The Emperor's New Groove


The Emperor's New Groove

Critics Consensus

The Emperor's New Groove isn't the most ambitious animated film, but its brisk pace, fresh characters, and big laughs make for a great time for the whole family.



Total Count: 129


Audience Score

User Ratings: 450,222
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Movie Info

In a mythical mountain kingdom, arrogant, young Emperor Kuzco is transformed into a llama by his power-hungry advisor, the devious diva Yzma. Stranded in the jungle, Kuzco's only chance to get back home and reclaim the high life rests with a good-hearted peasant named Pacha. Kuzco's perfect world becomes a perfect mess as this most unlikely duo must deal with hair-raising dangers, wild comic predicaments, and -- most horrifying of all - each other as they race to return Kuzco to the throne before Yzma tracks them down and finishes him off.

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Critic Reviews for The Emperor's New Groove

All Critics (129) | Top Critics (34) | Fresh (110) | Rotten (19)

Audience Reviews for The Emperor's New Groove

  • Feb 03, 2014
    Based very very loosely on the Hans Christian Andersen tale (by the title only really, almost), this Disney flick came outta nowhere at the start of the new decade. At first appearances it didn't look or sound too good either truth be told. A weird title, David Spade in a Disney animation? offbeat looking animation and a wacky spoof-like approach, not exactly the stuffy classical Disney you'd expect. So yes this is a bold move away from the traditional cuddly Disney we all know of. The first thing you notice is the lack of musical numbers (thank God!), there are none I do believe, none whatsoever, and its quite refreshing giving more time for fun and story. The other thing that hits you is the change in pace animation and artistic style wise, no more Disney eyes folks. This film has a very vibrant zany blend of styles which sees a bit of old style Disney in characters, countryside and native dwellings, mixed with some cool straight symmetrically geometric shaped artwork for the royal Peruvian temples within the royal city. The visuals are glorious as usual with the Peruvian countryside and jungles looking lush and green with rolling hills, deep valleys and blue waters. On the flip side the royal palaces and temples are adorned with beautiful symmetric carvings in the walls, massive angular sculptures and lots of uniform guards. The palace tends to be more golds reds and yellows at first but when 'Yzma' takes over everything goes purple and blue. I especially liked the neon flurry of purples, pinks and blues down in the laboratory, that was a bizarre inclusion out of the blue (no pun intended). As said I couldn't see satirical smartass David Spade in a Disney animation, not by a long shot, but blow me down he actually does a good job with his whiny voice. He is perfect as the spoilt Emperor 'Kuzco' (word play on Cusco in Peru) and actually fits the llama character even better. All the main voice actors in the main roles are really good actually, my favourite easily being Warburton as 'Kronk', that guys voice is just just is!, his character is brilliantly matched to him also. Same can be said for Kitt as Yzma who was clearly designed around her. Believe it or not but there are only four main characters in the entire film! yep just four, but you don't even notice it. The film is pretty quick to the chase really, not overly long and not overly complicated, but it is quite original in a way. The action can be crazy and over the top feeling more like a weekend cartoon rather than an uncle Walt flick but its thoroughly enjoyable at every turn. My only quibble would be the fact it feels stretched out quite badly, the plot clearly isn't enough to cover a proper run time and you can tell. The whole film could of ended after about 30mins really, both of the two main characters never really feel as if they're that far from the royal city/palace. Oh and 'Pacha's' sweet adoring family make you wanna gag...but that's about it. Certainly a shocker this one, didn't think it would be any good and yet it turns out to be one of the best Disney adventures I've seen for a long long time. The colourful visuals, quirky unconventional (for Disney) artistic style, brisk pace and amusing llama characterisation by Spade are all winners in my book, plus there isn't too much schmaltz. But boy you better believe by the end Kuzco has learnt his lesson in humility and how to be a nice guy and not just thinking about himself all the time. Yeah there's always a good moral in every Disney flick, can't escape em.
    Phil H Super Reviewer
  • Dec 14, 2013
    Its sort of the "anti-Disney" Disney film . . . meaning it abandons the musical/princess formula in favor of a nonsensical buddy comedy. Also, Eartha Kitt voices the villain, which is just as amazing as one would hope.
