Tangled may have started Disney's wave of 3D-animated fairy tale films, but it took three years for it to solidify with Frozen.
There are many reasons why Frozen became a hit: universal themes, memorable songs, and, most importantly, a subversion of the "true love" trope by applying it to sisterhood rather than romance. The studio wanted to adapt Hans Christian Andersen's The Snow Queen for several decades, but they struggled until co-director Jennifer Lee resolved it by making the snow queen and female protagonist sisters.
Frozen has, not one, but two protagonists dealing with internal conflicts; Elsa struggles to control her ice powers and Anna with her desire for true love. Before their journeys even begin, Elsa teaches Anna not to marry a man she just met (Prince Hans); she initially gets defensive over him, but she learns better before the climax and falls in love with Kristoff instead.
Prince Hans of the Southern Isles is, in my opinion, one of Disney animation's best villains. With handsome princes serving as flawless spouses for the three oldest Disney princesses, turning one into a villain is quite clever. As with Gaston in Beauty and the Beast, a handsome prince villain teaches viewers, especially kids, that evil doesn't always have a look. Some have criticized Hans for his "twist villainy," but I think it's well-written; as the youngest in a large family, he is motivated to take over the throne.
The songs are well-done with "Love is an Open Door" (which Anna sings with Prince Hans-a villain song disguised as a love song) being one of my favorites. I also love the trolls' emphasis on not changing people, but showing love to bring out their best in "Fixer Upper." If I can make a critique, it would be the need for more songs after that; that way, Frozen would feel more like a complete musical.
Among the animated musicals from the Disney Revival era, Frozen is the most iconic. Listeners can get the story from the songs: Anna and Elsa's growing apart and growing up ("Do You Want to Build a Snowman?"), the opening gates ("For the First Time in Forever"), and Elsa forming her majestic ice palace during the show-stopping "Let it Go." No wonder it was adapted as a Broadway musical in 2018, which has even more catchy songs.
Alongside the music, Olaf is another standout. Not only does he create laughs, but his dreams of summer inspire sympathy for such a snowman. He, like the trolls, also serves as a love expert.
Frozen's massive success turns some away from it; it has resulted in excessive merchandise, little girls in Elsa and Anna dresses, etc. Other points of criticism are Elsa and Anna's large eyes and Anna's adorkable personality, which has repeated (sometimes for no reason other than sameness) in later films.
As a film, though, Frozen is near-perfect. The animation is stunning (especially during "Let it Go"), there are lots of emotional moments and thrills, and its message of sacrificial love applies to everyone.
For musical, fairy tale, or Disney fans, or anyone who can look past its market over-saturation, Frozen is a must-watch. Not only does it have strong female protagonists, but unlike most Disney fairy tales, it is adapted from a fairy tale that has a strong female protagonist all its own (a positive step in feminism).
