brave movie review common sense media

• Skip to main content
• Keyboard shortcuts for audio player

• LISTEN & FOLLOW
• Apple Podcasts
• Google Podcasts
• Amazon Music

Your support helps make our show possible and unlocks access to our sponsor-free feed.

Pixar's Fast And 'Brave' Female Comedy: 'Delightful'

David Edelstein

In Brave , Merida goes in search of a spell to get back at her mother, who wants to force her to marry a suitor. Disney/Pixar hide caption

• Directors: Mark Andrews, Brenda Chapman
• Genre: Family, Animation, Comedy
• Running Time: 93 minutes

Rated PG for some scary action and rude humor

With: Kelly Macdonald, Emma Thompson, Billy Connolly, Julie Walters, Kevin McKidd

First, I hate the title, and not because it's an adjective. Notorious, Ravenous, Rabid: great titles. Brave? Generic. And with the poster of a girl with flame-red curls pulling back a bow, it looks like yet another female-warrior saga, another you-go-girl action picture suggesting the biggest injustice to women over the last millennium has been the suppression of their essential warlike natures.

You'd hardly know this latest Pixar movie is a broad comedy, a farce, and that it centers not just on the redhead who wants to shoot arrows but the mom who constantly undermines her. It's closer to the uproarious Freaky Friday than the recent, glumly revisionist Snow White picture — and all the more delightful for it.

Now, the first part of the film is a bit misleading. After a prologue in which the huge medieval Scottish king Fergus goes nose-to-snout with a giant bear, Brave depicts his daughter, Merida, growing up and longing to head out. She wants to shoot arrows like her dad, to chase the wind and touch the sky — as proclaimed in a Celtic-inflected song on the soundtrack called, uh, "Touch the Sky."

But then the central conflict emerges: Merida, who teases her dad for constantly declaiming the bear-who-took-his leg story to anyone who'll listen, and who walks around with a longbow; and the mom who wants her to act like a stereotypical princess.

The hearty Scottish verbal attacks throughout the film splendidly evoke a world in which all the people are wayward, headlong, acting before thinking. After Merida humiliates three ludicrous suitors from three different clans competing for her hand, she gallops off and sees a magical glowing orb called a will-o'-the-wisp that leads her to the house of an enterprising witch who sells her a spell. I can't tell you what that spell does — it's a major spoiler — but the rest of Brave consists of Merida trying to undo it and prevent a potentially fatal disaster.

Merida's parents, Queen Elinor and King Fergus, try their best to control Merida's wild behavior, with little success. Disney/Pixar hide caption

Merida's parents, Queen Elinor and King Fergus, try their best to control Merida's wild behavior, with little success.

The film has three directors, Mark Andrews, Brenda Chapman, and Steve Purcell, and my tam-o'-shanter is off to them for a second half in which farce, suspense, and surprising sentiment are in perfect balance. You can detect the influence of the great Japanese animation director Hayao Miyazaki in those will-o'-the-wisps and in the central idea of a misunderstood child who wishes a parent would change and then has to use all her wits and strength when the parent changes too much. But Brave is pure Pixar in its mischievousness and irreverence and the brilliantly delineated facial movements of its characters — with Kelly MacDonald an inspired choice for Merida, her voice both melodious and edged with exasperation.

Some Hollywood commentators have pointed to the previews for Brave and the recent, poorly-received Cars 2 to wonder if Pixar is losing its edge and becoming more formulaic. True, Brave is not as groundbreaking as the last two Toy Story pictures, Finding Nemo or Ratatouille . But it's fast, funny, and unpretentious, its message more powerful for its lack of stridency. Merida wants nothing more than to control her own fate, her rage provoked by her mother's refusal to see the world through her eyes. Her cataclysmic attempt to change her mom's mind at least has the effect of giving them both a common cause and spares Merida the kind of estrangement that nowadays would lead to thousands of dollars in therapy.

Related NPR Stories

Movie interviews, a timeless story takes a 'brave' female twist, movie reviews, in 'brave,' a pixar princess at odds with her place, brad bird, patton oswalt on cooking up 'ratatouille', the people behind pixar's 'toy story 3'.

Pixar has fashioned a poignant tribute to mother-daughter relationships.

By Peter Debruge

Peter Debruge

Chief Film Critic

• ‘The Three Musketeers – Part II: Milady’ Review: Eva Green Surprises in French Blockbuster’s Less-Than-Faithful Finale 2 weeks ago
• ‘The Ministry of Ungentlemanly Warfare’ Review: Henry Cavill Leads a Pack of Inglorious Rogues in Guy Ritchie’s Spirited WWII Coup 3 weeks ago
• ‘Challengers’ Review: Zendaya and Company Smash the Sports-Movie Mold in Luca Guadagnino’s Tennis Scorcher 3 weeks ago

Walt Disney began his feature career with a princess story. Now Pixar gives princesses a go after making a dozen other toons, and though the studio brings its usual level of perfectionism and heart to the assignment, “ Brave ” seems a wee bit conventional by comparison with, say, how radically “The Incredibles” reinvented the superhero genre — not that Pixar’s eager international following will object. Adding a female director to its creative boys’ club, the studio has fashioned a resonant tribute to mother-daughter relationships that packs a level of poignancy on par with such beloved male-bonding classics as “Finding Nemo.”

Though going all girly has made parent company Disney skittish in the past (most recently retitling its Rapunzel adventure “Tangled” to play to crossover interest), this new Celtic princess comes off as enough of a tomboy to ensure near-universal appeal. As its title suggests, “Brave” offers a tougher, more self-reliant heroine for an era in which princes aren’t so charming, set in a sumptuously detailed Scottish environment where her spirit blazes bright as her fiery red hair.

Popular on Variety

Voiced with verve by Scottish actress Kelly Macdonald , young Merida takes after her father, King Fergus (comedian Billy Connolly), still nursing a grudge against the bear that ate his leg. A defiantly independent lass, Merida prefers archery and horseback riding to the dainty yet dull pursuits taught by her ladylike queen mother, Elinor (Emma Thompson), resulting in many a royal scolding.

The film breezes through most of Merida’s upbringing to find conflict on the eve of her betrothal, when Elinor somehow manages to surprise her daughter with the news that the clan believes in arranged marriage. As far as Merida is concerned, she doesn’t need a man to live happily ever after —  a novel concept in the relatively narrow world of cartoon logic, and one that allows the movie to do without a lowly stable boy or other replacement love interest. And so Merida upstages her suitors before running away into the woods alone.

For a girl distrustful of tradition, Merida is quick to put her faith in the ancient forest spirits, following a series of glowing blue will-o’-the-wisps to the door of a witch’s cottage. Had Merida only watched more Disney movies as a girl, she never would have made her next mistake. Naive in the ways of magic, she asks for a spell that will change Elinor’s mind, receiving instead an enchanted cake that transforms her mother into a giant black bear —  that most endangered of species in Fergus’ ursine-averse kingdom.

“Brave” may not be a romance, but it is most certainly a love story, using this enchanted device to explore the dynamic between Merida and her mother. Thompson brings deep reserves of empathy to the film’s less obvious but equally strong female role model, matched by a number of touching, nonverbally protective actions after she takes on bear form. The animation is at its best when allowing Elinor’s character to shine through her awkward new shape.