    Alec B Super Reviewer
  • Sep 11, 2013
    For a breezy 79 minutes, this is Disney offering up a silly and slight, but still rather fun and quite funny romp set during the heyday of the Incan Empire. Kuzko is the spoiled, self-centered 18 year-old ruler of the Incas. He doesn't treat anybody except for himself very well, and seems to take joy in screwing over others. After dismissing his crazy adviser Yzma, she, revealing herself to be a sorceress, and feeling quite disgruntled, plots to dispose of the emperor and take over the kingdom for herself. She gets some help from the loyal but dim servant Kronk. When Yzma and Kronk's plan backfires, Kuzko finds that he's been turned into a llama instead of lethally poisoned. From there, he sets out to reverse the potion, take back his throne, and perhaps, even find a bit of redemption. Okay, so the basic story is nothing new, and this film is not likely to please anyone who has even a cursory knowledge of Latin American culture and history (unless they can just turn off the scholarly side of their brains temporarily), but, I nevertheless found this to be pretty fun. It's a silly movie, but I have to give a lot of credit to the colorful designs, great sense of humor, and, most definitely, the work of Eartha Kitt and Patrick Warburton as Yzma and Kronk, respectively. Those two definitely save this movie and totally make it worth it. They're hilarious, have great chemistry with one another, and seem to be having quite a bit of fun. David Spade is decently well cast as Kuzco, but ultimately nothing overtly special. John Goodman is fine as Pacha- a villager who gets caught up in all of these shenanigans, but like Spade doesn't really prove to be all that remarkable. I still liked their work, but think that it could have been better. All in all, this is lesser Disney, but it's not egregiously offensive, has some really good moments, and, like I keep saying, is pretty fun, so yeah, give it a watch.
    Chris W Super Reviewer
  • Aug 14, 2013
    In the early-2000s, Disney released two films with the common theme or device of people being transformed into animals as a means to make them change their ways. One of these films was Brother Bear, which began very strongly before quickly collapsing into Disney convention, irritating sidekicks and sub-par Phil Collins songs. The other was The Emperor's New Groove, which is very enjoyable in spite of its many, many flaws. It's very difficult to say anything new about the problems facing Disney in the late-1990s and early-2000s, having already addressed them in detail in my reviews of Tarzan, Atlantis and Treasure Planet. Even without having seen all of these films, or watching them in a particular order, we get a very clear indication of the tensions between creativity and commercialism which blighted the company in this period. Heck, you could even garner that from putting one of these offerings against PIXAR or Dreamworks' output of the time (respectively Monsters, Inc. and Shrek). Happily, we can see these problems in a new light by looking at the film's production history - a story that's arguably more interesting than the film itself, at least on a narrative level. The Emperor's New Groove started out in the mid-1990s under Roger Allers, who recruited Sting to write a number of songs for a film that he hoped would replicate the success of The Lion King. The film, entitled Kingdom of the Sun, was originally intended as a romantic comedy take on Mark Twain's The Prince and the Pauper, with Cusco changing places with a peasant, Yzma turning him into a llama and Cusco falling in love with a llama herder. Feeling that the story was not distinctive enough, Disney's upper management brought in Mark Dindal, who began introducing more comedy elements to the story. The film began pulling in two different directions, resulting in an uneven blend of slapstick and epic drama. With sponsorship and marketing deals already in place, in 1998 executives gave Allers an ultimatum: if the film could not be finished for a summer 2000 release, it would be shut down. Allers resigned, leaving Dindal to retool the film into a broad buddy comedy, discarding Sting's songs in the process. At this juncture, you may well point out that having this information gives me an unfair perspective on the film. You may argue that knowing about the production problems in advance would put me in a more negative mind-set, and therefore I am less likely to give the film the positive rating it could well deserve. In response, let me say that I go into every film I see knowing very little information about the production save for the director. Information such as this does not shape my opinion, but it does help to explain a lot of the qualities of the film, both good and bad. Put simply, The Emperor's New Groove is a Disney film which is trying its hardest not to act like a Disney film. It has Disney in its roots, with the