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There are lots of new movies in theatres and maybe your child has mentioned one or two of them to you. But what are these movies really about and how can you find out without having to go see them yourself? 

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• DVD & Streaming
• Action/Adventure , Animation , Comedy , Sci-Fi/Fantasy

Content Caution

In Theaters

• November 22, 2023
• Ariana DeBose as Asha; Chris Pine as King Magnifico; Alan Tudyk as Valentino; Angelique Cabral as Queen Amaya; Victor Garber as Sabino; Natasha Rothwell as Sakina; Jennifer Kumiyama as Dahlia; Harvey Guillén as Gabo; Niko Vargas as Hal; Evan Peters as Simon; Ramy Youssef as Safi; Jon Rudnitsky as Dario; Della Saba as Bazeema

Home Release Date

• January 23, 2024
• Chris Buck; Fawn Veerasunthorn

Distributor

• Walt Disney Studios Motion Pictures

Positive Elements   |   Spiritual Elements   |   Sexual & Romantic Content   |   Violent Content   |   Crude or Profane Language   |   Drug & Alcohol Content   |   Other Noteworthy Elements   | Conclusion

Movie Review

Wishes come true in the Kingdom of Rosas.

In a manner of speaking, this enchanted kingdom was built on wishes. Once upon a time, King Magnifico had watched his own wish crumble. Never again , Magnifico vowed.

And so he created a kingdom with that in mind. He crammed his well-coifed head full of helpful magic to ensure that wishes would never die there. Residents would give him their wishes (in the forms of little bubbles) and he’d keep them all safe in his palace. And honestly, no one even knows what they’re missing when they turn wishes over to Magnifico, because they immediately forget what they were!

Once a month, Magnifico, being the generous, magical guy that he is, will select one of those safely stored wishes and grant it to the wisher. Free of charge. What a great guy, right?

Well, pretty much everyone in Rosas would agree that Magnifico is indeed a great guy. Such skills! Such kindness! Such hair! So naturally, when Asha has the opportunity to become Magnifico’s newest assistant, she’s a wee bit star struck. Who wouldn’t want to work shoulder-to-shoulder with the king?

But during her interview with the king, Asha asks for just one teensy-weensy little favor. Would he, could he, consider granting her grandfather’s wish? I mean, he is turning 100 years old during the day’s wishing ceremony. And it’d mean ever so much to him.

Magnifico is not a big fan of people asking favors of him during job interviews. But he sighs and takes a quick look at grandpappy’s dearest desire. It seems innocent enough, at least to Asha: The old guy simply wants to do something inspirational. How nice.

But Magnifico doesn’t find the wish nice at all. Why, what if the old man inspired, say, a revolution?

No, the only wishes he grants are those that benefit the whole of Rosas. That wish feels just a little too … dangerous .

While that might be all well and good for some, Asha believes that makes for something rotten in the state of Rosas. The king, as wise and handsome as he may be, is wrong. So Asha’s determined to take back her grandfather’s wish, and her mother’s wish, too—and return them to their rightful owners.

But how? She just might need a little extra help to do it. A little celestial help.

Positive Elements

The wishes we see in Wish are not your ordinary, everyday sort of wishes, like, “Man, I wish I didn’t have to go to the dentist this afternoon.” No, we’re talking about big, Disney-like wishes. I wish I could captain a boat instead of sweeping the cobblestones. I wish I could have a child. I wish that I could fly.

The movie suggests that these deepest wishes are critical parts of who we are—whether those wishes come true or not. So when they’re taken from the people of Rosas, those people are not fully themselves. And when those wishes are literally crushed, part of the wisher’s soul is crushed, too.

One could perhaps debate the story’s logic here. But if we accept that premise on its face, taking away those wishes—even for safe-keeping, as Magnifico says—feels morally dubious. And when Asha learns that many of those wishes may never be granted and will never be given back, her quest to return those wishes becomes something of a righteous imperative. Accordingly, Asha shows a great deal of courage in the face of some staggering odds (if, again, we accept the movie’s premise).

This becomes not just a personal fight, but ultimately a communal one, a quest akin to a righteous rebellion against tyranny. As Magnifico grows evermore out of control, more people join Asha’s fight, all of whom risk a lot. You don’t have to squint too hard to see echoes of all manner of democratic uprisings in Wish : It criticizes totalitarianism in all its forms—even those supposedly built on helping its people.

We should note that Wish also abandons the idea that wishing alone will make wishes come true. The film suggests that most wishes require hard work to realize—if they’re even possible at all. And that’s nice to see.

