In the classic story "The Wizard of Oz," one of the most prominent characters is Glinda the Good Witch. Glinda is portrayed as a benevolent and wise figure who helps Dorothy throughout her journey in the magical land of Oz. She first appears to Dorothy after her house lands in Munchkinland, where Glinda reveals that the house has unintentionally killed the Wicked Witch of the East. Glinda's main purpose in the story is to guide and protect Dorothy on her quest to find the Wizard of Oz and eventually return home to Kansas. She tells Dorothy to follow the Yellow Brick Road and gives her the iconic ruby slippers, which possess powerful magic. Glinda also introduces Dorothy to the Munchkins and explains that they see her as their savior.
It doesn’t appear that he’s doing that, as he videos himself in what looks like a dressing tent on a set. The question is how is it possible that he is filming himself? He wakes up in a chair and turns around to film himself passed out in a chair! What kind of magic is this, and how does he know these strange secrets of the universe?
After eight failed attempts to find the musician s card, it was a magic fist bump that finally revealed the ace of hearts to everyone s shock, including Jennifer Lawrence. In Disney and Pixar s new animated adventure Onward , two teenage elf brothers voices of Tom Holland and Chris Pratt try using a magic spell to resurrect their late father for 24 hours.
Glinda also introduces Dorothy to the Munchkins and explains that they see her as their savior. Throughout the story, Glinda continues to offer guidance and support to Dorothy, often appearing when she is in need. She advises her on how to reach the Emerald City and provides helpful information about the Wizard of Oz and the challenges she will face along the way.
‘Onward’ review: When a Pixar family reunion with Chris Pratt, Tom Holland goes half-right
A manic, moderately diverting babysitter of a Pixar movie, “Onward” does gets there by the end — “there” being the place where the freneticism recedes, the main characters’ emotional setbacks and defenses crumble and the audience is encouraged, by every possible storytelling mechanism, to cry along with the teenaged brothers voiced by Tom Holland and Chris Pratt.
The world of “Onward” has lost meaningful contact with its exotic historical past filled with dragons, dungeons, wizards and spells. Life has been gentrified and tamed. The human-like elves we meet include tender, shy Ian Lightfoot and his brash older sibling, Barley. Their father died before Ian was born. The boys and their mother, Laurel, live in the pleasantly conformist-minded town of New Mushroomton, whose residents include centaurs, merpeople, pixies and garbage-scavenging unicorns. It’s a mashup of Middle-earth, a sanitized edition of “Game of Thrones” and the role-playing wonderland of Barley’s favorite game, Quests of Yore.
AdvertisementBarley Lightfoot, voiced by Chris Pratt, appears in a scene from "Onward." (Pixar/AP)
For Ian’s 16th birthday, Laurel presents the boys with a pre-arranged gift: a magical spell-casting wooden staff able to bring their late father back from the dead for a single day. It works, almost: Dad returns from the waist down only, unable to see or hear but pretty slick with the dance moves. For kids whose fathers are only half-there in reality, “Onward” may register in more than one way.
The rest of the antsy plot finds Ian and Barley on a deadline hunt for a precious “Phoenix stone” (ripped off from somewhere in the Marvel Cinematic Universe, apparently) to complete the spell. En route there are police to elude, including mom’s officer boyfriend, and a dragon to vanquish. Also there is a brief reference to a lesbian officer’s girlfriend. I mention this so as not to trigger the homophobes in the film’s potential audience, who prefer yesteryear to the more accepting, inclusive hell we’re living in now.
AdvertisementDoes it work? It’s one busy movie, though without much variety in its rhythm or much breathing room in its perils. Director and co-writer Dan Scanlon was the chief creative force behind my least favorite Pixar feature to date, “Monsters University,” and while he’s genuinely interested in the mood swings, self-esteem challenges and everyday humiliations of young kids as they navigate through the world, the setbacks and arguments here grow wearying.
