Recommended Age Limit:

This was one of the first films I showed to my daughter at age 2, and I can give my full recommendation of this to everyone. As early as you are comfortable with your child watching a screen, I am comfortable recommending this film for them.

We’ve now had over a decade of flavorless, “updated” live-action remakes of classic Walt Disney fairytale films, from Mulan to Pete’s Dragon, unwillingly imposed on us (write in separately if you can explain how someone could possibly have been excited for a Lady and the Tramp remake). Whether entries in this bizarre genre actually attempted to add story elements or simply made lifeless shot-for-shot clones, they nearly all failed by misunderstanding the original film, and worse, the original fairytale. As we’ll see, fairytales do not need to be changed for a modern audience; rather, they need beautiful presentation, to allow the modern audience to be changed. Cinderella (2015) succeeds by taking the opposite approach from the rest: Kenneth Branagh’s remake is even more traditional than its predecessor.

In one of the first lines of the film, Ella asks her mother, “Do you believe in fairy godmothers?” Her mother answers in a way only a Catholic mother could: “I believe in everything,” or as we say at Holy Mass, credo in…visibilium omnium, et invisibilium. This is the first evidence that Ella is raised and formed by a Catholic worldview, a sacramental view of reality. The recurring song Ella sings throughout the film, taught to her by her mother, is Lavenders blue, lavenders green:

Lavenders blue, dilly dilly, lavenders green

When I am king, dilly dilly, you shall be queen.

Lavenders green, dilly dilly, lavenders blue,

You must love me, dilly dilly, for I love you.

This song is quite evocative of the transforming effect of sanctifying grace given us in Baptism. The Apostle writes that by the grace of the Holy Spirit we are made “heirs of God and fellow heirs with Christ,” (Rom 8:17) and as the Bride of Christ, we in the church are wed to the King of Glory, made perfect by His love, as St. John tells us, “We love, because He first loved us.” (1 John 4:19).

The filmmakers give us another discreet display of Christ’s pursuit of the beloved in Ella’s encounter with the great stag, moments before her first encounter with Prince Kit. The Stag has been a symbol of Christ for centuries; the medievals believed the stag to be the enemy of the serpent, driving snakes into their abysses and healing their venom. In this scene, not only are we given this symbol, but Ella is given first exposure to Kit, who will become her rescuer from the evil of Lady Tremain (who, notably, only wears green in this film).

The theme of pursuit is woven throughout the tale, and in yet another subtle way in the scene introducing the fairy godmother. Although Ella is in despair, the fairy godmother comes to her aid not only because of her habitual charity, but explicitly for the sake of her mother’s faith in all good things. This evokes Christ’s desire to have us in Baptism even as helpless infants, on account of the faith of our parents and godparents. The magic the godmother brings transforms Ella the way grace does to us – it builds upon her nature. Her mother’s clothes, now torn; her faithful friends, though animals; her own beauty, though marred with mud, is elevated, as St. Paul tells us, “Just as we have borne the image of the man of dust, we shall also bear the image of the man of heaven.” (1 Cor. 15:49).

This film is essential for families to watch with their children because the heroes are all heroic and the villains vile. Most personally to me, Ella’s father is her first hero. Her father constantly gives her gifts from his travels, but the real gift he gives her is an upbringing in virtue and compassion. The narrator describes her beautiful childhood as a time when, “all was just as it should be,” where Ella models perfect obedience to her parents, and it becomes clear that a central theme in this film is filial piety. Ella’s driving motive for goodness is given to her by her mother’s parting words on her deathbed: have courage and be kind.

Likewise, the king is not a bumbling old man, but a magnanimous leader of men who raises the Christ-like son, Prince Kit, who is formed with an eye for beauty and desire for a virtuous wife. When Ella first meets Prince Kit, he is immediately drawn to her virtue, and finds that his heart is hers already, truly love at first sight. In one of the King’s last moments in life, he continues to teach his son the noble path of sacrifice, saying, “we are all flesh, boy. Now come, we must tend to our kingdom.” Ella and the prince both lose their mother early on in life, and become who they are through their fathers’ dedication to raising them to honor their mothers’ memory.