Spiritual Elements

Wish is obviously saturated with all sorts of magic. Magnifico is revered for being one of the most powerful magicians ever, having studied all sorts of magical strains for (he says and largely believes) the benefit of his people.

Magnifico’s library is filled with tons of magical books, including one filled with dark , “forbidden” magic. That tome of spells and incantations reflects a slightly more Christian understanding of magic: His wife reminds him that magicians who use that book are, ultimately, used by that magic for its/their own nefarious purpose. One can see that the spell book becomes an almost sinful temptation for Magnifico—one that comes with grave consequences.

But Magnifico’s magic is not the only form of magic we see here. Asha herself turns to the starry sky and, essentially, calls down a wishing star—a call that shakes the magical kingdom (and Magnifico himself) to its core.

That brings us to one of the more curious spiritual elements that Wish gives us. The song that triggers the star’s visit to Rosas includes the line, “I look up at the stars to guide me.” Neither God nor gods play a role in wish, but rather the stars . Why? Because, Wish tells us, we have some weird connection to them chemically, apparently.

This thought feels like it was inspired by a statement made by astrophysicist Neil deGrasse Tyson: “We are stardust.” Our molecular makeup, the agnostic deGrasse Tyson contends, can be traced to stars that exploded billions of years ago.

The movie pushes that thought another step, apparently arguing that we have, in our molecular makeup, some sort of memory of those exploding balls of gas. In another song, fittingly titled “I’m a Star,” we’re asked, “Have you ever wondered why you look up at the sky for answers?” It’s because we’re made of the same stuff that stars are, we learn, and the song goes into a fairly complex, utterly scientific diatribe into how we came to be. (“See, we were all just little nebulae in a nursery from supernovas/Now we’ve grown into our history/We’re taking why’s right out of mystery.”) The song also contends that that’s also why the flowers look so pretty and why trees have rings. Oh, and when we eat plants, we’re naturally eating more star stuff because, I guess, photosynthesis?

This is a prime tenant of Wish throughout. Magnifico even tells us that he got his magnificent “genes from outer space.”

So, in essence, Wish gives us a strictly naturalistic, arguably atheistic worldview and stuffs it with oodles of supernatural magic.

Characters concoct strange magical artifacts in creepy workshops. The star allows animals to talk and turns various things into various other things. Wishes float about like balloons. Magnifico sings about how he put “the I in omnipotent.” Asha sings at one point, “Isn’t the truth suppose to set you free?” referencing a biblical passage.

Sexual & Romantic Content

The sexual identity of one of Asha’s friends, Gabo, felt uncertain to me as I watched, which suggested that the film was giving us a bit of a wink-wink trans character. Perhaps it was.

In fairness, the character is unambiguously said to be a “boy” in press materials. We also learn there that he’s voiced by the queer-identifying actor Harvey Guillen. And Gabo does talk about the importance of not being fooled by a “pretty face,” referencing King Magnifico’s handsome visage.

He’s not the only one who notices Magnifico’s physical charms. Dahlia, Asha’s best friend, clearly has a crush on the king—one not helped by the fact that she’s a palace cook who whips up cookies featuring the king’s face. Another resident pretends to smooch a statue of Magnifico.

Violent Content

As mentioned, wishes take on very visual forms here: Magnifico’s library is filled with the balloon-like hopes and dreams of Rosas’ citizens. And when wishes are sometimes smashed or otherwise destroyed, it has a physical impact on the original wisher. One gasps and holds her chest as if she experienced a very short heart attack.

Magic takes some violent turns. Magnifico shoots magical blasts that knock down, drag down or overpower people. One man is, essentially, possessed by magical forces, and he transforms into a violent, sword-swinging zealot.

People risk injury by jumping from high platforms. A man is overpowered by a bear (even though the real threat appears to be bunny rabbits). In a song, Magnifico smashes suits of armor, throws around toy-like representations of his subjects (who scream or cry in terror). He threatens and scares several folks. Slapstick humor peppers the film. (Someone is knocked down by a giant egg, for instance.) We learn that Asha’s father died, and we hear that Magnifico’s own native land was destroyed by “selfish, greedy thieves.”

Crude or Profane Language

Drug & alcohol content, other noteworthy elements.

We’re subjected to a wee bit of bathroom humor, mostly courtesy of Valentino, Asha’s talking goat. During a song, he makes a joke about “balls of gas,” (apparently referencing both stars and bodily functions). He scratches his rear on unsanded wood. And he orchestrates, literally, a bunch of chickens in a musical number featuring clucking, dancing and the discharge of eggs. (Earlier, Valentino was aghast that those eggs came out of a chicken’s “butt”.)

Someone sneezes on a cookie, and someone else later (without concern), eats it. We hear a reference to a bad-smelling dungeon.

In order to reclaim her family’s wishes, Asha must break into Magnifico’s castle and take them. Some might (and some do) argue that she’s “stealing” them. Asha argues that she’s only taking back what’s rightfully someone else’s property. But because the wishes were given to Magnifico of their own “free will,” it seems we’re arguably in a legal gray area here.

Disney is in the middle of its “Disney100 Celebration” in 2023. And perhaps a celebration is well-deserved. Over the last 100 years, the Mouse House has been home to some breathtaking artistic and commercial successes—some of which I, and many of you, still love.

But for all those years upon years of lucrative achievement and, yes, storytelling magic, Wish feels like the work of a surprisingly insecure company.

This film can feel as though it was written by algorithm. A “princess”? Check. Magic? Yes. Talking animals? You bet. Songs? Sure. Everything that has worked for Disney is regurgitated here and fed to its audiences—all while giving short shrift to what Walt Disney built the company on: great storytelling.

In place of a story that feels in need of telling, we’re given baskets upon baskets of Disney Easter eggs. The company would rather I didn’t spoil those little surprises (which can, in truth, be pretty fun), but trust me: It’d be easier to name the animated movies that aren’t referenced here than those that are. At times, it feels like Wish was made for those Easter eggs, not as a storytelling vehicle—which is a bit like serving up a bunch of frosting, sans cake, to a bunch of 7-year-olds. The first bite or two is tasty, but ultimately the thing is unsatisfying.

Some have called Wish a very traditional, even conservative movie—meaning it doesn’t take a lot of unnecessary chances. And that feels true, at least on some level. But even then, the movie hedges its bets, offering an ambiguous wink to its LGBT fans.

Religion always has the power to polarize people, so perhaps it shouldn’t surprise us that Wish —desiring so much to be as inoffensive as possible—pushed so hard to divorce itself, and its magic, from any sort of transcendent power. It is as secular as any story featuring magic wands and spellbooks, wish-granting stars and talking animals, could be. Ironically, of course, that decision might still alienate many.

OK, so we’ve got some stardust in us or whatever. That’s certainly not why I turn to the sky to wonder, or to pray. I just don’t think it’s possible to be inspired by the fact that we’re made of the same raw material as everything else in the cosmos, and the storytellers at Disney should be savvy enough to know that. We are inspired by mystery, transfigured by awe, brought to tears by our glorious creation and—most especially, the Creator behind it. Disney, essentially, asks us to be awestruck by a beautiful cathedral because of the constitution of its bricks.

If you can push aside this movie’s naturalistic musings, atheistic leanings and LGBT posturings, Wish is otherwise rather innocuous. But it’s not inspirational. It does not come close to the artistic standards set by Walt Disney so many decades ago. It falls short of its 1990s renaissance films and even pales against its more recent triumphs (such as Encanto ).

I didn’t hate Wish . But as I left the theater, I had one big wish: I wish the movie could’ve been better.

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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Chuck Colson’s 50 Films Every Christian Should See

As some of you may know, Chuck loved movies. He saw them as a wonderful way to communicate truth and the many characteristics of our loving and all-powerful God. By viewing and studying certain films, he believed we could be inspired to live better lives. I think he was right.

This philosophy is one of the primary reasons we launched Plugged In , a website dedicated to providing insightful reviews of movies, music, television and video games. If you’re not already familiar with the site, I’d invite you to click here to check it out.

For today, though, I’d like to share with you a list of the 50 movies that Chuck Colson believed every Christian should see. The list was compiled several years ago, so it’s not entirely up to date. Not all of these films are suitable for all ages, of course, but it’s nevertheless a very thoughtful compilation.

How many of these films have you seen? Does one rise above the rest? Is there one missing from the list?

You might want to consider hosting a family movie night. Many of these films can be borrowed through your local library. If they don’t have it, ask about the possibility of an inter-library loan. Then there’s the internet and several companies who can make renting films a snap.

Take a look at the list and Chuck’s comments, then I’d welcome your feedback.

Films with a Christian Theme

2. A Man for All Seasons (1966, G). The inspiring story of Sir Thomas More, the 16th century Chancellor of England who was beheaded by Henry VIII because he would not compromise his beliefs. More is played by Paul Scofield, whose last lines in the film are: “I die his majesty’s good servant, but God’s first.”

3. Shadowlands (Both the 1985 version, no rating, and the 1993 version, rated PG.). Flawed but interesting films about C. S. Lewis and his marriage to Joy Davidman.

4. Sergeant York (1941, not rated). A young man is converted to Christ, and then must decide whether killing in the context of war is authorized by the Bible. Based on a true story.

5. The Robe (1953, not rated). A Roman centurion who carries out the crucifixion of Christ becomes one of His most fervent followers. A dramatic tale of heroism and sacrifice.

6. I Confess (1953, not rated). A Hitchcock drama about a priest who hears a murderer’s confession–and then is himself arrested and tried for the crime. One of the most inspiring portrayals of Christian faith on film, this movie depicts a priest who is willing to give up even his life before betraying his vows.

7. Ben-Hur (1959, no rating). A young Jewish man who lives at the time of Christ battles the Roman Empire and ultimately becomes a Christian.

9. The Hiding Place (1975, not rated). The true story of a Dutch woman named Corrie ten Boom whose family hid Jews from the Nazis, and were themselves sent to concentration camps when the Nazis discovered what they were doing. A tremendous example of Christian courage. NOTE: The film depicts the brutal reality of life in a concentration camp.

10. Saving Grace (1986, PG). A new pope finds himself locked out of the Vatican by mistake one day, and goes incognito to a small town run by a local thug. A sensitive and amusing film that illustrates the New Testament meaning of servanthood. Produced by Robert Wise of “The Sound of Music” fame. NOTE: Attempted seduction scene, one child is killed through an accident.

11. Les Miserables (1935, not rated). The redemptive Victor Hugo story of Jean Valjean, who is sent to prison for stealing a loaf of bread, and becomes a Christian through the sacrificial love of a bishop.

12. Tender Mercies (1982, PG). A down-and-out country singer turns to Christ. An on-screen baptism is beautifully depicted.

13. Repentance (1987, PG). This film was banned in the Soviet Union. Ted Baehr’s MovieGuide says: “Repentance is the movie that destroyed Communism. This … magnificent movie exposes the evils of communism … while lifting up the suffering Church and the triumphant, eternal Church of Christ Jesus.” (In Russian with English subtitles.)

14. Cry the Beloved Country (1995, PG-13). Set in the 1940s, the film is about a black South African minister whose son has been accused of the murder of a white man. A Christian worldview is portrayed throughout. NOTE: Implied murder, implied prostitution and fornication.

16. The Brothers Karamazov (1958, no rating). Is it possible to be good without God? This film correctly says no.

17. Dead Man Walking (1995, R). A nun becomes the spiritual advisor to a death row inmate. Contains a very strong conversion scene. NOTE: A murder and rape are shown at a distance, two corpses (one unclothed) are depicted. Some obscenities and vulgarities.

Films with Moral Themes

The following films are worth watching for their serious and inspiring treatment of moral themes, or because characters face moral challenges and rise above them.

19. It’s a Wonderful Life (1946, not rated). A classic Jimmy Stewart film about a depressed man who is reminded on Christmas Eve of how much he has to be grateful for.

20. Casablanca (1942, not rated). This classic is set in Morocco during the Second World War. Unlike the characters in “The English Patient,” Rick and Ilsa sacrifice personal happiness for honor.

21. The Winslow Boy (1948, no rating). Based on a true story, the film depicts the sacrifices an entire family is forced to make when the son is wrongly accused of theft at school, and the father decides to fight for the boy’s honor.

22. High Noon (1952, not rated). A good man stands alone against the forces of chaos and evil. A landmark Western.

23. Shadow of a Doubt (1942, not rated). In this Hitchcock thriller, an ordinary young woman realizes her uncle is a murderer and must decide what to do with that knowledge.

24. The Man Who Knew Too Much (1955, no rating). A Hitchcock film in which an ordinary man on vacation is thrust into a crisis and forced to make difficult moral choices.

25. North by Northwest (1959, no rating). In this classic Hitchcock film, an advertising executive is the victim of mistaken identity, and must ultimately choose between his own safety and helping his country.

26. War of the Worlds (1953, no rating). The antidote to 1996’s Independence Day. When aliens attack, who you gonna call? This film says you call God, and he will answer.

27. War and Peace (1956, no rating). Hollywood’s version of the Tolstoy novel about three families caught up in Russia’s Napoleonic Wars.

29. The Sound of Music (1965, G). A family is willing to sacrifice everything rather than join the Nazis.

30. In the Heat of the Night (1967, no rating). A classic film about a black New York detective who travels to the South to help solve a murder and becomes a victim of racial bigotry. NOTE: Adult themes.

31. Rudy (1993, PG-13). The true story of a young boy who dreams of playing football for Notre Dame. A film that celebrates having a dream and working at it. Ted Baehr’s MovieGuide says: “The film presents a moral view of character, the need for prayer, the sovereignty of God, and a positive view of the human spirit.” NOTE: Some foul language and a skewed depiction of Catholicism.

32. Sense and Sensibility (1995, PG). The story of a couple willing to give up private happiness for honor. Based on the Jane Austin novel. Beautifully filmed.

33. Mr. Holland’s Opus (1995, PG). A film that celebrates the glory of teaching, and of how one person can make a difference in the lives of others. NOTE: Some mild obscenities. No sex, nudity, or violence.

34. Spitfire Grill (1996, PG-13). The characters and their stories serve as springboards to lessons about forgiveness and the possibility of healing and restoration. The film was financed by Gregory Productions, the film-making arm of the Sacred Heart League. NOTE: Mild violence and mild foul language, references to rape and child abuse.

35. Stand and Deliver (1988, PG-13). Based on a true story, a new teacher in a rough urban school refuses to believe his students cannot learn and excel. NOTE: Rough language, violence.

36. Braveheart (1995, R). Set between 1280 and 1314, the film is about the Scottish freedom fighter William Wallace who leads his people to freedom from England. Christian film critic Ted Baehr writes: “The movie is a rallying cry for the supremacy of God’s law and [His] judgment of those who unjustly govern their fellow man.” NOTE: The violence of war is graphically depicted, brief nudity, two discreet sex scenes.

Other Worldviews and Philosophies

The following films provide insight into other philosophies that help us understand ideas that shape the world in which we live:

38. Star Wars (1977, PG). Ted Baehr’s MovieGuide says: “Pagan worldview of impersonal, monistic force empowering man and controlling circumstances.” An introduction to New Age monism.

39. Annie Hall (1977, PG). Woody Allen’s magnum opus anticipates the self-centeredness and therapeutic culture more than a decade before anyone else. NOTE: Contains scenes of sensuality, some crude language.

40. Days of Heaven (1978, PG). A brother and sister end up on a farm in Texas in a world with no meaning or purpose. Terrence Malick, a philosophy instructor turned filmmaker, made this film to be a window of insight into existentialism. This movie shows what is wrong with a world that excludes God.

41. The Dark Crystal (1982, PG). Two muppet-like creatures attempt to return a crystal shard to the castle containing the Dark Crystal. If you want to see how Hollywood sneaks New Age spirituality into children’s films, here’s a perfect example. Use the film to teach your kids how to be discerning.

43. Crimes and Misdemeanors (1989, PG-13). A man kills his mistress, and then remembers the lessons of his childhood in a Jewish home. The film illustrates the true struggle of conscience: that without God, man has to “kill” his conscience or go mad. NOTE: Adult themes.

44. Jurassic Park (1993, PG-13). Rampaging dinosaurs are used to promote evolutionary arguments. NOTE: Violence may be too intense for many children. Some profanity.

45. Contact (1997, PG-13). Based on a novel by the late Carl Sagan, this film about SETI (the Search for Extra-Terrestrial Intelligence) raises all the Big Questions of life. Portrays worldview of evolutionary scientific materialism. Ted Baehr writes: “A beautifully produced, sophomoric film which will give pseudo-intellectuals much food for thought while . . .offending the Christian moviegoer.” Excellent for discussion. NOTE: Rough language, some nudity, implied fornication.

Children’s films with a strong Biblical worldview

46. The Chronicles of Narnia (1989, not rated). Based on the Narnia books by C.S. Lewis (3 volume set).

47. The Lion King (1994, G). This animated film is a reminder that we cannot flee either our responsibilities or our troubles; we must face them head on. We also see a father willing to sacrifice his life for his son.

48. The Three Lives of Thomasina (1963, PG). An example of what the Disney Studios were capable of before the forces of political correctness took over. A heartwarming, turn-of-the-century tale of a Scottish veterinarian who loses–and then regains–his faith in God.

49. Beauty and the Beast (1991, G). This animated film echos the Biblical teaching that what’s inside the heart is more important than outside appearances.

What would be your top five films of all time?

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Topics: Family and Home Tags: entertainment , faith , pop culture May 2, 2012 by Jim Daly with Paul Batura

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