Merida has two days to undo her mistake before the change becomes permanent, but by this point, the film has become just another fairy tale, and only the youngest of children will be surprised by what follows. Familiar though its elements may be, “Brave” feels quite different from earlier Pixar films, demonstrating a refreshing versatility in an oeuvre that was starting to look a bit staid, especially as sequels overtook the slate.

Behind the scenes, Brenda Chapman began the project and retains a directing credit, though Mark Andrews reportedly stepped in around October 2010. However the duties may have been split, the resulting film appears darker and more intricate than anything the studio has attempted before, from the richly textured Highlands cliffs to the individually rendered curls of Merida’s burning-bush hair.

Musically, gone are Randy Newman’s folksy tone and Michael Giacchino’s infectious pep, making room for a different signature from Scottish composer Patrick Doyle . When Merida needs some alone time, the soundtrack offers lovely ballads by Gaelic folk singer Julie Fowlis, but in nearly all other moments, Doyle’s dynamic bagpipe and strings arrangements swarm into action.

That energy reinforces the film’s restless, almost agitated spirit, further mirrored by virtual 3D cameras that swoop and race through the meticulously conceived environments. While elaborate attention was clearly paid in designing this tale’s belligerent gents (with amusing voicework by the likes of Connolly, Robbie Coltrane and Craig Ferguson), Merida and Elinor appear to be its two least detailed characters. Yet Merida’s wild red mane more than compensates for any personality absent from her expressions.

The toon “Brave” most resembles is DreamWorks’ “How to Train Your Dragon,” offering the flipside of that pic’s sensitive-boy predicament in its adventure-seeking heroine. An interesting study could be made in contrasting the two studios’ approaches, no doubt, and yet celebrating their respective accomplishments drives home how far both have come since the year when “A Bug’s Life” and “Antz” bowed opposite one another.

As an added treat, “Brave” is preceded by Enrico Casarosa’s Oscar-nominated short, “La luna,” adding seven minutes to the running time of Pixar’s shortest feature since “Monsters, Inc.”

• Production: A Walt Disney Studios Motion Pictures release of a Disney presentation of a Pixar Animation Studios production. Produced by Katherine Sarafian. Executive producers, John Lasseter, Andrew Stanton, Pete Docter. Directed by Mark Andrews, Brenda Chapman. Co-director, Steve Purcell. Screenplay, Andrews, Purcell, Chapman, Irene Mecchi; story, Chapman.
• Crew: Camera (Deluxe color, widescreen, 3D), Robert Anderson; editor, Micholas C. Smith; music, Patrick Doyle; music supervisor, Tom MacDougall; production designer, Steve Pilcher; art directors, Matt Nolte (characters), Noah Klocek (sets), Tia Wallace Kratter (shading); story supervisor, Brian Larsen; supervising technical directors, Bill Wise, Steve May; supervising animators, Alan Barillaro, Steven Clay Hunter; sound designer (Dolby 7.1 Surround/Datasat), Gary Rydstrom; supervising sound editor, Gwendolyn Yates Whittle; re-recording mixers, Rydstrom, Tom Johnson; effects supervisor, David MacCarthy; stereoscopic supervisor, Bob Whitehill; associate producer, Mary Alice Drumm; casting, Kevin Reher, Natalie Lyon. Reviewed at Disney Studios, Burbank, June 9, 2012. (In Los Angeles Film Festival -- Galas.) MPAA Rating: PG. Running time: 100 MIN.
• With: Merida - Kelly Macdonald Fergus - Billy Connolly Elinor - Emma Thompson The Witch - Julie Walters Lord Dingwall - Robbie Coltrane Lord MacGuffin - Kevin McKidd Lord Macintosh - Craig Ferguson Maudie - Sally Kinghom, Eilidh Fraser

More From Our Brands

Kentucky derby livestream: how to watch the 150th running online this weekend, savannah vs. charleston: which southern city has the best luxury hotels, fanatics exec appeals injunction in draftkings noncompete case, be tough on dirt but gentle on your body with the best soaps for sensitive skin, the boys season 4 trailer: wrathful supes, gen v cameos… and homelander on ice oh my — watch, verify it's you, please log in.

The Definitive Voice of Entertainment News

Subscribe for full access to The Hollywood Reporter

site categories

Brave: film review.

Pixar's 13th film, which follows an adventurous Scottish princess, is visually stunning and strongly voiced, but doesn't take any real risks.

By Todd McCarthy

Todd McCarthy

• Share this article on Facebook
• Share this article on Twitter
• Share this article on Flipboard
• Share this article on Email
• Show additional share options
• Share this article on Linkedin
• Share this article on Pinit
• Share this article on Reddit
• Share this article on Tumblr
• Share this article on Whatsapp
• Share this article on Print
• Share this article on Comment

The season’s latest feature destined to boost the demand for kids’ archery lessons, Brave might disappoint many ardent Pixar loyalists while simultaneously delighting old-time Disney fans.

The 13th animated feature from the world’s most consistently successful film company is its first set in that version of the past forever favored by Disney, that of princesses, kings, queens, witches, evil spells and prankish secondary characters. For all its pictorial and vocal beauty, the film’s emotional line and dramatic contrivances are both more familiar and less inventive than what’s usually delivered by the studio. Younger kids won’t mind, but many viewers accustomed to relying upon Pixar for something special will feel a sense of letdown due to the lack of adventurousness. A muscular box office ride is virtually a given.

Related Stories

Disney publicist marshall weinbaum departs for netflix's awards team (exclusive), 'inside out 2' trailer: new emotions voiced by paul walter hauser, ayo edebiri enter riley's head.

PHOTOS: 28 of Summer’s Most Anticipated Movies: ‘Avengers,’ ‘Dark Knight,’ ‘Prometheus’

Part of the problem is that Brave never becomes the film that seems to be promised at the outset. After a beautiful and eventful prologue in which flaming-maned Scottish princess Merida ( Kelly Macdonald ) receives an archery bow for her birthday, glimpses blue will-o’-the-wisps floating through the forest and sees her father, King Fergus ( Billy Connolly ), lose a leg to a ferocious bear, the action jumps ahead to her adolescence and her obligation to get married.

Under the strict tutelage of loving but demanding mother Elinor ( Emma Thomson ), Merida has learned the necessities but is a wild lass at heart, desperate for her days off when she can ride off on horseback and perfect her archery. As for marriage, nothing could be less appealing: “I don’t want my life to be over,” she rails to her mother. “I want my freedom.”

One look at the top suitors offered up by the three other leading clans and you can see what she means; they’re the three stooges of Scotland, whose beefy kinsmen would sooner brawl than shake your hand. Once Merida shows them all up in an archery contest and her furious mother tosses her daughter’s prize bow in the fireplace, the headstrong girl takes off on her enormous steed, Angus.

VIDEO: Full ‘Brave’ Trailer: Pixar Shows Off Scotland and an Epic, Animated Hairdo

It stands to reason that this first half-hour sets up expectations of a story in some way involving a renegade princess, trouble among the clans and/or a mysterious adventure involving the wisps and some Stonehenge-like arrangements that come into play. The left-turn taken by the script co-authored by Mark Andrews , Steve Purcell , Brenda Chapman and Irene Mecchi , from a story by Chapman, who co-directed with Andrews, might be embraced by those comforted by the familiar. But it’s a move that channels the film into startlingly well-worn territory, that of a conventionally toothless and whiskered old witch ( Julie Walters ) willing to cast a spell to grant Merida’s wish to change her mother so as to alter her own fate.