Kit is manly, not just a pretty boy - he is captivated with Ella’s goodness and can’t allow himself to let her go. Like Christ, Kit will stop at nothing to find the hundredth sheep, looking everywhere for his beloved. Near the finale, when Ella is trapped by her stepmother, she begs Lady Tremain to allow her to keep her glass slipper, imploring that it is the only thing she has. This turns out to be true - her identity as a princess, an interior reality symbolized in that shoe, is made externally real by the prince’s love. She is a princess because he loves her, just as we, the bride of Christ, are made heavenly royalty because of Christ’s love for us.

The last word I’ll say on this is that Ella adopts her name of mockery, Cinderella, as her royal name and becomes a holy paradox, a sign of contradiction. Ella, like Christ, is identified by a royal title of poverty; “Princess Cinderella” is a type of “Iesus Nazarenus Rex Iudaeorum,” essentially a title of “her royal highness, the pauper,” a royal identity that never forgets its origin of poverty.

Ella’s life is keenly shaped by her grief from this loss, which is sharply contrasted by the way Lady Tremain allows her own grief from loss to turn her into the vicious villain - a prime example of a truly vicious person, who sees good as evil and evil as good (but more on the villains later).

Cinderella is such a notable exception to the Disney Remake™ filmography because it is neither a replica nor a rewrite; it is a faithful retelling of the tale, an iteration in the legacy of the brothers Grimm. Notably, the evil of the villains is made even clearer than in the original film, and made closer to the tale, and a sharper contrast given between Cinderella and her mother. Ella’s life is keenly shaped by her grief from this loss, which is sharply contrasted by the way Lady Tremain allows her own grief from loss to turn her into the vicious villain - a prime example of a truly vicious person, who sees good as evil and evil as good (but more on the villains later). The destruction of Ella’s dress is the clearest manifestation of Tremain’s hatred of goodness, especially when she says, “How could I do otherwise? I will not have anyone associate my daughters with you.” Ella later begs, “Why do you treat me like this?” to which Tremain responds, “Because you are young, innocent, and Good, and I…”. This film punches home the victory of virtue over vice in a way unsurpassed by any Disney film this century.

My final recommendations come on the count of score and cast. The score is fantastical, engaging, and delightful. Lily James and Cate Blanchett are marvelous standouts among a castlist that has no holes.

Honestly, I can’t recommend this film enough.

Recommended Age Limit:

I watched and loved this as a six year old, but there are a few scarier moments that may be frightening for sensitive viewers. Though it depends on the child, I would recommend around eight at the youngest. If the fact that the animated children’s film features demons and witchcraft raises eyebrows, please take as a note of clarity that in the context of this story, demon is synonymous to ‘monster’ or ‘creature’, and the word ‘witch’ is to indicate ‘magic-user’ (Editor’s note: as per Japanese translation).

But is it edifying?

This is a poignant story about identity, courage, and finding peace and beauty no matter your circumstances. There are layers of themes that can apply to a plethora of ages, while remaining enjoyable to all.

One More Thought:

As I mentioned below, the movie is inspired by a frankly wonderful book, through which lens the movie plot and themes have a greater sense of completion. The book is definitely more of a comedy, while the movie is a drama. Though this isn’t a “’100 Books Every Family Should Read Together” list, if it did exist, I would slap this book at the top of the ranking.

In what should not be considered a hot take, any children’s media that doesn’t have the potential for the whole family to enjoy together is, frankly, poor children’s media. Too often, kids are exposed to shrill, frantically-paced content (what many refer to as modern children’s entertainment) that fails to foster shared experiences. This content is not meant to bring families together in the living room for a joyful hour of collective enjoyment; instead, they primarily serve to keep children occupied and distracted while the rest of the family is doing their own thing in separate spaces.

When children’s media focuses more on keeping kids out of the way rather than cultivating wonder, imagination, and learning, it contributes to the rise of ‘iPad kids’ and diminishes a sense of nostalgia. Family unity comes from doing things together, and to that end, the best movies for children would be movies that they watch with their family—engaging enough for older kids and adults, gentle enough for young children, and enjoyable for everyone.

Being on the latter end of a large family, I watched many movies at a very young age in which I, the smallest child watching, was not the target audience, but my family as a unit was. These movies did not set out to satisfy one attention span, one age group, one set of interests, but rather set out to pull together the whole family in one shared, enjoyed, experience. And one film that did that really, really well was Howl’s Moving Castle.