initial ideas and titles springing from fables and fairy tales, specifically The Prince and the Pauper and The Emperor's New Clothes. But in almost every other aspect, from its production design to its character dynamics, the film is trying to emulate the success of Dreamworks, who were celebrating the success of Antz when Dindal first came on board. The most obvious evidence for this is in the script, which focusses on self-referential humour and breaking the fourth wall to disguise what is in the end a very thin plot. Without all the wise-cracking and nods to the adults in the audience, the film would barely stretch to an hour, let alone 80 minutes. The film goes through all the familiar motions of this kind of story, but at a rapid pace - either because it knows its audience is expecting it and therefore doesn't need to try, or because it genuinely doesn't care (with Dreamworks, either is a possibility). Fortunately, the fast pacing of The Emperor's New Groove works largely to its advantage. Compared to other Disney efforts around the time, which got bogged down through strict adherence to convention, this film feels breezy and light on its feet. It's hardly the most ambitious effort the studio has ever put out - ironically, considering the epic nature of its original incarnation. But for all its flaws it is very entertaining, at least in parts. There are several prominent moments in the film where things really click together. Most of the physical set-pieces are funny, with the jokes coming in quick succession, building to a good resolution with the characters bouncing off each other. The scene on the cliff side is very good, with the awkward walk leading on nicely to the scorpions, bats and the running through thin air. Likewise the scene in the diner is a very good example of comic confusion, complete with misinformation, mistaken identities and elaborate means of misdirection. With a little more application, and perhaps more time for fine-tuning, The Emperor's New Groove could have been a truly first-rate farce. There is enough in these scenes that fire to suggest that the whole film could have been sustained by this pace and style of comedy, without needing to rely on references or fourth-wall jokes. Sadly, the bits in-between are not especially memorable in their own right, and the plot as a whole is both thin and a little episodic. It comes as no surprise, then, that the film makes very little of any of the sources on which it draws. The only aspect retained from The Emperor's New Clothes is the selfishness of Cusco, who puts his childish whims before the betterment of his people - and even then the character development is delayed as long as possible for the sake of making jokes. Beyond that, it's a very by-the-numbers buddy comedy with elements of a road movie, and if it were not for the decent voice cast it would be completely forgettable. When it comes to the characters, the film has the same saving graces as The Sword in the Stone - namely a very funny sidekick and a memorable villain. Kronk is on one level just a muscle-bound version of Radcliffe's assistant Wiggins from Pocahontas: he appears completely distracted and stupid, but is often smarter than the people he serves. Whether by skill or sheer luck, Kronk comes across as a funny and adorable guy, whose non-sequiturs often inject energy into the plot (as does his theme song). Eartha Kitt's performance as Yzma works on the same principle. It's not hard to see the lineage of her character - there are big hints of Maleficent from Sleeping Beauty in her scheming nature and choice of colours. But like Eleanor Audley, Kitt understands the archetype she is playing very well, and manages to do the very best with the little she has to work with. Elsewhere John Goodman is well-cast as Pacha and David Spade does a decent job as Cusco, though he is very obnoxious at times. The film's animation reinforces the overall feeling of a film with great moments surrounded by the pedestrian. Cusco's kingdom is well-designed and brightly coloured, and the jungle scenes contain some really nice touches, such as the pack of jaguars which look like they've escaped from Hercules. No expense is spared on the physical gags, such as Yzma being tar-and-feathered, but shortcuts are taken pretty much everywhere else. Whether the characters refer to it or not, the map gag doesn't cover up how cheap that montage feels. The Emperor's New Groove is an enjoyable but unambitious entry in the Disney canon. It's probably better than we had any right to expect given its production problems, and like Treasure Planet it is one of the more passable efforts of the early-2000s slump. If you're looking for the memorable magic that underpinned the Renaissance, you won't find much of it here. But as a decent, disposable comedy, it passes the time just fine.
    Daniel M Super Reviewer

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