The spell, lo and behold, turns Elinor into an enormous bear, one that retains Elinor’s brain and heart but cannot speak. Thus ensues a lot of not-so-hot slapstick as bear Elinor knocks about in quarters too small for her and tries to communicate while Merida feels remorse and endeavors to reverse the spell.

What results is a film that starts off big and promising but diminishes into a rather wee thing as it chugs along, with climactic drama that is both too conveniently wrapped up and hinges on magical elements that are somewhat confusing to boot. Not only is the tale laden with standard-issue fairy tale and familiar girl-empowerment tropes, but the entire project lacks the imaginative leaps, unexpected jokes and sense of fun and wonder that habitually set Pixar productions apart from the pack. Its ideas seem earthbound.

On a sensory level, however, Brave i s almost entirely a delight. The wild beauty of Scotland, of the verdant forests and the craggy peaks, is lovingly rendered with a gorgeous palette of painterly colors and in very agreeable 3D. Even better, the voicings here are among the most exceptional and pleasurable of any animated film you might care to name. Working in pronounced Scottish accents that, to be sure, don’t approach the often undecipherable ones heard in Ken Loach films, Scottish actors Macdonald and Connolly are a joy to listen to, as is Thompson, even if too many of the conversations are argumentative in a repetitive vein. Patrick Doyle ‘s active and resourceful score is another major plus in a film that has played it safe instead of taking chances and going for something new.

Venue: Sydney Film Festival (opening night) Opens: Fri,day June 22 (Disney) Production: Pixar Animation Studios Voices: Kelly Macdonald, Billy Connolly, Emma Thompson, Julie Walters, Robbie Coltrane, Kevin McKidd, Craig Ferguson, Sally Kinghom, Eilidh Fraser, Peigi Barker, Steven Cree, Steve Purcell, Callum O’Neill, Patrick Doyle, John Ratzenberger Directors: Mark Andrews, Brenda Chapman Co-director: Steve Purcell Screenwriters: Mark Andrews, Steve Purcell, Brenda Chapman, Irene Mecchi, story by Brenda Chapman Producer: Katherine Sarafian Executive producers: John Lasseter, Andrew Stanton, Pete Docter Directors of photography: Robert Anderson (camera), Danielle Feinberg (lighting) Production designer: Steve Pilcher Editor: Nicholas C. Smith Music: Patrick Doyle PG rating, 93 minutes

THR Newsletters

Sign up for THR news straight to your inbox every day

More from The Hollywood Reporter

Hot docs: nishta jain’s ‘farming the revolution’ takes top jury prize  , oscar-nominated documentary filmmaker maite alberdi talks about her upcoming narrative debut, manu rios on fame, feeling exposed and spending more time in los angeles: “it’s in the works”, matteo garrone’s ‘io capitano’ wins italian film awards, ‘my old ass’ to open toronto’s inside out film festival, ‘the maze runner’ reboot in the works with ‘transcendence’ scribe jack paglen in talks to write (exclusive).

Screen Rant

'brave' review, even though brave is solid from beginning to end, the experience might be a little underwhelming for older viewers who expect pixar to continue pushing the boundaries of animated film storytelling..

Easily one of the most trusted names in animated filmmaking, Pixar is back with another original story for children and adults, alike. Following behind a pair of franchise sequels ( Toy Story 3 and Cars 2 ), with  Brave  the studio is set to tackle its very first full-length princess fairy tale story - a staple of Disney's hand-drawn animated classics. This round, Pixar alum and John Carter co-writer Mark Andrews is stepping into the director's chair, after the film's creator, Brenda Chapman ( The Prince of Egypt ), left the project following a series of creative differences.

After the mixed response to Cars 2 , which received Pixar's harshest critical lashing to date, has the film studio managed to produce an animated experience that successfully balances a new story, enjoyable characters and groundbreaking visuals for movie lovers of all ages - not just the juice box crowd? Following in the footsteps of films like Up and Wall-E , not to mention franchise threequel Toy Story 3 , does  Brave once again raise the bar for animated films?

Fortunately,  Brave is a return to form for the studio and delivers plenty of fun for moviegoers from all walks of life. However, for anyone who was especially moved by the studio's more "mature" films - namely the aforementioned Up and Wall-E - Brave could come across as somewhat less ambitious (and subsequently a little underwhelming) - as the core storyline relies on a lot of familiar fairy tale tropes. This isn't to say that the film fails to deliver a competent narrative or charming characters - but, for some, the studio may not have provided as many memorable or thought-provoking story beats this round. But even though Brave may not soar quite as high as some of Pixar's most celebrated efforts, the movie still offers plenty to enjoy - not to mention, a solid mix of traditional princess power coupled with the studio's trademark charm and humor.

Brave  (originally titled  The Bear and the Bow ) follows reckless tomboy Princess Merida (Kelly Macdonald) whose mother, Queen Elinor (Emma Thompson), has been diligently preparing her for a life of royal responsibilities. Unlike more traditional Princesses, Merida takes after her warrior father, King Fergus (Billy Connolly), and would much rather be riding through the forest on horseback firing arrows, or climbing mountains, than dressing for a royal function or practicing proper etiquette. Her rebellious attitude comes to a head when the Queen invites three leaders in the kingdom to present their sons as suitors for Merida, and the Princess makes a deal with a local witch who promises to help change the girl's fate. Unfortunately, the witch's spell results in unexpected consequences, forcing Merida to rethink her obligation as Princess - for the sake of her family as well as the betterment of the kingdom.

As mentioned, while the Brave storyline is definitely entertaining, it's not nearly as innovative as some of Pixar's other works - relying heavily on familiar "be yourself" and "put aside selfish behavior" plot threads. Many of the story beats and dramatic setups will be familiar to most adult moviegoers - making it easy to predict events before they are revealed. Much like its Pixar predecessors, fans will no doubt defend the movie by reminding naysayers that, above all else, Brave is a kids movie - and without question, as a kids movie, the film succeeds. However, adults looking for a contemplative and "mature" animated offering may find Brave to be a bit on-the-nose and too predictable to provide anything more than moment to moment entertainment. As a result, there are plenty of enjoyable comedy and action beats that will appeal to viewers of all ages - there just isn't a lot to unpack after the lights go up.

Those who can relate to Mother/daughter relationships will be able to draw a bit more value out of the onscreen character drama - since the conflict between Merida and Queen Elinor  is the central motor of the story. This isn't to say that Brave  will only appeal to women, but it doesn't take too long to see that nearly all of the male characters are designed to provide little more than comedy relief. Hollywood is overstuffed with male heroes, so it's refreshing to see Merida (and Queen Elinor) take center stage in the film; although, with so many rash and downright knuckleheaded men running around in the kingdom, some male audience members might have a hard time connecting to the film's emotional touchstones (even though King Fergus and the royal triplets are among the most entertaining players in the film).

That said, even with a number of predictable story beats and a lot of one-note male characters, Brave provides plenty of eye candy for animated film fans. The hair effects alone are incredible - not to mention the gorgeous rolling hills of the Scottish countryside. Additionally, the movie offers a solid story that, in spite of a heavy reliance on familiar archetypes, manages to put a unique stamp on the fairytale genre. Merida isn't exceptionally different from prior Disney Princesses (who yearn to be free of their responsibilities and live a "normal" life) but the similarities won't prevent audiences from identifying with the character or her personal journey.