Fittingly, the central message of this visually stunning and cinematically engaging Studio Ghibli masterpiece is “No matter your state, life is worth living.” Inspired by Diana Wynne Jones’ novel of the same name (which I just cannot recommend enough) this film, while not an exact adaptation, beautifully captures some of the more existential and dramatic themes of the book, reinterpreting it through that signature Ghibli lens of whimsy, profound beauty, and classic drama.

The protagonist, Sophie Hatter, finds herself caught in a tangled web when she unwittingly makes herself the target of the jealous Witch of the Waste. Cursed and transformed into an old woman, The now elderly Sophie leaves her hometown and encounters the mysterious Moving Castle, in which she meets the enigmatic Wizard Howl and his fire demon, Calcifer. (voiced by Billy Crystal in the English dub, with a legendary performance. Absolute 10/10.) The characters are memorable, lovable, and utterly fairy-tale-like. The film delicately lingers on slow, beautiful moments in life—yet it can also ramp up the tension and raise the stakes sky-high (literally). It’s a story about discovering one’s identity, about sacrifice, about courage, and about cursing enemies so all their bacon may burn.

When it comes to beautiful and memorable soundtracks, Ghibli films are an embarrassment of riches. Howl’s Moving Castle is no exception, and indeed, its score is one of the most recognizable and beloved in the Ghibli universe. The film also boasts gorgeous visuals that need to be experienced on the biggest screen possible. At six years old, I didn’t know what “aesthetic” meant, but I knew this movie had it. It masterfully balances dreamy, fantastical whimsy with gritty reality, as a love story unfolds amidst war and witchcraft. Despite the hardships faced by the characters, moments of peace and contentment weave throughout the story, giving the film a warm, ‘feel-good’ quality that’s characteristic of many Ghibli works.

Why is it a great film for kids? Because it’s fun. It’s funny, heartfelt, and tells a good story. It’s a little quirky, but all Ghibli films are. It’s part of the charm.

Fun, comedic, breathtaking, and soothing all at once, Howl’s Moving Castle is a movie that’s a joy to watch for the first time, and even better on revisits. It exemplifies how children’s movies can be meaningful, entertaining, and deeply resonant for viewers of all ages. And it is one that, even though we are all now adults, my whole family would still be down to watch together.

(Spoilers will be hidden in the footnotes)

Recommended Age Limit: Not younger than 7 or a mature 6-year-old, on account of frightening sequences and the frequency of violence.

But is it Edifying?: It’s more valuable as entertainment than as edification, but the underlying message is solid. Parents may find it useful to spark conversations about morality with their 6-12 year olds, but the movie won’t do that for you.

While watching The Mandalorian and Grogu recently, I was reminded of a distinction (which I owe to the pseudonymous Jane Psmith, who owes it to Robin Laws): the distinction between “iconic” and “dramatic” heroes.

While a dramatic hero follows a character arc in which he is changed by his experience of the world (examples: Orpheus, King Lear, Ben Braddock), an iconic hero undertakes tasks (often serially) and changes the world, restoring order to it, by remaining true to his essential self.

The Mandalorian (and Grogu, for that matter) sits squarely on the “iconic” side of this divide, along with Sherlock Holmes, James Bond, and Batman. You CAN give them a character arc in a film or TV show, but people don’t watch them for their character arcs. People watch them because they want to see them being themselves.

Which kind of story you tend to prefer - one with a dramatic hero or one with an iconic hero - will probably determine whether you enjoy this movie. Critics generally seem to be complaining that the film is unambitious, doesn’t take risks, and feels like an oversized TV episode. The critics are not wrong. If you want character development, the raising of important questions, or deep insights into the human condition, you will be unsatisfied. But if you want to see Din Djarin plowing through squads of stormtroopers on The Way to bring justice to various Big Bads, or watch Grogu take some more heartwarming steps on the path of childhood development, then you’ll likely leave the theater with a smile.

The Mandalorian and Grogu is aimed at children, and perhaps the children are onto something that the critics have forgotten about. Chesterton suggested that:

Because children have abounding vitality, because they are in spirit fierce and free, therefore they want things repeated and unchanged. They always say, “Do it again”; and the grown-up person does it again until he is nearly dead. For grown-up people are not strong enough to exult in monotony.

