Persuasive Essay On Big Hero 6

There’s been talk of a Disney renaissance; hot off the heels of Frozen’s commercial – and critical – success, the studio released Big Hero 6, a charming flick that was met with a similarly superb response. So much so, it went on to beat the likes of The Lego Movie and The Tale of Princess Kaguya to the Best Animated Feature Oscar. The accolade was clearly indicative of the golden period Disney now finds itself in – away from the depths of the 2000s; the award was sweet, a success story, a signifier of great things to come. The award was undeserved.

Big Hero 6 is undoubtedly a pleasant, likeable film. Baymax, the sidekick of main protagonist Hiro (Ryan Potter), is irresistibly adorable and wonderfully voiced by Scott Adsit. Together these two heroes attempt to stop a mysterious masked villain in control of a creation owned by Hiro himself – microbots -, a figure of formerly ambiguous motives. To conquer this villain, they team up with a group of scientists/thinly-veiled caricatures, each given an upgrade via Hiro’s genius that tailors to each character’s specific skill set.

Where the script succeeds is in its truthful, adult moral message, and how the film conveys that message. It’s touching, heartfelt, and admirably separates itself from feel-good animations that may end up serving as lies given to younger viewers. This is fast becoming a trend in 2015 – Inside Out deals with a similarly mature, acceptance-themed message too, and is made all the better for it. The ending of Big Hero 6 hits hard (although it’s then hindered by a following scene), despite the likelihood that you may see it coming, and proves to be a high of a film that’s otherwise a little