1. ‘The Next Right Thing’

Chicago Tribune (Sunday) - - BOOKS -

OK, be­fore you send the Northul­dra and Earth giants af­ter me, hear me out.

Princess Anna’s heart­break­ing bal­lad about pulling your­self out of grief and de­pres­sion has the most real-world ap­pli­ca­tions. It’s a brief song about men­tal health in dis­guise. Kris­ten Bell’s vo­cals leap dur­ing this tear-jerker, which calls on the hero­ine to be her own hero in the sim­plest way: “You are lost, hope is gone, but you must go on and do the next right thing,” she sings.

The song is ar­guably more poignant be­cause of whom it’s com­ing from, a star­tling re­minder that any­one can be over­come with sad­ness de­spite the per­son­al­ity they show to the out­side world. Here’s the film’s spunky key op­ti­mist, com­pletely de­flated by the loss of ev­ery­one she holds dear, pick­ing her­self up to save the day. At one point, the girl who is afraid of be­ing aban­doned (in not one, but two films) says “Hello, dark­ness, I’m ready to suc­cumb.” But she doesn’t.

It’s nice to see the hero­ine of both films not only carry on, but com­pletely shine on her own. Queen

Anna, in­deed.

2. ‘Show Your­self ’

Com­ing in at a close sec­ond is an­other ma­jes­tic Elsa an­them, “Show Your­self.”

While “Let It Go,” the ice queen’s sig­na­ture hit from the orig­i­nal film, was about self-ac­cep­tance, “Show Your­self ” is a slow-build­ing bal­lad about self-love.

The new song fea­tures Id­ina Men­zel’s soar­ing vo­cals and par­al­lels the mat­u­ra­tion of Elsa’s voice and nar­ra­tive: On the mys­te­ri­ous is­land of Ah­to­hal­lan, she re­al­izes her pow­ers and du­ties ex­tend be­yond the king­dom of Aren­delle and to the el­e­men­tal spir­its that be­stowed her with freez­ing abil­i­ties.

“Show Your­self ” cer­tainly has film-spe­cific ref­er­ences, but its lyrics are uni­ver­sal too.

The song gets even bet­ter (and emo­tional) when it turns into a bit of a med­ley.

Au­rora, the Nor­we­gian singer who re­cites “Into the Un­known’s” siren song, reap­pears vo­cally, as does Evan Rachel Wood, who duets with Men­zel’s Elsa on a tri­umphant few lines from the se­quel’s track “All Is Found.”

This one gets ex­tra points be­cause of how it in­cor­po­rates the film’s other mu­si­cal mo­tifs.

3. ‘Into the Un­known’

Au­rora’s haunt­ing tune com­bined with Men­zel’s vo­cals is “Frozen 2’s” sig­na­ture song (for now), set­ting up Elsa’s jour­ney into the en­chanted for­est.

But it also speaks to any­one who’s ever tried to quiet a nig­gling voice beck­on­ing them out their com­fort zone.

Nar­ra­tively speak­ing, it’s an ad­ven­ture song that ex­plains why Elsa is be­ing pulled away from the first film’s hap­pily ever af­ter.

That could be why Dis­ney re­leased it first: It comes early on in the film and con­tains fewer story spoil­ers than some of the oth­ers ranked higher here.

Mu­si­cally, its riff is the most rec­og­niz­able (and Dis­ney knows it) and has been the most closely com­pared to its Os­car-win­ning pre­de­ces­sor.

4. ‘All Is Found’

“All Is Found” is a beau­ti­ful bed­time lul­laby from Elsa and Anna’s mother, Queen Iduna (Wood), that serves as a road map for the film thanks to retroac­tive con­ti­nu­ity.

In a flash­back, the queen sings the ethe­real tune about a river that holds all of the an­swers.

The song is full of se­cret mes­sages, haunt­ing warn­ings, metaphors and big ideas for the pro­duc­tion — mainly film-spe­cific ref­er­ences that limit its wider reach.

Comic re­lief isn’t Olaf ’s sole pur­pose in “Frozen 2.” Gad’s Olaf — the au­di­ence’s stream of con­scious­ness — is still soak­ing up the sun thanks to Elsa’s mag­i­cal per­mafrost. He’s now three years older, which is a lot in ice years, and his epony­mous solo, “When I Am Older,” show­cases that evo­lu­tion (he can read now too).

7. ‘Some Things Never Change’

This en­sem­ble piece early in the film serves a more func­tional pur­pose. “Some Things Never Change” gives the char­ac­ters a mo­ment to rein­tro­duce them­selves to au­di­ences as ma­turer ver­sions of them­selves. The ti­tle is com­pletely mis­lead­ing be­cause just about ev­ery­thing changes af­ter this point in the film.

It’s a charm­ing, fi­nale­like num­ber that speaks to the theme of trans­for­ma­tion in “Frozen 2,” but it doesn’t have the same emo­tional im­pact as the first film’s sis­ter duets, “Do You Want to Build a Snow­man” or “For the First Time in For­ever.”

Times staff writer Christi Car­ras con­trib­uted to this re­port.

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