Like most animated films, Brave is screening in 3D and, like most animated films, the movie looks sharp in the premium format - rarely relying on "jump out of the screen" gags. Consequently, either version of the film is recommendable - since the 3D effect is neither distracting nor essential to enjoying the onscreen action.

While it doesn't break a lot of new ground, Brave is a beautiful and competent entry in Disney's robust fairytale film pedigree - one that is sure to dazzle younger viewers. Princess Merida will, without question, have no trouble competing alongside iconic Mouse House heroines like Sleeping Beauty, Jasmine, and Ariel, as one of Disney's best animated leading ladies. Nonetheless, even though Brave is solid from beginning to end, the experience might be a little underwhelming for older viewers who expect Pixar to continue pushing the boundaries of animated film storytelling with another "mature" offering. Ultimately, it's an easy film to recommend, but some ardent cinephiles might want to temper their lofty expectations.

If you’re still on the fence about  Brave , check out the trailer below:

[poll id="337"]

Let us know what you thought of the film in the comment section below.

Follow me on Twitter @ benkendrick  for future reviews, as well as movie, TV, and gaming news.

Brave is Rated PG for some scary action and rude humor. Now playing in theaters.

Brave Review

13 Aug 2012

100 minutes

Once upon a time, there was an animation studio that could do no wrong. Well, that’s not entirely true. A Bug’s Life is only pretty good, Monsters, Inc. not half as funny as it thinks it is, and we’ll come to Cars in a moment. Anyway, this animation studio was rightly held in high esteem not just for the exquisite look of its films, but for the wit, wisdom and emotional colour with which it invested its varied fables. But of late, a shadow has fallen across its pineapple-yellow happy rooms, their communal breakfast carts and bottle-green think tanks. Care of the empty dazzle of Cars 2, sequel to the empty dazzle of Cars; the opening, indeed, of Cars Land in Disneyland (weren’t such tawdry brand extensions beneath their lofty ideals?); and the flop-by-association of John Carter, which their famed Brain Trust could do little to salvage, they appear short on inspiration. For the first time in its rich tapestry, the latest Pixar film is approached with something like trepidation — there have even been rumours of behind-the-scenes conflict, key creatives handing in their Hawaiian shirts. And its first original story since Up appears to be set in the corny realms of fairy tale usually dished up by Mother Disney.

And yet, at the end of the astonishingly good first act of Brave, you want to cheer. Feisty heroine Merida (voiced with thistle-prickled sass by Kelly Macdonald) has won her own hand in marriage by beating a trio of unappealing local suitors in an archery competition, splitting an arrow in a shiver of tensile slow motion. Ready proof of Pixar’s still inexhaustible visual brio, marrying a virtuoso play on movie dynamics with emotional illustration. Merida is a girl on a mission, like Gregory’s Girl retrofitted to Skyrim. It’s the launch pad for a great film, but we get only a very good one.

By the way, gratifyingly we are leagues from singing mice and wedding-cake castles. Drawn from a swatch of ursine-scented Highland folklore, the tale unfolds in a soothingly majestic Celtic Scotland, sprawling into the hazy distance in 3D (to this jaded reviewer’s eyes, one of the best examples of the format thus far). Check out the way things aren’t in focus.

What is sharp as day is the canniness of the lead characters. Crowned with a waterfall of magnificent coppery curls glinting like Irn-Bru, plucky, exasperated Merida is a modern girl in an ancient world (i. e. she won’t marry some local snotling). This is not to her mother’s liking. Queen Elinor (Emma Thompson) is the brains of the kingdom with iron-black locks — save for a streak of Sontag-silver — and one eye on the fragile alliance of local clans: the Dingwalls, the Macintoshes and (wonderfully) the MacGuffins. Vetoing both the romantic carry-on of dreamy Prince Charmings and the current vogue for gender-reversed girl-warriors (although Merida’s archery-tekkers would send Katniss for an early bath), the story is tightly and movingly focussed on this tangle of mother-daughter relations. More like Miyazaki, in fact. Cue: a convenient Macbeth-sprung witch offering a risky spell. Cue: risky spell (without giving the game away, the mother ends up metaphorically embodying the daughter’s opinion of her). Cue: the rest of the film. You can see where it’s going, and that is exactly where it goes.

By the way, led by Billy Connolly’s one-legged, rabble-rousing King Fergus, the men are uniformly eejits: a hilarious, woad-slapped, kilt-wrapped, punch-drunk tartan army bearing more than a passing resemblance to the tribal nitwits of Astérix books. That is apart from Merida’s pipsqueak brothers: a triplet of curly-haired, scene (and bun)-stealing micro-dervishes sure to be championed by junior viewers.

Amongst the hurly-burly of the second and third acts (the film is distinctly three-tiered) there is some ravishing animation (perfect facsimiles of rolling animal gait, rousing midnight getaways, all those ambient details we shouldn’t take for granted: the rippled surface of a lonely loch, the flicker of torch light, the scrupulous textures of stone, wood and tartan). But the film lacks discovery, the way plot unfurls in unforeseen directions in top-table Pixar. That extra layer of interpretation. How Ratatouille was really about the pursuit of art. How the Toy Storys are really about the vexations of middle management. How The Incredibles is a better version of Watchmen than Watchmen.

Brave is an enthralling entertainment, sure to make you laugh. But it’s also a journey of self-discovery readily apparent to anyone weaned on Disney. Even then, the moral is a bit of a fudge — follow your heart and listen to your parents. Group hug. Happily ever after.

Related Articles

Movies | 03 02 2021

Movies | 16 11 2020

Movies | 19 02 2019

Movies | 30 08 2018

Movies | 08 06 2016

Movies | 23 11 2015

Movies | 22 07 2013

Movies | 25 06 2012

Notice: All forms on this website are temporarily down for maintenance. You will not be able to complete a form to request information or a resource. We apologize for any inconvenience and will reactivate the forms as soon as possible.

• DVD & Streaming
• Action/Adventure , Drama , War

Content Caution

In Theaters

• Mel Gibson as William Wallace; Patrick McGoohan as Longshanks (King Edward I); Sophie Marceau as Princess Isabelle; Angus MacFadyen as Robert the Bruce; Sean McGinley as MacClannough; Tommy Flanagan as Morrison; Peter Hanly as Prince Edward

Home Release Date

Distributor.

• Paramount Pictures

Movie Review

A nominee for 10 Academy Awards and the winner of five (including Best Picture and Best Director), Braveheart captures both the picturesque serenity and abject brutality of 13th-century Scotland and her quest for independence from England’s cruel pagan ruler, King Edward I (aka Longshanks). Leading the charge in this bloody campaign is Scottish hero William Wallace, a warrior whose dreams of a home, family and peace are quickly snuffed out by English tyranny. Now, his only quest is freedom. Both a brilliant military strategist and a savage warrior, Wallace tackles oppression head-on, yet faces resistance from comfortable bourgeois countrymen reluctant to rock the boat. Such compromise sickens Wallace who, oddly enough, wins the heartfelt support of lovely Princess Isabelle, Longshanks’ under-appreciated daughter-in-law. This often violent tale is part history, part mythology, all action-adventure. At its core lies a fundamental life-and-death struggle for what so many 21st-century Americans take for granted … life, liberty and the pursuit of happiness.

positive elements: Early in the film, a young Wallace receives sage advice from his father who tells him, “I know you can fight, but it’s our wits that make us men.” Following his father’s death, William’s uncle reinforces this by telling him that using one’s intellect should precede the use of force. A girl demonstrates kindness and sympathy by, without a word, handing the grieving orphan a flower at his father’s funeral (this is the girl Wallace will later marry). The boy decides to travel abroad, learn numerous languages and work toward an enviable education.

