luisa and Isabela both get particular moments to shine during solo songs that not only light up the screen, but deftly show the hidden complexities these characters carry with them.

Visually, Encanto is a delight, filled with stunning colors, beautiful animation, vibrant music, and a joyfulness that pops off the screen. The story never feels slow or uninspiring, and the film effortlessly blends heart and humor in a way that feels seamless. If you’re a fan of previous works that Miranda has had a hand in bringing to life via original songs, you’ll certainly see a pattern (both thematically and musically) in the tracks he pens for this film and in their deeper meanings of belonging and identity.

Ultimately, both of those things are what helps make Encanto great. Unlike other films, the magic in Encanto isn’t derived from a mystical being or supernatural creature, and it’s not something that’s rooted in pure fantasy. It’s born out of things that are very human and very relatable: needs, wants, drives, dreams, and familial relationships. This foundation helps ground the film in a realistic world, making every character’s choice, fight, win, or setback even more triumphant or heart-wrenching.

Melding family, love, acceptance, and even the breaking of generational trauma, Encanto is a film about finding your true self and learning that you don’t have to necessarily fit the mold that the world — or the people you love — want. It’s about breaking away from unhealthy and outdated traditions and about accepting that building something new doesn’t mean old memories aren’t important. It’s a celebration of the fact that powers may make us extraordinary, but it’s our hearts that make us special.

In the hopes of making something meaningful for both the Latina community and the wider world of animated entertainment, writers Charise Castro-Smith and Jared Bush create a world that, much like Mirabel, embraces its human heart and shines brighter than anything created by supernatural forces.

Disney's Encanto: Visual Development and Concept Art

Encanto dazzles both visually and narratively, with vibrant songs and stellar animation. Stephanie Beatriz leads a superb voice cast who help bring a film to life that is grounded but also feels like a magical delight.

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Encanto: every character’s gift explained (and why they have them).

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Dolores Was Secretly The ‘Villain’ Of Encanto - Theory Explained

Every deleted scene in encanto, encanto’s madrigal family might be bigger than revealed so far.

• Encanto tells the story of a magical family in Colombia, each member of which has a unique gift bestowed upon them by a magical candle.
• The family's gifts reflect their personalities throughout the movie.
• Abuela Alma and Mirabel are the only family members without a supernatural gift themselves.

In Encanto , Abuela Alma's descendants are blessed with supernatural gifts once they turn five years old, with each gift reflecting something about each character. After suffering great loss fleeing from danger with her three children, Alma was saved by a magical house and ever-burning candle, which granted each of her descendants their own special power. The Madrigals' special abilities elevated the family and enabled them to better support their community . However, such high expectations also had burdens that each character had to overcome.

Their powers reflected aspects of their personalities , revealing something about each of them that they might have never shared otherwise. For example, Mirabel's mother is intent on caring for everyone around her, and her power involves the food she makes having the power to heal. Antonio has always loved animals and is even gifted a toy animal by Mirabel right before his gift is revealed to be talking to animals. Every character's gift in Encanto similarly reflects an aspect of their personality.

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Abuela Alma

The keeper of the candle.

The Madrigal matriarch, Alma, technically didn't have a power of her own, but without her, none of the other Madrigals would either . Alma was given the magical candle to raise her triplets and honor her late husband's sacrifice to give them a better life. As the keeper of the candle that never burned out, which bestowed supernatural gifts on her descendants, Alma had the important role of protecting its flame and ensuring that the magic continued.

Because of Alma, her family in Encanto was able to support the community with their gifts as well as honor the Madrigal name. Yet, over time Alma grew so fixated on preserving the flame and its legacy that she stopped seeing anything else, including the ways in which she was actually hurting her family. Abuela Alma was as unchanging as the constant, endless candle.

Who Attacked The Village In Encanto? Real Life Colombian History Explained

Encanto offers a detailed, authentic portrayal of Colombia in many ways, raising the question of whether its armed conflict is based on true history.

Emotions Control The Weather

Pepa, one of Alma's three children, was given the ability to control the weather with her emotions. Anytime she felt overwhelmed or upset, a storm cloud would appear above her head, growing and shrinking along with the intensity of her feelings. This is reflective of Pepa's own passionate and emotional nature.