The critics are bored. But children, and maybe also those who have the heart of a child, are eager to say “Do it again!” to Din Djarin and Grogu until the galaxy runs out of Imperial warlords, crime bosses, and their mooks.

On the topic of plowing through hordes of mooks: the violence is really the main thing parents might want to discern before taking their children to see this movie. Characters are shot, stabbed, set on fire, thrown off cliffs, beaten, crushed, mauled, bitten, poisoned, and/or devoured - but everything is carefully shot in such a way to avoid gore almost entirely. The heroes don’t choose violence without good reason1, but they are certainly not shy about choosing it. Violence aside, the film’s underlying themes, insofar as it has them, are uncomplicated and family-friendly. If there is a “message”, it’s something like “it’s good to be loyal to your family and friends and be ready to sacrifice for them”2. If your children are fine with classic “family” action movies, they will be fine with this one (though maybe don’t bring them if they have a severe phobia of bugs or snakes.)

On the technical side, some elements shine and some don’t. The action is engaging and well-designed: it’s almost always clear what’s going on and why. I think the cold open scene in particular was truly excellent: toggling seamlessly between different kinds of action, delivering exciting twists and turns, and leaving us guessing about what would happen next. Ludwig Goransson delivers a fun score, with a few twists on the typical Mandalorian themes. The dialogue isn’t memorable: there are no truly awesome lines, but no truly terrible ones either. The plot flows logically, and the plot holes are papered over fairly skillfully.3 The acting was serviceable (Jonny Coyne was pretty good, Sigourney Weaver rather less so).

The Mandalorian and Grogu also successfully walked a tightrope between catering to fans and to casual viewers. I watched it with one hard core Star Wars fan (who was on her second viewing) and with My Wife™ who has minimal interest in the Star Wars extended universe. They both enjoyed it. There are plenty of “Easter eggs” and tie-ins for the fans to appreciate, but the movie works just fine whether you know what dejarik is or are just there to watch Baby Yoda be adorable.

Should you watch it? I enjoyed it, and you will too if you approach it in the right spirit. But (unless you are prevailed upon to write a review of it!)4 you probably won’t think much about it afterwards.

Though now I’ve said that, I kind of want to watch the cold open scene again. That was pretty awesome.

100 Movies Every Catholic Should See

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a year ago · 24 likes · 7 comments · Samuel Morales

Welcome to ‘100 Movies Every Family Should See’!

Founded by Samuel Morales, Joe Wilson, and Cameron DeLaFleur, we are three humble cinephiles who are here to provide you with the best family entertainment that will educate you and your loved ones in virtue and life lessons while also still being entertaining and quality!

Here’s What to Expect:

THE LIST

This list originated in remembering as a kid when my parents would look online to find movies we could watch as a family at home. It’s been a blessing to see a lot of people use our last (and continuing) list ‘100 Movies Every Catholic Should See’ to find good movies for their families, so I hope this will be a valuable resource for anyone looking for decent, quality films that the whole family can enjoy.

What we will also include in this list are minimum age ratings that will allow you to find films that work with young children as well as films to watch when your kids get a bit older.

To give you an idea of our writing, check out these posts we’ve already written (for followers of our other site, this list will be fresh and not include any movies already written about, such as these below):

• It’s a Wonderful Life

• The Prince of Egypt

• Fantastic Mr. Fox

• The Sound of Music

(Also, just like our last list, it is not ranked.)

NEW REVIEWS OF FAMILY FILMS

In these days, it can be difficult to discern what is a good movie to take the family to. We will be reviewing new movies that are targeted towards kids to make sure you know you’re making the right decision. Our reviews will not only feature the same minimum age suggestions but also whether or not the film promotes good values.

DEEP DIVES ON ANIMATION

I’m a huge fan of animation, particularly the history of Disney animation, and I’ve enjoyed writing on films like The Iron Giant, The Lion King, and The Incredibles. I’ve always wanted to go even more in-depth on the topic, so if you’re interested in learning how the medium works, check in here for some special deep dives!

(We’ve also had some great conversations with Hollywood animators on our podcast, check this out below!)

We’re really excited about this, and we hope you’ll consider subscribing!