Fighting for one’s noble convictions—indeed, a willingness to die for them—is central to this 3-hour saga. Wallace is a devoted, loving husband before becoming an inspirational leader of men. He also shows humility by asking for forgiveness from his father-in-law following his wife’s murder. When he rallies troops to medieval combat, he doesn’t watch from a distance like Longshanks does; he stands at the front of the charge. Wallace’s own brutality in war is not without a decent respect for women and children. He has little patience with political squabbling among well-to-do Scots afraid to enter the fray. In fact, when he tells them, “You think the people of this country exist to provide you with position. I think your position exists to provide those people with freedom,” American viewers may rise up, cheer wildly and wish he could materialize in Washington to address Congress. After betraying Wallace to the English, a fellow Scot experiences regret, saves Wallace’s life and tells his rationalizing father, “No! I will never be on the wrong side again” (after Wallace’s death, it is he who spearheads the battle that finally wins Scotland its freedom). Even faced with public torture and sure martyrdom, Wallace prays for strength and refuses to bow to the evil authority of Longshanks.

spiritual content: A religious funeral (spoken mostly in Latin) includes a clearly Christian benediction. Wallace states, “God makes men what they are,” which may not be entirely true (often a man created by God can make ungodly choices that shape his identity), but at least his statement recognizes that individuals are part of a divine plan. A mercenary warrior mixes spirituality with bloodlust and dicey language, and claims to have been sent by the Almighty to kill Englishmen. Wallace makes a sincere plea to his comrades in the name of Christ, and later prays for strength to face a painful fate.

sexual content: Longshanks decrees that whenever a Scottish nobleman is married, Englishmen are to have sex with the bride first in order to “breed out” the Scots. There’s breast nudity and implied sex between Wallace and his new bride (whom he marries in secret because he refuses to share her with any other men). In one scene, a lecherous soldier tries to take advantage of Wallace’s wife. Much later, the widowed Wallace sleeps with Princess Isabelle, who has grown romantically attached to the passionate patriot. It is strongly implied that Prince Edward and his male aide are involved in a homosexual relationship. Dialogue between the princess and her handmaid reveals the servant’s promiscuity.

violent content: Many brutal combat scenes more than justify Braveheart ’s R rating. Men are bludgeoned with maces, struck with axes, hit in the face with arrows, set on fire, speared, stabbed, impaled, hanged, decapitated and beaten to a pulp. A leg is severed. A man loses his hand. Another is gouged in the throat with a set of antlers. Horses and their riders are speared with long poles. Several people have their throats cut. The most disturbingly graphic occurrence involves Wallace casually slitting the throat of the man who killed his wife in similar fashion. It’s easy to feel for him, but he seems to enjoy his vengeance a little too much. In separate incidents, Longshanks has his archers fire into a scrum aware that his own men will be hit, and personally hurls his son’s gay lover out a tower window to his death. Wallace beheads the king’s nephew and sends Uncle Longshanks the disembodied noggin in a basket. Bloodied bodies litter the landscape following vicious hand-to-hand combat.

crude or profane language: About a dozen profanities, including two f-words.

other negative elements: To antagonize the enemy, Wallace’s army moons the opposing troops.

conclusion: There’s something especially compelling about the person of William Wallace, a larger-than-life revolutionary who operated under Nike’s “Just Do It” mantra centuries before heroes started pulling down six-figure endorsement deals. To face martyrdom so bravely. To die with one word on his lips— freedom —as he’s being drawn and quartered. To reject being “bought out,” but rather to persevere on behalf of his oppressed countrymen, their children and their children’s children. Just as in Gibson’s more recent war story, The Patriot , there are a lot of healthy messages here. But just as in The Patriot, this Oscar-winner asks audiences to endure raw, extremely graphic violence along the way. Now available on DVD, Braveheart can be viewed in all of its widescreen splendor—great when the cinematographer focuses on fog-swept hillsides enriched by James Horner’s soothing Celtic score, but a little less desirable when painted barbarians are butchering each other in living color. Is the extreme violence necessary to convey the events leading to Scotland’s liberation? I’m not convinced that it had to be quite so extreme, explicit and, in a few cases, exploitative. Leaving a bit more to the imagination would have made Braveheart a more accessible entertainment without diminishing its inherently powerful messages.

special DVD features: A pair of rousing theatrical trailers are joined by a 28-minute “making of” featurette that includes background on William Wallace (and shows the monument to him that still stands today), interviews with the cast and crew, and a look behind the scenes at how Gibson staged and choreographed the battle scenes. There’s also a version of the film overlaid with commentary by Oscar-winning director/star Mel Gibson that’s interesting, but seems rather flat considering Gibson’s manic story-telling ability.

Bob Smithouser

Latest reviews.

The Fall Guy

Mars Express

Weekly reviews straight to your inbox.

Find Family Movies, Movie Ratings and Movie Reviews

Katak, the Brave Beluga Parent Guide

Virtually devoid of the vaguest of plots, this movie is incapable of entertaining a theater full of preschoolers..

Theaters: Katak, a young beluga whale, sets off on a journey to the Arctic to fulfill his grandmother's last wish. (Canadian theaters only.)

Release date February 25, 2023

Run Time: 82 minutes

Get Content Details

The guide to our grades, parent movie review by savannah sillito.

Katak (Alexandre Bacon), a curious young beluga whale, still has his grey infant color, while all his peers have turned white. Determined not to let his delayed development slow him down, Katak sets out on a perilous journey to the Arctic to fulfill his ailing grandmother’s last wish.

Sometimes a film comes along that is so bland, so boring, so beyond explanation that I enter a mental state outside of time and space only to emerge, blinking in the bright lights of the theater lobby, unsure of where I am or how much time has passed. That was my experience today. I have never seen a theater full of kids as restless as our fellow audience. Kids were walking around, talking, and just generally fidgeting. I don’t mean that the children were badly behaved; they were just all bored. If you can’t keep young children entertained in a theater, you have no business making movies for kids.

The one positive aspect to this production is there is almost no negative content to speak of, aside from some mild peril and name calling. But that’s not enough to make this worth your time. There are some general positive messages around being courageous and not judging by appearances, but they’re not strong enough to make up for the film’s multitudinous flaws. I appreciate the effort by a small Quebec-based studio, but I can’t recommend that’s incapable of keeping preschoolers entertained for 80 minutes. A cardboard box can do that – and it’s cheaper and quieter.

About author

Savannah sillito, watch the trailer for katak, the brave beluga.

Katak, the Brave Beluga Rating & Content Info

Why is Katak, the Brave Beluga rated PG? Katak, the Brave Beluga is rated PG by the MPAA

Violence: There are a few scenes of mild peril. Sexual Content: None. Profanity: There is some mild name calling. Alcohol / Drug Use: None.

Page last updated January 11, 2024

Katak, the Brave Beluga Parents' Guide

How does Katak feel about his grey coloring? How do his friends and family treat him because of it? How does this perception change?

Loved this movie? Try these books…

Preschoolers who are fascinated by whales will love Raffi’s book, Baby Beluga. (You can listen to the song version here .) Also appealing to youngsters is Hello, Baby Beluga by Darrin Lunde.