From a young age, Pepa had to keep herself in check for the sake of everyone around her, never really able to fully unleash her feelings without facing very immediate consequences. In the song "We Don't Talk About Bruno," she revealed that she had to celebrate her wedding during a hurricane as a result of her powers going haywire. She has many go-to remedies for whenever her emotions are out of her control, such as stroking her hair and repeating calming mantras to herself, but they are rarely enough to properly tame the unpredictable weather.

Has Superhuman Hearing

Pepa's oldest daughter, Dolores, has the gift of superhuman hearing. Her gift allowed her to be the first to know any kind of gossip in the community, as she was able to hear just about anything - but Dolores' magical ability also proved to be a burden, since she struggled to keep secrets. Dolores appeared to love gossip, which might be why she gained the ability in the first place, but the power proved that even someone who loves gossip could be burdened by it.

Being constantly focused outward on everyone else made it difficult for Dolores to look inward, preventing her from ever seeking things that she might want for herself. She admitted as much in Encanto and was resigned to her cousin Isabela marrying the man she loved instead of pursuing him for herself.

Encanto, a movie about the magical Madrigals, doesn't truly have a bad guy, but one theory speculates that Dolores was the villain all along.

Shapeshifts Into Anyone

Pepa's second child, Camilo, gained the magical gift of being able to shapeshift into different people. His transformations were instantaneous, even changing his clothing to match the new look, and he regularly fooled his family with the trick . Camilo's gift might not be as beneficial to the community as some of the others', but he definitely took advantage of its entertainment capabilities as one of the more comedic characters in Encanto .

Camilo enjoyed playacting as other people, relying on quick wit and his sense of humor to uplift those around him. Of course, always pretending to be someone else could make it more difficult for Camilo to develop a strong sense of who he was. Sadly, Camilo was one of the least developed members of the Madrigal family, so little else is known about him other than his affinity for pranks. His shapeshifting, however, is not all that far removed from real-world actors, those who love to entertain and become someone new on every project.

Talks To Animals

The youngest Madrigal, Antonio, went through his candle ceremony at the beginning of Encanto. He was very nervous about doing something so significant, and so public, by himself, even pleading with his older cousin Mirabel to walk beside him. Unfortunately, his gift had to be bestowed on him alone. He was worried for nothing, however, since the ceremony blessed him with the ability to speak with animals.

As the youngest, Antonio often felt separated from the rest of the family, having only Mirabel for company in the nursery. Mirabel seems to be the only one aware of that, gifting him a toy animal to help him feel less alone. Perhaps because of this, Antonio's gift ensured he would never feel alone again . He could make friends wherever he went, and animals regularly followed him throughout the rest of the movie.

Sees Potential Futures

Another of Alma's triplets, Bruno disappeared after Mirabel's failed candle ceremony. Bruno's gift let him see the future, but most of his predictions were so ominous that they upset everyone around him. Such a depressing, even downright frightening, power did not work well with the image of the Madrigals that Alma wanted to promote, and Bruno's predictions became such a problem for the family that he eventually decided to leave.

Bruno spent the next 10 years hiding within the house's walls while the family refused to ever even mention him. His gift required a kind of complete, unflattering honesty that did not mesh well with the rest of the family , especially Alma, who strived for a more idealized version of the truth. Bruno's gift also made it easy for others to blame him for their problems, even though his predictions weren't actually his fault, but he selflessly took the blame anyway in order to protect those he held dear.

His gift frightening the family is actually a great way to perceive Bruno's outsider status. He doesn't quite fit in with everyone else, and he even sees in them things they don't see themselves, much like his ability to see the future.

Heals With Her Food

Alma's third child, Julieta, possessed the power to heal people with food. When an injured person ate any food she made, their health was quickly restored. In many ways, Julieta represented the ideal selfless mother in Encanto ; her warmth and kindness soothed any who came to her for help , and she always did what she could to support others. She wanted to take care of people, and her gift allowed her to do just that.

Julieta's gift also emphasized the importance of a home-cooked meal, especially one prepared and enjoyed by family, and sharing a meal is clearly important culturally in the Madrigal's village. Food can bring people together, as seen by the Madrigals all gathering around the dinner table.

Her gift was an incredibly useful one to have, but also emphasized the sacrifices she made - as if Julieta constantly prepared food for others, when could she ever have time for herself?

Encanto is a great exploration of family trauma, and the four released deleted scenes show other sides to the Madrigal family and the Casita.

Creates Perfect Plants

Julieta's oldest daughter had a gift as seemingly perfect as herself. Isabela could conjure beautiful flowers of all shapes, sizes, and colors , which decorated the floor at her feet and anything else she touched.

At the beginning of the Encanto movie, Isabela thought she could only make perfect roses and other pretty things, but later in the film she accidentally conjured a cactus in a fit of rage. Such a small thing brought her great joy as she realized she could make imperfect plants too, which meant that maybe she also didn't need to be perfect all the time.

Isabela spent her life carefully monitoring her every movement, never able to feel fully free, and her gift represented that. By controlling her image, Isabela also greatly limited her potential, and Mirabel helped her see how much more she could create when she stopped trying so hard to achieve perfection.

Has Superstrength

Isabela's sister Luisa also struggled with expectations, which she laid out in the Encanto song "Surface Pressure." Luisa was blessed with super strength, which let her carry an unfathomable amount of weight with ease . Her gift meant everyone in the community turned to her for help with their heavy-lifting, and Luisa's hardworking nature didn't make it easy to ever say no.

Although her power prevented her from growing physically tired from all the work, Luisa became mentally exhausted from carrying the overwhelming expectations that those around her placed on her shoulders. Her gift made her strong, but Luisa always feared she wasn't strong enough. Her willingness to keep carrying heavier and heavier loads reflected that same insecurity.

Mirabel is the only one to see just how much pressure her sisters are under, and as the movie progresses, she is the only one to see the burders that can come with everyone's gifts as they hide them from one another.

Is Not Given A Gift By The Candle

Julieta's youngest daughter was also seemingly the only Madrigal family member without her own supernatural gift . Mirabel tried to make up for this and prove to herself and her grandmother that she belonged, but she still felt like she could never actually do enough to make her Abuela proud. She worked hard to support each and every member of her family at all times, and was the only member of the family to truly connect with their magical home, Casita.

Mirabel might not have had an obvious supernatural gift, but it's clear that her own support was a gift to her entire family.

By Encanto 's ending , however, it was clear that Mirabel's faith and love for her family were what empowered them. Only when she truly lost faith in herself did the house start to crumble, and her support was what helped her family's gifts shine once again. Mirabel might not have had an obvious supernatural gift, but it's clear that her own support was a gift to her entire family.

Encanto's Madrigal family might be even bigger than what's been revealed so far, teases the film's director Jared Bush in a Twitter Q&A.

There Are A Lot Of Theories About Mirabel's Lack Of A Gift

Mirabel is not granted a gift during her ceremony, but that doesn’t mean she doesn’t have a gift, as many fan theories have speculated that hers is more subtle. Mirabel appears to be following her grandmother’s footsteps throughout the movie , despite Alma blaming Mirabel at one point for the family appearing to lose their magical gifts. Though there are many fan theories about Mirabel’s initial lack of a gift , the consensus is that Mirabel is the one holding the family together.

Mirabel is the one who best understands Casita, and in fact, is instrumental in bringing the magic back to the house. Once the house is rebuilt, it’s Mirabel who brings the doorknob to the house and seemingly “unlocks” the magic of the house once again .

Mirabel is also the one who actually engages with each of her family members and realizes how much their gifts actually weigh on them. She sees that Luisa doesn’t feel she can tell anyone no, that Isabela feels she must always make beautiful things and exemplify perfection, that Dolores knows everyone’s secrets because she can hear even the smallest of whispers, and more. Mirabel is the one who understands the hardships that come along with those gifts.

It is also Mirabel who doesn’t shun Bruno and welcomes him back, bringing the family together again . She rallies them all to work together. She is constantly trying to help everyone around her, even though she doesn’t see herself as “special” like the rest of her family. Mirabel appears to be the person who will step into the role Abuela Alma has occupied for decades.

One key piece of evidence that fan theorists like to point out is how the clothing of the characters isn’t just reflective of their personalities, but also of their gifts. Mirabel’s clothing has the same butterflies on it as the very candle that grants the Madrigals their gifts. She is a gift to her family in Encanto .

Everything We Know About Encanto 2

Given the resounding success of Encanto , it's not hard to imagine a sequel eventually entering production. Encanto 2 has yet to be officially announced, but that doesn't mean it couldn't happen. Six years passed between Frozen and Frozen II , Disney's other biggest animated franchise of the past few decades, meaning it could just be a matter of waiting for Encanto 2 to get the green light. Lin Manuel Miranda is confident that an Encanto sequel will work , and many members of the original cast would also be willing and eager to work on Encanto 2 .

