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Leslie Felperin of The Hollywood Reporter wrote: "It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours." Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets, while commending the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[191] Owen Gleiberman of Variety, in his positive review of the film, wrote: "It's a lovingly crafted movie, and in many ways a good one, but before that it's an enraptured piece of old-is-new nostalgia." Gleiberman compared Stevens' portrayal of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau's original adaptation.[192] A. O. Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: "It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy."[193]

Janet Maslin of The New York Times praised the film with the following statement, "Two years ago, Walt Disney Pictures reinvented the animated feature, not only with an eye toward pleasing children, but also with an older, savvier audience in mind. Disney truly bridged a generation gap with The Little Mermaid ... Now, lightning has definitely struck twice with Beauty and the Beast."[100] Awarding the film a perfect score of four stars, Roger Ebert of the Chicago Sun-Times compared Beauty and the Beast positively to Snow White and the Seven Dwarfs and Pinocchio, writing, "Beauty and the Beast reaches back to an older and healthier Hollywood tradition in which the best writers, musicians and filmmakers are gathered for a project on the assumption that a family audience deserves great entertainment, too."[101] In 2001 Ebert again gave the IMAX re-release a full 4 out of 4 stars.[102] James Berardinelli of ReelViews rated the film similarly while hailing it as "the finest animated movie ever made", writing, "Beauty and the Beast attains a nearly-perfect mix of romance, music, invention, and animation."[103] The use of computer animation, particularly in the ballroom sequence, was singled out in several reviews as one of the film's highlights.[13] Hal Hinson of The Washington Post gave the film a positive review, calling the film "A delightfully satisfying modern fable, a near-masterpiece that draws on the sublime traditions of the past while remaining completely in sync with the sensibility of its time."[104] Janet Maslin of The New York Times gave the film a positive review, saying "It is a surprise, in a time of sequels and retreads, that the new film is so fresh and altogether triumphant in its own right."[105] Dave Kehr of the Chicago Tribune gave the film three out of four stars, saying "Beauty and the Beast is certainly adequate holiday entertainment for children and their more indulgent parents ... But the film has little of the technical facility, vivid characterization and emotional impact of Disney past."[106]

Jay Boyar of the Orlando Sentinel gave the film four out of five stars, saying "It's not an especially scary movie, but right from the start, you can tell that this Beauty and the Beast has a beauty of a bite."[107] John Hartl of The Seattle Times gave the film three-and-a-half stars out of four, saying "It's exceptionally difficult to make an audience care for animated characters unless they're mermaids or anthropomorphized animals or insects, yet the Disney animators, with a big assist from the vocal talents of a superb cast, have pulled it off."[108] Gene Siskel, also of the Chicago Tribune, gave the film four out of four stars, saying "Beauty and the Beast is one of the year's most entertaining films for both adults and children."[109] On their Beauty and the Beast edition of Siskel & Ebert, both Siskel and Roger Ebert proclaimed that the film is "a legitimate contender for Oscar consideration as Best Picture of the Year". Michael Sragow of The New Yorker gave the film a positive review, saying "It's got storytelling vigor and clarity, bright, eclectic animation, and a frisky musical wit."[110] Eric Smoodin writes in his book Animating Culture that the studio was trying to make up for earlier gender stereotypes with this film.[111] Smoodin also states that, in the way it has been viewed as bringing together traditional fairy tales and feminism as well as computer and traditional animation, the film's "greatness could be proved in terms of technology narrative or even politics".[112] Animation legend Chuck Jones praised the film, in a 1992 guest appearance on Later with Bob Costas he claimed he "Loved it. I think it should have won [Best Picture] ... I think the animation on the beast is one of the greatest pieces of animation I've seen".[113]

Most critics regard the 1991 animated film as superior to the 2017 live-action remake. Michael Phillips of the Chicago Tribune stated that the 1991 film "worked wonderfully because it was pure Broadway, written for the screen, blending comedy and romance and magic and just enough snark in the margins", while the 2017 remake got lost in translation since "The movie takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly." Phillips also wrote of the 2017 film that "too often we're watching highly qualified performers, plus a few less conspicuously talented ones ..., stuck doing karaoke, or motion-capture work of middling quality".[118] Dana Schwartz of the Observer criticized some of the 2017 film changes to characters such as the Beast and Gaston as regressive by watering down their distinguishing personalities from the 1991 film, further arguing that the added backstory to the characters in the 2017 version failed to "advance the plot or theme in any meaningful way".[119] David Sims of The Atlantic wrote that the 2017 film "feels particularly egregious, in part, because it's so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it's hard not to notice".[120]

You can stream it or you can download the movie from iTunes. To start, simply click on the Download button provided at the end of the review. And if you like fantasy live-action Disney movies, check out also The Nutcracker and the Four Realms, Into the Woods, and A Wrinkle in Time. 2b1af7f3a8