Elementary school readers will find plenty of information in Beluga Whales by Victoria Blakemore. Beluga Whales for Kids by Rachel Smith is also full of information for curious kids.

Related home video titles:

If your kids enjoy animated movies about the underwater world, we suggest The Little Mermaid , Finding Nemo , Ponyo , Finding Dory , Luca , Seal Team ,

‘Brave’ Movie Review (2012)

By Brad Brevet

Scotland… the rolling hills, sun-dappled glens and picturesque lochs all come to mind, but for Pixar’s Brave we head into the rugged highlands, terrain just as inviting with towering castles and mountains that penetrate the sky, making for a landscape so beautiful you’d think only dreams could conjure such majesty. Such a place seems perfect for the visionary wizards at Pixar. The history of the area is equally ripe with inspiration and with Brave directors Brenda Chapman and Mark Andrews attempt to shape a small piece of Scottish history of their own. Unfortunately, they fail miserably.

To say Brave is the worst film to come out of Pixar to date is a bit misleading. Considering most would probably take Pixar’s worst over so many other studios’ best is a reality and yes, I know the Cars franchise has its detractors. Lightning McQueen and friends didn’t make for perfect films, but I’d argue for Cars and its sequel every day of the week before supporting this tedious excuse for a story ever again.

If it wasn’t for the stunning animation and one specific riverside scene where they almost capture authentic emotion, you’d be hard-pressed to convince me Brave actually was a Pixar film. There is no life; no heart to it. The story is an afterthought and, to be quite honest, I’m surprised it was ever green lit.

After starting out under the title The Bear and the Bow with Reese Witherspoon set to voice the lead character, the film was scheduled for Christmas 2011. Then, talk quieted until it was suddenly revealed Chapman was off the project midway through production, replaced by Andrews and the film would now be titled Brave . The story idea came from Chapman and I have no clue when the three additional credited screenwriters — Andrews, Steve Purcell and Irene Mecchi — came aboard the production, but it plays on the screen like a story mangled into incoherence. In fact, to say it’s much of a story at all is a stretch.

Brave begins with us getting to know princess Merida, appropriately voiced by the talented Scottish actress Kelly Macdonald (“Boardwalk Empire”). Merida is a spirited and adventurous young girl, obsessed with shooting her bow and roaming free over the land. Her mother (Emma Thompson), however, expects her to fulfill her duties as a princess and is preparing her for the day in which she will pick a suitor from one of the three neighboring clans. As you’d expect, that day has arrived, but Merida isn’t interested.

It’s at this point you can see entirely what they were going for; a strong willed heroine that won’t conform to tradition against her will. She’s not against marriage entirely (though she sort of is), but she’s certainly not in favor of being forced into doing so, and who can blame her? On top of that, once you see the three jokers vying for her hand you too would want to run away, which is exactly what Merida does, deep into the forest where we’ve already seen hints of magic before and will soon see more.

After making her escape on her trusty steed, Merida comes to rest in the middle of some strange Stonehenge-esque structure when she notices a trail of tiny blue flames known as Wisps. She remembers these from her childhood and the story of how they can change a person’s fate, something she most certainly wants to do in her efforts to rebel against her mother.

Deeper into the forest she goes until she happens on a small house built into a hillside. Inside resides a witch (voiced by Julie Walters) whom Merida convinces to concoct a spell to help change her fate, a decision that will not only affect her, but her whole family.

I only wish I could go into what happens next and it’s killing me not to, but I see no reason in spoiling a moment you won’t believe is all they came up with after what was actually a decent enough setup. By the film’s end I was left staring at the screen, searching for any rhyme or reason Chapman and Andrews would lead Pixar’s team of talented storytellers down a road that led nowhere.

One thing can be said, they definitely didn’t go for cliche, but in their attempt to create Pixar’s first female heroine they ended up creating a brat of a child whose accomplishments appear to be more self-serving than deserved, even if we know better. Her mother may have been strict and a bad communicator, but if they wanted the audience to care one lick for the character that goes pouting off into the woods when she doesn’t get her way, it’s best to make sure she’s given a chance to redeem herself or at least learn from the situation. I’m not convinced she was able to accomplish either of those goals.

On a more positive note, the animation is spectacular. Stories leading up to the film’s release have been sure to point out the technology that went into creating Merida’s fiery nest of red hair and the 1,500 individually sculpted curves necessary to tame it. This is actually a fact you better hold onto if you’re looking to appreciate anything this film has to offer, because there isn’t much more as even the color is drained out of the story as the film moves on.

Dark forests are the order of the day, the blue Wisps dancing in the darkness and Merida’s red hair burning hot, but for a film set in such a lush environment it was a shame to see not only the story devoid of appeal, but the landscape as well.

In terms of overall entertainment, I got a few chuckles out of Merida’s tart-thieving younger brothers — Hamish, Harris and Hubert — but these wordless little triplets were nothing more than tame comedy relief in-between moments of monotony as I never cared where the story would ultimately end, I only wished it would do so and do so quickly.

It’s a shame this film is such a miss. It’s a wasted opportunity and probably the first Pixar film I have ever seen that I absolutely have zero desire to ever visit again. Brave is a different kind of “bad” film. You can see the talent at work, but it lacks direction and purpose. I get the feeling someone felt there was something important they wanted to say, but were either too scared to say it or just couldn’t find the words. Either way, it doesn’t work, and the story should have been trashed and rewritten following the end of Act One.

Share article

Jackpot Images Preview New Paul Feig Movie With John Cena, Awkwafina

Andy Serkis Offered ‘Nothing But Support’ on Kingdom of the Planet of the Apes

Takes One To Know One: Olivia Cooke and Jamie Bell To Lead Romance Movie

New Captain America: Brave New World Image Previews Sam Wilson’s Suit

The Marvels Was 2023’s Biggest Flop, The Flash a Close Second

New Deadpool & Wolverine Image Shows Hugh Jackman Ready for Battle

Best Star Wars Movies & Shows Watch Order for First-Timers

11817 Movie Release Date Rumors: When Is It Coming Out?

Unfrosted Interview: Jerry Seinfeld & Jim Gaffigan Talk Hilarious Netflix Movie

CODA Director to Helm Tomorrow, and Tomorrow, and Tomorrow Adaptation for Paramount

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors.

Now streaming on:

Though he’s been quite the presence in fantastical, supporting roles in the likes of “Game of Thrones” and “ Justice League ,” Jason Momoa ’s day as an action lead has yet to come. Enter Lin Oeding ’s “Braven,” a movie as dumb and bloody as a slab of meat, but with Momoa playing an emotionally vulnerable logger who you also believe would throw an ax at someone's face. 

Wearing modern clothes and leading an action vehicle for one of the first times ever, Momoa positions himself as a snowball-tossing, Porter-drinking, tree-chopping family man, with specifically no mentioned history of him ever killing before. But before he finds himself squaring off against drug dealers in his small family cabin out in the woods, we get a sense of his loving relationship with wife Stephanie ( Jill Wagner ) and their daughter Charlotte ( Sasha Rossof ). In the script’s most unexpected edge to this type of story, Joe has an emotional vulnerability for his father Linden ( Stephen Lang ), whose mental health is deteriorating. After Linden is in a scuffle at a bar when confusing a random woman for his late wife, Joe decides to take him up to the family cabin for a tough chat about getting medical care, with Charlotte sneaking aboard the truck. 