Encanto 2 's story could see Mirabel taking over Abuela's role as matriarch of the Madrigal family, the family coming into greater contact with the world outside of Casa Madrigal, a twist in which more family members lose their powers, or all of the above. Regardless, any sequels or spinoffs to Encanto are sure to be met with plenty of anticipation should they be announced.

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Encanto tells the tale of an extraordinary family, the Madrigals, who live hidden in the mountains of Colombia, in a magical house, in a vibrant town, in a wondrous, charming (and enchanted) place called an Encanto. The magic of the Encanto has blessed every child in the family with a unique gift from super strength to the power to heal—every child except one, Mirabel (voice of Stephanie Beatriz). But when she discovers that the magic surrounding the Encanto is in danger, Mirabel decides that she, the only ordinary Madrigal, might be her exceptional family’s last hope. Mirabel will seek out her missing cousin, Bruno, to discover the truth that Abuela has buried away for all of their lives.

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Catholic Review

Inspiring the Archdiocese of Baltimore

Home viewing roundup: What’s available to stream and what’s on horizon

The following are capsule reviews of theatrical movies available now for streaming or scheduled for broadcast on network or cable television during the week of July 14, as well as notes on TV programming for the same week. Televised films may or may not be edited for language, nudity, violence and sexual situations while the programs listed have not been reviewed and therefore are not necessarily recommended by OSV News.

Streaming Now

“From Here to Eternity” (1953; Amazon Prime)

Somber picture of life on an Army base in 1941 Hawaii centers on a company whose bugler (Montgomery Clift) is punished for refusing as a matter of conscience to join the unit’s boxing team, with only a hapless private (Frank Sinatra) supporting his obstinacy. Directed by Fred Zinnemann from the James Jones novel, the story also involves an affair between the company’s top sergeant (Burt Lancaster) and his commander’s unhappy wife (Deborah Kerr) as well as the bugler’s romance with a club hostess (Donna Reed), all of which gains tragic dimension from the Japanese sneak attack on Pearl Harbor at movie’s end. Sexual situations and stylized violence, including a fatal beating and a knife fight. The OSV News classification is A-III — adults. Not rated by the Motion Picture Association.

“Get Out” (2017; Hulu)

Clever social commentary adds heft to this thriller from writer-director Jordan Peele. During a weekend visit to the country estate of his white live-in girlfriend’s (Allison Williams) parents (Catherine Keener and Bradley Whitford), whom he has never met before, a black photographer (Daniel Kaluuya) becomes increasingly unsettled by the peculiar behavior of those on both sides of the racial divide, including his gal’s aggressive brother (Caleb Landry Jones) and the family’s strangely subdued, zombie-like maid (Betty Gabriel) and gardener (Marcus Henderson). As things turn ever more sinister, Peele adeptly uses horror tropes to comment on slavery, racism and liberal pieties. But late scenes featuring some gory encounters, together with swearing throughout, make his film a rugged ride even for grown-ups. Some harsh and bloody violence, cohabitation, at least one use of profanity, pervasive rough and crude language. The OSV News classification is L — limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association rating is R — restricted. Under 17 requires accompanying parent or adult guardian.

“Life” (2017; Netflix)

Director Daniel Espinosa and screenwriters Rhett Reese and Paul Wernick adopt a serious tone in this ensemble sci-fi thriller set on board an international space station. Tasked with retrieving an unmanned capsule carrying samples back from Mars, the craft’s crew — Jake Gyllenhaal, Rebecca Ferguson, Ryan Reynolds, Olga Dihovichnaya, Hiroyuki Sanada and Ariyon Bakare — are thrilled to discover that they are in possession of the first living organism ever discovered beyond Earth. But the initially tiny creature they’ve taken on board turns out to have an incredibly rapid growth rate and a murderously aggressive approach to interacting with humans. Loss of life is treated with an unusual degree of sober reflection in the suspenseful clash of wits and survival skills that follows, while deft performances and some creative camera work serve to offset the familiarity of the premise. But the bloody details of the alien’s rampage are suitable neither for kids nor for the squeamish among their elders. Some gory deaths and gruesome images, a few uses of profanity, numerous rough and several crude terms. The OSV News classification is A-III — adults. The Motion Picture Association rating is R — restricted. Under 17 requires accompanying parent or adult guardian.

