The film continues to like to promise girls and women happiness, but rarely offers a perfect, uncompromising ending that you don't want to reach for Simone de Beauvoir or the Taser. Walt Disney Pictures' unexpectedly fascinating revisionist fairy tale enchanted review, "Enchantment," doesn't radically rewrite all the nasty clichés about girls of all ages and their dreams. But during a satisfying stretch, the movie, sometimes winks, sometimes big nudges, does its magic by sending some of the stereotypes that have long been a profitable stock of the company. Let it work.

It's a slightly heretical remake, featuring a script that only fails in the clinch, an agile but timid direction, and a strong cast led by the wonderful Amy Adams. As Gisele, a princess from another world who falls to Earth (or worse, to Times Square), Adams is a fascinating screen presence and a lucky physical comedy that matches her gesture performance and emotional range. It proves that. I care about madness. Carole Lombard and Lucille Ball genius. Mrs. Adams doesn't just bring her cartoon character to life. She fills Giselle's pale cheeks with blood and emotions, turning dangerously cute gimmicks into recognizable and highly attractive human emotions and crinoline confusion.

Once started with a lively Giselle, a pastel piece begins with a sharp chin and a vibrant voice, and you can have fun chatting with your friends in the furry forest. She hasn't rubbed her previous steps with rags and clogs, but Gisele, like classic Disney heroines like Snow White and Cinderella, was devised more thematically than visually. I am. She's cute, cheerful, flat (well, not perfect), and when she sings about her true love, he appears on a horse and in his own refrain by Stephen Schwartz and Alan Menken. It won't be long to answer her call. .. Hello, hello, hello, he goes to the chapel where they would go without their evil witch's stepmother.

Patrick Dempsey excels as Robert, a lawyer hurt by his love, and as a result, protects his own heart and his daughter's heart. As Gisele slowly removes the shield from her armor, Dempsey gladly opens the door to her heart. A discreet performance that complements Adams well. Rachel Covey also shines as Morgan with a performance reminiscent of Sarah Steele's modest turn on James L. Brooks' Spanglish.

The same is true for Marsden. Marsden brings Prince Edward back to life as a typical yet sincere prince. Both aristocrats are mixed with a crazy touch. Although her appearance is very short, Sarandon is a witch properly both in her animated incarnation and in her real life. Given the soft and sweet tones of the rest of the movie, the final scene is a bit above, but Sarandon's Queen Narissa's will is played by Sarandon with enough bark and bites, Timothy Spall. Adds a nice touch of humanity, like the Queen's character. I am a loyal servant and will be a suitor.

From the opening scene of Giselle reaching out for help at the door of the Palace Casino sign, to the final scene featuring a magical kiss, glass slippers, and a clock hitting 12:00, "Enchantment" has an amazing tone. To maintain. Innocent and dreamy.

Bill Kelly's script is a good combination of wit, intelligence, and a hug of Disney's fairy tale history, referring to notable stories and films such as "Snow White" and "Sleeping Beauty" throughout the film. increase. However, despite the modern setting, Kelly avoids simple scripting devices that incorporate pop culture references and humor, and I'm sure her character will be interesting enough.