Without breaking any new ground, the animation itself certainly holds up its end of the bargain. Pratt in particular finds what laughs there are to be had with Barley, whose life revolves around his beat-up Econoline-type van named Guinevere. (“This has been the world’s longest gap year,” says his mother in passing, voiced just so by Julia Louis-Dreyfus.) Octavia Spencer gives it the sauce as a half-lion, part-scorpion, part comic relief manticore, whose inner beast is dying slowly, by degrees, in her job managing a Medieval Times-esque theme restaurant.
Is it a matter of narrative over-complication that keeps “Onward” from being better? Not really: My favorite Pixar movie, “Ratatouille,” is practically insane in its zigzags and its central premise of a rat becoming a gourmet chef. But something’s off with the dad element in “Onward." Screenwriters Scanlon, Jason Headley and Keith Bunin keep reminding us of the spell-casting deadline, and of the reason the boys are going through all this mayhem. They have to remind us, otherwise we’d forget.
Like Disney’s billion-dollar smash “Frozen,” Pixar’s “Onward” invests heavily and, in the end, smartly in a sibling relationship that’s not always easy. That part works, in the nick of time. But the storyline’s internal competition and emphasis on DreamWorks-style action sequences sell that theme short. I liked the movie all right. It’s just that "all right” shouldn’t be the goal here.
“Onward” — 2.5 stars
MPAA rating: PG (for action/peril and some mild thematic elements)
Running time: 1:42
Opens: Thursday evening
AdvertisementMichael Phillips is a Tribune critic.
Without breaking any new ground, the animation itself certainly holds up its end of the bargain. Pratt in particular finds what laughs there are to be had with Barley, whose life revolves around his beat-up Econoline-type van named Guinevere. (“This has been the world’s longest gap year,” says his mother in passing, voiced just so by Julia Louis-Dreyfus.) Octavia Spencer gives it the sauce as a half-lion, part-scorpion, part comic relief manticore, whose inner beast is dying slowly, by degrees, in her job managing a Medieval Times-esque theme restaurant.
As the story progresses, it becomes clear that Glinda possesses great knowledge and magical abilities. She is able to perform spells and manipulate the environment to aid Dorothy and her companions. Glinda also reveals the true nature of the Wizard, exposing him as a fraud and urging Dorothy to look within herself for the power to return home. Glinda's role as the Good Witch is significant not only in assisting Dorothy but also in teaching her valuable life lessons. She encourages Dorothy to be brave, kind, and true to herself. Glinda highlights the importance of friendship and believing in oneself, guiding Dorothy towards personal growth and empowerment. In conclusion, Glinda the Good Witch is a central character in "The Wizard of Oz," providing guidance, protection, and wisdom to Dorothy throughout her journey. She symbolizes goodness, empowerment, and the belief in oneself. With her magical abilities and compassionate nature, Glinda plays a vital role in the story, helping Dorothy overcome obstacles and ultimately find her way back home..
Reviews for "The Good Witch: A Reflection of Feminine Strength and Wisdom"
1. Sarah - 2 stars - I was really disappointed with "Good Witch on Wizard of Oz". I found the plot to be dull and predictable, and the characters lacked depth or any real development. The acting was subpar, with most of the cast delivering their lines in an unconvincing manner. Overall, I felt like the movie was a missed opportunity to create a fresh and engaging take on the classic Wizard of Oz story.
2. Mike - 1 star - What a waste of time! "Good Witch on Wizard of Oz" was a complete letdown. The storyline seemed forced and contrived, lacking any originality. The production quality was also below par, with cheap sets and unimpressive visual effects. The performances by the actors were wooden and unconvincing. I would not recommend this movie to anyone who is a fan of The Wizard of Oz; it simply does not live up to the magic and charm of the original.
3. Emily - 2 stars - I had high hopes for "Good Witch on Wizard of Oz", but unfortunately, it fell flat for me. The story felt disjointed and rushed, leaving me feeling disconnected from the characters and their journey. The dialogue was cliché and lacked any real depth. The film also seemed to rely heavily on nostalgia for the original Wizard of Oz, rather than offering anything new or engaging. Overall, I was left unimpressed and unsatisfied with this adaptation.