Looking Ahead

Sunday, July 14, 4:45-8 p.m. EDT (TCM) “Around the World in 80 Days” (1956). In Mike Todd’s lavish production of the Jules Verne classic, an English armchair adventurer (David Niven) makes a bet that he can encircle the globe within 80 days and sets off with his valet (Cantinflas) to prove it. Michael Anderson’s direction makes the most of the cultural splendor of the late Victorian period, visits just about every scenic locale worth a postcard and offers an all-star marathon of cameo appearances. The result is a wonderful romp that’s great fun for all. The OSV News classification of the theatrical version was A-I — general patronage. The Motion Picture Association rating was G — general audiences. All ages admitted.

Sunday, July 14, 9-11 p.m. EDT (ABC) “The Sandlot” (1993). An adult recalls how baseball influenced his life in the summer of 1962 when, as a newcomer in town, the 11-year-old boy (Tom Guiry) makes friends with a scruffy gang of youngsters who introduce him to the national pastime’s craft and lore by playing their heart out every day on a sandlot behind whose left field fence lurks a fearsome canine. Director David Mickey Evans’ strained portrayal of the events of that summer rarely measures up to the narrator’s supposed fond memories of them and its packaging of sentimentalized nostalgia is too superficial to provide any genuine insights into pre-teen friendships, fears, anxieties and sexual awakenings. Some fantasy menace, occasional coarse language and a few mild sexual references. The OSV News classification of the theatrical version was A-II — adults and adolescents. The Motion Picture Association rating was PG — parental guidance suggested. Some material may not be suitable for children.

Wednesday, July 17, 6-10:30 p.m. EDT (EWTN) “National Eucharistic Congress: Opening Ceremony.” Live coverage as all four branches of the National Eucharistic Pilgrimage arrive in Indianapolis (TV-G – general audience).

Thursday, July 18, 8 a.m.-12:30 p.m.; 1:30-3:15 p.m.; and 6:30-10 p.m. EDT (EWTN) “National Eucharistic Congress.” Event coverage continues, beginning with the Opening Mass (TV-G – general audience).

Friday, July 19, 8 a.m.-12:30 p.m.; 1:30-3:15 p.m.; and 6:30-10 p.m. EDT (EWTN) “National Eucharistic Congress.” Ongoing coverage.

Saturday, July 20, 8 a.m.-12:30 p.m.; 1:30-3:15 p.m.; and 6:30-10:30 p.m. EDT (EWTN) “National Eucharistic Congress.” Event coverage concludes for the week.

Saturday, July 20, noon-2:15 p.m. EDT (TCM) “How to Succeed in Business Without Really Trying” (1967). Robert Morse and Rudy Vallee whoop it up at the World Wide Wicket Company in a zestful adaptation of the Broadway musical about an ex-window-washer’s schemes to reach the top of a big corporation in the shortest possible time. Director David Swift’s sharp, witty spoof retains most of the original’s running gags and Frank Loesser’s music. The OSV News classification of the theatrical version was A-II — adults and adolescents. Not rated by the Motion Picture Association.

Saturday, July 20, 8-9:59 p.m. EDT (Cinemax) “The A-Team” (2010). Explosively noisy, stunt-laden, cheesy and somehow engrossing film based on the 1980s TV series without that program’s self-mocking humor. Director Joe Carnahan, who also scripted along with Brian Bloom and Skip Woods, reinvents the story line as a sort of video game, with Liam Neeson, Quinton Jackson, Bradley Cooper and Sharlto Copley playing four Army Rangers, all specialists in covert missions, framed in Iraq for a crime they didn’t commit, then escaping from prison to clear their names and seize the CIA operative who set them up. Some fleeting crass and crude language, most of it before the opening credits are over, a fleeting reference to premarital sex and abundant explosions and gunfire. The OSV News classification of the theatrical version was A-II — adults and adolescents. The Motion Picture Association rating was PG-13 — parents strongly cautioned. Some material may be inappropriate for children under 13.

Saturday, July 20, 10:30 p.m.-1 a.m. EDT (AMC) “I, Robot” (2004). Science fiction thriller set in 2035 about a technophobic Chicago cop (Will Smith) whose investigation into the apparent suicide of a renowned scientist leads him to suspect that the dead visionary was actually murdered by a member of the swelling robot population he helped create and which is supposed to be programmed to serve and protect mankind. Inspired by the short works of Isaac Asimov, director Alex Proyas underpins dazzling special-effects sequences with philosophical musings about artificial intelligence, our relationship to technology and what constitutes a soul. Intense action violence, two brief shower scenes with shadowy profile nudity and recurring crass language. The OSV News classification of the theatrical version was A-II — adults and adolescents. The Motion Picture Association rating was PG-13 — parents are strongly cautioned. Some material may be inappropriate for children under 13.

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‘Longlegs’ Review: The Serial Killer Drama Goes Supernatural in a Flawed but Disturbing Fairy Tale That Finds the Devil Hiding in Plain Sight

David ehrlich.

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That serial killer flourish is a fitting coup de grâce for a series of murder-suicides made all the more disturbing by the juxtaposition they strike between unfathomable evil and textbook wholesomeness; the illusion of purity draws an unholy contrast with the darkness that intrudes upon it. It’s enough to make the nuclear family seem like a cover story, or at least to sow a measure of doubt in its promise to protect good Christian souls against a slew of ungodly horrors.  Related Stories How ‘Thelma’ Became a Rare Sundance Breakout Success With 75 Speaking Roles, ‘The Sound of Hope: The Story of Possum Trot’ Needed 400 Costumes

The devil thrives in the gap between what people are taught to believe and what they are powerless to fear, and even the most vile atrocities committed in Satan’s name are but a means to an end. The real goal is to seed the lingering suspicion that something terrible is hiding just out of sight — right below you, perhaps, or just over your shoulder. Every slit throat and breathless headline whispers the same thing into a thousand different ears: Everything you were told about the world as a kid was a little white lie.

Longlegs delights in exposing that, and so does the aggressively unnerving Oz Perkins film to which he lends both his name and ethos. Terrifying in the abstract even as it grows increasingly absurd to watch, “Longlegs” slinks its way into that liminal space between childhood nightmares and grown-up practicalities with the same precision that it splits the difference between serial killer procedurals and supernatural psychodramas (let’s say “The Silence of the Lambs” and Kiyoshi Kurosawa’s “Cure”).

In “Longlegs,” the question is never “what’s out there?,” but rather “why does the fact that I know it’s just Nicolas Cage not seem to help?” Buried under sheets of white makeup and several layers of Shar-Pei-like facial prosthetics (character details that invite the actor to explore new degrees of kabuki-like expressionism), Cage rolls into the film ’s prologue behind the wheel of a wood-paneled station wagon before introducing himself to a little girl with a strange kind of dance reminiscent of the moves from “The OA.” It will be a while before we learn what he wanted from her (or what he did to her), but only a few seconds before the opening titles resolve any lingering doubt as to who the “Mandy” star is playing. The words “Nicolas Cage as Longlegs” don’t leave much room for second guesses, even if almost everything else about the villain — his addiction to bad plastic surgery, his obsession with T. Rex’s “Bang a Gong (Get It On),” his Zodiac-like habit of taunting the police with ciphers — is still open to interpretation at the end of the movie. 

Played by a sly and endearingly no-nonsense Blair Underwood, who owns his character’s alcoholism as the cost of keeping his head on straight, Agent Carter assigns Lee to the Longlegs case the minute he learns of her unusual ability. Conventional detectives haven’t found a single breakthrough after several decades of trying, so why not deploy one oddity to fight another? Longlegs himself certainly seems tickled by the idea, as he doesn’t waste any time leaving a personal message in Lee’s home office, promising that he’ll kill again in the very near future (Perkins has plenty of fun with Satanic numerology, even if only as part of a broadly unsatisfying bid to convey that Longlegs is beholden to a plan).

How does Longlegs kill his victims without ever stepping foot inside their homes, and why isn’t Lee alarmed that her own birthday is just around the corner? We’re strung along by the strange details of the serial murders, even when the story that threads them together — so happy to blur the line between its dominant sub-genres that it fails to subvert either one of them — unfolds in disappointingly predictable strokes.

And that’s because “Longlegs” isn’t about a Satan-loving boogeyman any more than “Se7en” was about a guy named John Doe. To that point, Cage is barely in this thing, which might be for the best in a movie that wants us to scan the background of each shot until we start to project our most personal demons into the shadows; a movie that often feels like it’s actively working against the mannerisms of the planet’s most unmistakable screen actor (Iit doesn’t help that his androgynous glam rock schtick is frustratingly retrograde for a movie that defies so many of the worst supernatural horror tropes). 