But woe, as we see during drawn out sequences of cheesy goonery in between hints of Joe’s quiet life, the cabin has become a drug stash locale by one of Joe’s worker friends ( Brendan Fletcher ) and an accomplice ( Zahn McClarnon ), after they crashed a logging truck that was carrying a log with a whole lot o’ drugs inside. This propels lead baddie Kassen ( Garret Dillahunt , whose riff on malevolence is to smoke cigarettes inside a diner and generally seem weary of this shit) and his men to to the cabin to get the drugs themselves. The stakes are obvious from the beginning to Joe that his family will not survive after giving the drugs back, so the second half of “Braven” turns into a bloated fight scene with more dead bodies than pings of simple amusement you might feel owed from the premise alone. 

With such a simple concept, and with its big showdown happening only over the course of a couple hours or so, there’s a disappointing lack of tightness to the big picture. Instead of sharpening its basic elements like character and location, "Braven" piles on more stuff; the script even works overtime to set things up at the cabin and with the dumb truckers, as if we’re to be emotionally invested in their oopsie-daisy, until it starts to directly affect the Bravens. Later on, the script adds crossbow-toting Stephanie and some cops, creating more opportunities for people to battle but less chance of immediacy. As “Braven” becomes more than just than an impromptu OK Corral showdown, there are still too many moving pieces to worry about any one of them in particular. 

Oeding, himself formerly a stunt coordinator, makes a case that he could be a strong fight scene director in due time, but his directorial comprehension lacks a sense of space and the people within it. While Momoa's character is more compelling than just watching a modern, housebroken Khal Drogo, the forces of evil he's up against (gun-toting henchmen with beards) aren’t so much forgettable as inconsequential. And the free-for-all setting of the snowy woods, for all of its opportunities of visibility and camouflage, is wasted by not establishing a concrete sense of the property's geography (even though the opening credits are dedicated to setting Newfoundland's amazing views). 

But you’re probably reading this review wondering most of all if the action delivers, or if it fulfills in the crude art of “cool kills.” That is one facet where the movie does have some inspiration, where its nimble brawn sometimes comically zigs when you think it’s going to zag—a character is stabbed despite the promise of being shot, or a fight scene ends with men being thrown off a cliff, in two cases. Even a bear trap is used in a way that might make you think, after laughing, “well, that's unusual.” “Braven” is an automatic type of action movie, often only challenging its predictability by getting goofier and goofier. 

Nick Allen is the former Senior Editor at RogerEbert.com and a member of the Chicago Film Critics Association.

Now playing

Simon Abrams

The Feeling That the Time for Doing Something Has Passed

Mary & George

Cristina escobar.

Glenn Kenny

On the Adamant

Peter sobczynski.

Lousy Carter

Clint worthington, film credits.

Braven (2018)

Rated R for violence and for language throughout including some sexual references.

Jason Momoa as Joe Braven

Stephen Lang as Linden

Zahn McClarnon as Hallett

Jill Wagner as Stephanie

Brendan Fletcher as Weston

Sasha Rossof as Charlotte

Garret Dillahunt as Kassen

• Thomas Pa'a Sibbett
• Michael Nilon

Cinematographer

• Brian Andrew Mendoza

Latest blog posts

The 10 Best Start-of-Summer-Movie-Season Films of the 21st Century

The Weight of Smoke (and Blue in the Face): The Magic of Paul Auster

Retrospective: Oscar Micheaux and the Birth of Black Independent Cinema

Phil Lord and Chris Miller Made the Multiplex Safe for ‘The Fall Guy’

Log in or sign up for Rotten Tomatoes

Trouble logging in?

By continuing, you agree to the Privacy Policy and the Terms and Policies , and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes.

Email not verified

Let's keep in touch.

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

• Upcoming Movies and TV shows
• Trivia & Rotten Tomatoes Podcast
• Media News + More

By clicking "Sign Me Up," you are agreeing to receive occasional emails and communications from Fandango Media (Fandango, Vudu, and Rotten Tomatoes) and consenting to Fandango's Privacy Policy and Terms and Policies . Please allow 10 business days for your account to reflect your preferences.

OK, got it!

Movies / TV

No results found.

• What's the Tomatometer®?
• Login/signup

Movies in theaters

• Opening this week
• Top box office
• Coming soon to theaters
• Certified fresh movies

Movies at home

• Fandango at Home
• Netflix streaming
• Prime Video
• Most popular streaming movies
• What to Watch New

Certified fresh picks

• The Fall Guy Link to The Fall Guy
• I Saw the TV Glow Link to I Saw the TV Glow
• The Idea of You Link to The Idea of You

New TV Tonight

• Hacks: Season 3
• Star Wars: Tales of the Empire: Season 1
• Shardlake: Season 1
• The Tattooist of Auschwitz: Season 1
• A Man in Full: Season 1
• The Veil: Season 1
• Acapulco: Season 3
• Welcome to Wrexham: Season 3
• John Mulaney Presents: Everybody's in LA: Season 1
• My Next Guest Needs No Introduction With David Letterman: Season 4.2

Most Popular TV on RT

• Baby Reindeer: Season 1
• Fallout: Season 1
• Dead Boy Detectives: Season 1
• We Were the Lucky Ones: Season 1
• Shōgun: Season 1
• Them: Season 2
• Best TV Shows
• Most Popular TV
• TV & Streaming News

Certified fresh pick

• Hacks: Season 3 Link to Hacks: Season 3
• All-Time Lists
• Binge Guide
• Comics on TV
• Five Favorite Films
• Video Interviews
• Weekend Box Office
• Weekly Ketchup
• What to Watch

Star Wars TV Ranked

Netflix’s 100 Best Movies Right Now (May 2024)

Asian-American Native Hawaiian Pacific Islander Heritage

What to Watch: In Theaters and On Streaming

TV Premiere Dates 2024

6 TV and Streaming Shows You Should Binge-Watch in May

• Trending on RT
• The Fall Guy
• The Idea of You
• Best Movies of All Time
• Play Movie Trivia

Thomas & Friends: Tale of the Brave Reviews

Percy learns about bravery; scarier than past Thomas titles.

Full Review | Original Score: 3/5 | Sep 23, 2014

Common Sense Media

Movie & TV reviews for parents

• For Parents
• For Educators
• Our Work and Impact

Or browse by category:

• Get the app
• Movie Reviews
• Best Movie Lists
• Best Movies on Netflix, Disney+, and More

Common Sense Selections for Movies

50 Modern Movies All Kids Should Watch Before They're 12

• Best TV Lists
• Best TV Shows on Netflix, Disney+, and More
• Common Sense Selections for TV
• Video Reviews of TV Shows

Best Kids' Shows on Disney+

Best Kids' TV Shows on Netflix

• Book Reviews
• Best Book Lists
• Common Sense Selections for Books

8 Tips for Getting Kids Hooked on Books

50 Books All Kids Should Read Before They're 12

• Game Reviews
• Best Game Lists

Common Sense Selections for Games

• Video Reviews of Games

Nintendo Switch Games for Family Fun

• Podcast Reviews
• Best Podcast Lists

Common Sense Selections for Podcasts

Parents' Guide to Podcasts

• App Reviews
• Best App Lists

Social Networking for Teens

Gun-Free Action Game Apps

Reviews for AI Apps and Tools

• YouTube Channel Reviews
• YouTube Kids Channels by Topic

Parents' Ultimate Guide to YouTube Kids

YouTube Kids Channels for Gamers

• Preschoolers (2-4)
• Little Kids (5-7)
• Big Kids (8-9)
• Pre-Teens (10-12)
• Teens (13+)
• Screen Time
• Social Media
• Online Safety
• Identity and Community

Explaining the News to Our Kids

• Family Tech Planners
• Digital Skills
• All Articles
• Latino Culture
• Black Voices
• Asian Stories
• Native Narratives
• LGBTQ+ Pride
• Best of Diverse Representation List

Celebrating Black History Month

Movies and TV Shows with Arab Leads

Celebrate Hip-Hop's 50th Anniversary

The idea of you, common sense media reviewers.

