Disney’s latest offering, “Wish,” emerges as an overt piece of Disney-centric promotion, marking a departure from the standalone narratives we’ve seen in films like “The Lion King” and “Encanto.” While the movie is steeped in Disney lore, from nods to classics like “Peter Pan” and “Mary Poppins” to the broader celebration of the Mouse House’s legacy, it seems more focused on emphasizing the importance of wishing upon Disney-branded stars than delivering a compelling story.
Set in the vaguely defined realm of Rosas, a place where the origin of Disney’s famed “wishing star” is explored, “Wish” follows 17-year-old Asha (Oscar winner Ariana DeBose) as she seeks an apprenticeship with the revered King Magnifico (Chris Pine). The king, entrusted with the wishes of the people, reveals a darker side as he hoards desires rather than granting them. This thematic exploration of the manipulation inherent in grand promises becomes a central focus of the film.
Asha’s journey takes a magical turn when she becomes the recipient of wishing star abilities, transforming her into a leader for her community. The film cleverly introduces the silent Star, a departure from Disney’s typical anthropomorphic style, bringing life to woodland creatures that empower Asha rather than merely assisting her. The underlying message is that wishes should drive us toward love, laughter, and a fulfilling life.
While “Wish” stumbles in its opening act, a couple of standout musical numbers by Dave Metzger, Julia Michaels, and Benjamin Rice elevate the film. Although these songs may not reach the heights of a chart-topping hit like “We Don’t Talk About Bruno,” they contribute to the movie’s playful and engaging moments. The empowering woodland sequence, despite some storytelling ambiguity, and a group number towards the end provide much-needed boosts to the overall narrative.
However, the film’s major flaw lies in its processed and heavily commercialized nature. It feels like an artificial, algorithm-generated Disney animated movie designed not to inspire more wishes but to churn out sellable items and experiences. The evident focus on marketability, with an eye on the bottom line, results in a cynical cash-grab feel, further underscored by the portrayal of Magnifico’s evil color palette in green, reminiscent of money-focused leaders.
“Wish” ultimately lacks the genuine, human touch found in Disney’s best animated ventures. In contrast to the joy experienced by my youngest child (10), a mixed reaction from my middle child (12), and the forgettable impression on my eldest (14), the film leaves audiences yearning for a more authentic and heartfelt cinematic experience. As someone who has witnessed Disney’s cycles of success and failure, “Wish” feels like a product crafted more by a boardroom seeking the highest profit margin than by artists driven by passion and creativity. This leaves us wishing for something more human and true.
In theaters on Wednesday, November 22nd.