From what we can glean, Giselle seems to be wrestling with some form of post-partum depression at the beginning of our tale, but it’s completely forgotten about by the end. At no point during her journey morphing into her wicked persona and back does she take stock of what’s at the core of her unhappiness in order to enact everlasting change. And one “I Want” song near a wishing well does not help her figure it out.
Her inner conflict is quickly overtaken by a trite mother-daughter quarrel, one example of the ways the screenplay by Brigitte Hales overcomplicates itself. Morgan’s arc eclipses her stepmother’s internal issues rather than dovetailing into or complementing a shared journey to save the world from Giselle’s mistake. A finale in which they have a heart-to-heart neither solves their individual issues nor elicits tears.Blatant references to classic Disney animation offer shoddy fan service.
Hence, you were left D_ _ _ _ _ _ _ _ _ _d