Brave has its problems, not least of which are an overreliance on the sort of yes-dear sitcom stereotyping that characterizes many of the interactions between the stern Elinor and boisterous Fergus. That said, I think it’s worth considering Brave’s particular concerns and cinematic predilections on their own terms
The film has all the trappings of an archetypal Spielberg classic: fast-paced action spectacle; literal and figurative flights of fancy; the yearning for familial wholeness and the unearthing of youthful energy. That’s the problem. It’s a simulacrum of Spielberg wonder.
Who is José Padilha: clear-eyed chronicler of society’s forgotten souls, or misanthropic peddler of pummeling law-and-order fantasies? It’s a question implicit in the critical reactions to Elite Squad (2007), the Brazilian director’s fictional follow-up to his 2002 documentary debut, Bus 174.