It’s telling that the small handful of jump-scares that Perkins has peppered into the edit tend to accompany innocuous and/or super-narrative moments (i.e. the title cards that are used to break up each of the story’s three acts) instead of actual threats; they widen the tension instead of focusing it on a specific target that can leap out at you and resolve itself just as fast. It’s not things that are scary, it’s the world that’s scary, and the scariest part about it is that there isn’t anywhere else to go. All of the people we love have to live here, and saying your prayers at night won’t be enough to keep them safe. Then again, perhaps that just depends on who you’re praying to.

NEON will release “Longlegs” in theaters on Friday, July 12.

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‘Horizon: An American Saga — Chapter 1’ Review: The Beauty, and the Bloodshed

In the first of a projected four-film cycle, Kevin Costner revisits the western genre and U.S. history in a big, busy drama.

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By Manohla Dargis

Midway through Kevin Costner’s big, busy, decentered western “Horizon: An American Saga — Chapter 1,” the actor Danny Huston delivers a brief speech. The year is 1863 — two years into the Civil War — and his character, a colonel in charge of a military fort in the southwest, is discoursing on a nearby settlement called Horizon. Apaches have recently burned the hamlet to the ground, killing scores of settlers. You simply need look at the land, the colonel says, to see why the newcomers will keep coming.

“You may recall that’s what drove us across the ocean to this country in the first place.”

Huston, an imposing presence with a rich, sepulchral voice that can suggest depths, delivers this nod at Manifest Destiny with arid sobriety. His words certainly sound meaningful yet this reference to American expansionism just hangs in the air, untethered from history or ideology. Given this nod as well as the film’s large scale, crowded cast, multiple story lines and nearly three-hour run time, it’s reasonable to assume that Costner will add context, commentary or, really, anything . Yet all that’s clear from “Chapter 1,” the lead-in for his splashily publicized four-film cycle , is that the land was vast and beautiful, and everyone wanted a piece.

“Chapter 1” is the first movie that Costner has directed since his 2003 western “Open Range,” an earnest period drama about free-grazing cattlemen facing down a wealthy rancher. What’s striking about that film, beyond how Costner draws from so many different genre touchstones — John Ford, Clint Eastwood and Sam Peckinpah, among others — is how he tries to honor old-fashioned westerns that he so clearly loves while also complicating the myth of the American West through his character, a violence-haunted gunfighter.

A version of that same man — tough, terse, good with a gun, not bad with the little ladies and now named Hayes Ellison — rides into “Chapter 1” about an hour in, handsomely framed against a bright blue sky. What takes him so long? Given how the movie plays like an extended prologue, I suspect that Costner timed his entrance for a four-part project rather than for a stand-alone film. That makes it tough to get a handle on precisely what he’s up to here, other than gesturing at history, re-engaging with an archetypically American genre and readying the foundation for an epic that will continue when “Chapter 2” opens in August.

Written by Costner and Jon Baird, “Chapter 1” features uneven lines of action that jump across the map, from the southwest to the Territory of Wyoming. In one section, bad men with good cheekbones, their dusters trimmed with animals skins à la Gladiatorial Rome, chase after a righteously violent woman (Jena Malone in a lively, credible turn). In time, they end up in one of those frontier towns with muddy streets and desperate characters, a sinkhole where Hayes rides in with some gold and exits with Marigold (Abbey Lee), a lady of the evening (and afternoon). In another section, Luke Wilson leads a wagon train peopled with tough Americans, Laplander goons and two British twits itching for some punishment.

The story line that revs up the action centers on the settlement, a riverfront hamlet on a ribbon of green that winds through the desert and has attracted the attention of a tribe of White Mountain Apache led by Tuayeseh (Gregory Cruz). Soon after the movie opens, the settlers are swinging their partners to fiddles like good John Ford folk; not long after, many are dead, cut down by Apaches. Among the survivors are the newly widowed, impeccably manicured Frances Kittredge (Sienna Miller) and her daughter, Elizabeth (Georgia MacPhail), who take refuge in the fort. There, they meet a first lieutenant, Trent Gephart (Sam Worthington), a thoughtful soul who refers to Native Americans as Indigenous.

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