The Princess and the Frog **

Director: Ron Clements, John Musker

The differences between "usual" Disney princesses and the new multi-cultural approach they want to take is expressed quite clearly to us in the first scene of "The Princess and the Frog".
New Orleans seamstress Eudora (voiced by Oprah Winfrey) works on a dress for little Charlotte La Bouff (Breanna Brooks) while she tells her and her daughter Tiana (Elizabeth M. Dampier) a fairy tale.
While the perky, and white, Charlotte glows at the idea of frogs that turn into magical princes, Tiana yuks and proclaims there's no way she would ever kiss a frog.
Her dreams involve opening her very own restaurant with her father (Terrence Howard) and Disney love is something foreign to her system.
Flash forward a few years and Tiana (voiced later by Anika Noni Rose) is working as a waitress while saving to make the first down payment on her restaurant. Charlotte (voiced as an adult by Jennifer Cody) is still the same and has set her eye on the upcoming arrival of Prince Naveen of Maldovia (voiced by Bruno Campos) to become the princess she always wanted to be.
The fact that during these first few scenes we're actually suggested to think of Charlotte as some sort of antagonist- making life impossible for girls who want to work hard like Tiana- is ironic considering how the whole plot turns against itself later on.
Free spirited Naveen is transformed into a frog by evil witch doctor Facilier (Keith David) A.K.A "the Shadow Man" who has a plan to get Charlotte's father (John Goodman) wealth.
Naveen, who obviously read the fairy tale, confuses Tiana for a princess and asks her to kiss him in exchange of being granted anything she wishes for.
She does, ending up a frog herself. It's impossible not to question here if she's being punished for going against her integrity (and expecting to make her wishes come true out of magic) or because she dared think of herself as a fairy tale princess.
Soon Naveen and Tiana find themselves crossing the bayou to find Mama Odie, a witch (Jenifer Lewis) that might know how to turn them back into humans.
Along the way they befriend anthropomorphic creatures that show us-by way of Randy Newman's catchy but repetivie songs- not all reptiles and insects are nasty creatures.
Large part of the plot is shaped around the idea that we shouldn't want to be something we're not. Giant alligator Louis (Michael-Leon Wooley) wishes he could be a jazz trumpet player, while Cajun firefly Ray (Jim Cummings) is in love with a star he calls Evangeline.
Half the movie we endure a debate going on between what the film is saying literally and what it's revealing in a sub-level.

We come to understand that dreams like the one Ray has not only are impossible to achieve but are slightly delusional and it might be said that by stressing out how these predominantly African American characters endure all kinds of trouble to reach things the heroine doesn't even believe in, the filmmakers are not evolving as they suppose, but retaining traditional characteristics to assure young audiences that maybe Disney's status quo isn't so bad as it seems.
The twists have more smug-self-indulgence than wonder and while handsomely drawn and animated the film never haves the magic of 2D classics the studio delivered so proficiently during its golden age.
"It serves me right for wishing on a star" sighs Tiana, when "the only way to get what you want in this world is to work hard for it".
This might come off as a positive message on Disney's part but the movie takes such great lengths to take us to Charlotte's side, that children might just assume old studio princesses who merely wait for a prince to solve their lives are better off than poor Tiana.

Iron Man ***

Director: Jon Favreau

Cast: Robert Downey Jr., Gwyneth Paltrow

Terrence Howard, Jeff Bridges, Shaun Toub, Leslie Bibb

Tony Stark (Downey Jr.) builds weapons. He inherited Stark Industries from his father and has become one of the most important names in the business.

A child genius and flawless engineer he spends his free time gambling, partying and bedding beautiful women.

During a trip to Afghanistan where he's to demonstrate a new missile, his convoy is ambushed and Stark is captured by a guerrilla group who demand he builds weapons for them.

Trapped in the mountains he, and fellow captive Dr. Yinsen (Toub) tell them that they will make weapons for them, but instead forge a power armor, fueled by an arc reactor (that also helps keep Stark alive after the attack) that ends up as a prototype for what later becomes the Iron Man suit.

After his return to the States, Stark decides to stop making weapons and as Iron Man travels the world over to destroy them.

This doesn't come as good news to his business partner Obadiah Stane (Bridges) nor to the Afghan group that still wants revenge.

Favreau's film is a great introduction to one of the most unknown characters in the Marvel repertoire and one, for that matter, that does a satisfactory job in catching us up with why Stark deserves to be known as well as we do Peter Parker and Jean Grey.

Shot in a hyper realistic style that tries less to evoke the visuals of comic books and is more about how the scenes should play in your imagination, "Iron Man" provides a visual effects extravaganza that for once provides us with not more or less than we would've expected.

At the center of it all is a maniacally great performance by Downey Jr. who in a way seems to have been born to play Tony Stark.

His evolution from careless playboy into ,self, conscious superhero is one that needs the other to fully shape the man. Stark is a cocky man who you hate to love. At film's start he's shown in some mock magazine covers and when he appears on "Rolling Stone" you realize that we indeed live in a world that worships power regardless of where it comes from.

The thing about Downey is that when he realizes the truth of what his business does to the world, you believe his change completely, if only because you know that this is a man so selfish that this is the first time he's actually opening his eyes to something bigger than himself.

While a superheroe's costume is supposedly designed to keep his identity safe, Downey Jr. never completely vanishes inside his metal armor.

The animation job is obviously magnificent, because even while dashing across the skies or shooting missiles from his shoulder, Iron Man is still Tony Stark.

The supporting cast does a terrific job as well including Howard as Tony's friend Lt. Colonel James Rhodes, Clark Gregg as a nosy agent who by film's end makes you go "oh!" and the always magnificent Bridges who with a shaved head and full on beard gives a deliciously evil performance of power gone bad (in more ways than one).

Stealing every scene she's in, Gwyneth Paltrow plays Pepper Potts, Stark's loyal, and leggy, assistant who perfectly embodies damsel in distress with a twist.

She gets some of the film's best lines and often gives it a warm heart. Most dazzling of it all is the sexual chemistry between Paltrow and Downey Jr. which sometimes gives out more energy than any of the featured gadgets.

We grow up thinking that you grow up being a superhero, which is why Iron Man's midlife crisis enlightenment comes off as an invitation to change in the midst of a world that seems to be closing in on us.

It delivers the ultimate corporate wars to the baby boomers all over the world while reminding us that it's never late to make a fresh start.