Book-based romance has a few steamy scenes, language.

A Lot or a Little?

What you will—and won't—find in this movie.

It's good to be able to open up to another person.

The main characters both have trust issues, but th

Main characters are White Americans or Brits. Seco

A woman is bullied online when she's photographed

Sex scenes include kissing, undressing, removing a

"F--k," "f--kboy," "s--t," "twat," "penis," "d--k,

Coachella, TikTok, Sirius, Subaru, The Graham Nort

Adults drink alcohol, sometimes to excess (there's

Parents need to know that The Idea of You is based on the same-named novel by Robinne Lee about the unexpected romance between 40-year-old mom Solène (Anne Hathaway) and 24-year-old pop star Hayes (Nicholas Galitzine). There's no graphic nudity, but sex scenes include kissing, undressing, removing a woman's…

Positive Messages

It's good to be able to open up to another person. Age shouldn't matter in love. Don't trust what you read about celebrities online.

Positive Role Models

The main characters both have trust issues, but they find and give love. Solène is a caring mother. She learns to put aside her anger and disappointment about the dissolution of her own marriage. Her ex-husband is a hypocrite who left her for a much younger woman but disparages her relationship.

Diverse Representations

Main characters are White Americans or Brits. Secondary characters, including members of the boy band and a teen friend group, are Black. The story is based on a popular book by a Black female author of Jamaican, African, Chinese, and British descent.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

A woman is bullied online when she's photographed with a famous younger man. It's clear that a reverse-gender version of their relationship would not outrage so many. She's called a "cougar," "Yoko Ono 2.0," a "whore," and more. Her friend says, "People hate happy women." He's accused of having "mommy issues." Paparazzi chase her entire family. Teenagers tease her daughter about her mother's relationship, making sexual comments.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Sex scenes include kissing, undressing, removing a woman's undergarments, touching, lying on top of each other, rolling around in bed, suggestion of orgasm, mention of an orgy, penis pictures, being "hot," sleeping with other people, and "screwing." No intimate parts are shown. A woman compares her body to that of a younger woman and pushes up her breasts in the mirror. A woman accuses a man of being an "ASMR" type who likes to listen to people urinate.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

"F--k," "f--kboy," "s--t," "twat," "penis," "d--k," "whore," "bitch," "sleazy," and "creep."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Coachella, TikTok, Sirius, Subaru, The Graham Norton Show, Tag Heuer, YouTube, Mac. A divorced dad seems to be giving his daughter expensive gifts out of guilt.

Drinking, Drugs & Smoking

Adults drink alcohol, sometimes to excess (there's mention of being drunk and having hangovers). A person simulates lighting a cigarette. A daughter asks if her mother is high again because she's acting strangely.

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 The Idea of You is based on the same-named novel by Robinne Lee about the unexpected romance between 40-year-old mom Solène ( Anne Hathaway ) and 24-year-old pop star Hayes ( Nicholas Galitzine ). There's no graphic nudity, but sex scenes include kissing, undressing, removing a woman's undergarments, intimate touching, rolling around in bed, and the suggestion of orgasm. There's also mention of an orgy, penis pictures, talk of being "hot" and sleeping with other people, and use of the term "screwing." The characters' age difference leads to some online bullying/harassment: Solène is called a "cougar," "Yoko Ono 2.0," a "bitch," a "whore," and more, and Hayes is accused of having "mommy issues." Solène's teenage daughter is also trolled. Language also includes "f--k," "f--kboy," "s--t," "twat," "penis," "d--k," "whore," "bitch," "sleazy," and "creep." Adults drink alcohol, and there are some heated/emotional verbal exchanges. 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 (1)

Based on 1 parent review

Ok movie but definitely a Harry Styles fanfic

What's the story.

In THE IDEA OF YOU, 40-year-old mom/art gallery owner Solène ( Anne Hathaway ) accidentally meets 24-year-old band member Hayes Campbell ( Nicholas Galitzine ) behind the scenes at Coachella. The two feel an instant connection, and Hayes seeks her out later at her Los Angeles gallery. Sparks fly, and suddenly Solène, a bitter divorcée with a teenage daughter (Ella Rubin), finds herself flying off to New York and then Europe for an unexpected romance with this younger man. But will their growing connection be able to withstand the withering eyes of his bandmates, her family and friends, and judgmental society?

Is It Any Good?

An enjoyable romance that takes itself a tad too seriously in the second half, this film is driven by alluring turns from Hathaway and Galitzine. The premise of The Idea of You is centered on the idea that, at 40, Hathaway's Solène is considered too old for Galitzine's 24-year-old boy band member, Hayes. Society judges her, and she judges herself. But it's hard to think of the stunning Hathaway as "old," even when she's dodging awkward flirtation from divorced dads at her 40th birthday party in one of the film's funniest early scenes. Unfortunately, the film gives up on the humor and veers into melodrama as it works its way to a drawn-out ending. In this, and in the unhurried sex scenes focused on Solène's pleasure, the film makes its target audience clear.

The Idea of You has some insightful musings on the process of maturing in adulthood. Solène does eventually confirm her stage in life by choosing her daughter's happiness over her own. Hathaway also gives a moving monologue about the moment she realized her marriage was over. She's shown letting go of her anger and disappointment, and she's definitely the driver of this film. But Galitzine -- riding a wave, after Purple Hearts and Red, White & Royal Blue -- matches her. He transmits vulnerability as a self-doubting but talented artist, and his performances in the boy band concert sequences are right on the nose. In these and other scenes, the film plays with split screens, color filters, and slow motion, all of which -- combined with a varied soundtrack -- adds momentum to this entertaining, star-driven romance.

Talk to Your Kids About ...

Families can talk about their feelings about the relationship between Solène and Hayes in The Idea of You . Do you think the age difference is inappropriate? Do you think the characters make the right decisions? Why or why not?

What messages does this film contain about social media, and especially media attention, to the private lives of celebrities? How does this relate to your own life?

Does August Moon remind you of any real-life boy bands? Do you think the experiences Hayes describes might be based on real life?

Have you read the popular book this film is based on? What does the film do better, and vice versa? What's your favorite literary adaptation on film?

Movie Details

• On DVD or streaming : May 2, 2024
• Cast : Anne Hathaway , Nicholas Galitzine
• Director : Michael Showalter
• Inclusion Information : Female actors, Female writers
• Studio : Amazon Prime Video
• Genre : Romance
• Topics : Book Characters , Music and Sing-Along
• Run time : 115 minutes
• MPAA rating : R
• MPAA explanation : some language and sexual content
• Last updated : April 29, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

Our editors recommend.

Under the Tuscan Sun

Notting Hill

Something's Gotta Give

Ticket to Paradise

Red, White & Royal Blue

Romance movies, romantic comedies, related topics.

• Book Characters
• Music and Sing-Along

Want suggestions based on your streaming services? Get personalized recommendations

Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners.