What's wrong? The whole movie to be honest.You have a movie about a guy from the Middle Eastern story 1001 Arabian Nights, who lives in Italy, and Interacts with a Greek Goddess (Eris is the Greek name). Oh boy... First of all, if you can't be bothered to get the culture correct, then don't do it at all. The kids who are going to watch this movie are mostly in elementary school, they don't really know much about any of the mythology in the movie no matter what you write. The people who DO know mythology are going to be annoyed that you are mixing them up. Though I'll get off of the cultural mixing, because that's honestly the least of this movie's problem.Let's move on to the worst thing about this movie. Sinbad, who's a thief, sexist, selfish, and a homewrecker. Notice a problem? Yeah, this is the main PROTAGONIST. The audience is supposed to root for the hero, so it's the job of the writer to make the main character likable. I'm not saying that Sinbad should be perfect, but he should at the very least be likable. The beginning starts him off as unlikable. A great thing to do would be to redeem his character in the middle of the movie. Instead, I'm more disgusted by him as the movie goes on. Sinbad goes from a selfish thief, to a selfish misogynistic homewrecker. Let me remind you, that this is the guy we're supposed to root for, how fun.The ending of the movie becomes horrible simply because Sinbad got his happy ending and Eris lost. The sad thing about Eris is that she was right at the end, Sinbad didn't care about his friend. His friend laid his life on the line only for Sinbad to want to vacation to Fuji instead of rescuing his friend. He only changed his mind because the fiancé of his friend paid him to. Sinbad also started flirting with her in less than 10 days after he promised to rescue his friend. He also ended up taking her in the end. Tell me again, why I'm supposed to root for this guy?Edit: This plays into a problematic trope that I loathe. Choose the boring nice guy or the adventurous prick. Um... You realize you can have a nice guy who's adventurous right? I hate the implication that nice people are boring. Also this trope is something that's been around for a long time. Bad boy vs good guy. They always encourage women to pick the bad boys. -_- I don't want a bad boy. They can only give a headache and stress. It's not fun to argue with them either. If you argue with someone for fun, then you aren't compatible, saying it here... If I have to choose between obnoxious frat boy and nerd, then I pick the nerd. Loud and cruel people annoy me. I don't care for nerds, but them over the frat boy/bully jock to be honest.

nice. and this is the basic virtue of any animation. because the story could be surprising only for the details and the voices are the only clue for define interesting characters and the adventures are crumbs from same type many another films. short, the noble friend, the thief who becomes hero, the love as the necessary spice, a bad girl who seems be the most important motif to see the film. and, sure, perfect actors to give soul to the characters. it is not easy to define Sinbad as a great animation. but it represents pure entertainment. and this is the only thing who could be considered important. because , maybe, it is a good opportunity to remind the old stories about the legendary travels of the lead hero.

Sinbad: Legend of the Seven Seas is an exciting adventure, and it has the obligatory clever quips and laughs, as well as minor romantic qualities that always seem to find their way into these films. The very strong cast does a very good job of their roles, especially Michelle Pfeiffer as Eris. Animation is smooth and well-done, and although the heavy use of computer animation sometimes doesn't work perfectly, overall it does a good job. In the year it was made, it was very advanced, and it holds up admirably.The music is appropriate and well-composed and performed, which of course adds to the enjoyment and the emotion of scenes. The character designs are excellent, and they form a well-rounded group that gives an interesting variety, in every way possible.The story engages the audience quickly, since the action begins immediately. It keeps moving rapidly enough, which is good because it also keeps the audience occupied with what's happening, instead of letting them stop and consider some of the parts of the film that don't quite work.When Sinbad is framed for stealing the Book of Peace, he is condemned to be executed for it, but his childhood friend -- Prince Proteus -- demands to take his place, giving him 10 days to retrieve the book from Eris, the Goddess of Discord who framed him. The problem I had with this was that there were too many confusing questions left unanswered. For example, this society, governed by both crowned royals and a council (who are apparently higher in authority), apparently relies on a physical thing, a single book, to maintain the peace of their kingdom and even the physical beauty and stability of it. This seems problematic to me, as it seems also to indicate -- and accurately, given their immediate willingness to execute Sinbad despite his words to the contrary and even the prince's statement -- that the people have relied on the book, rather than developing their own society into a truly enlightened, peaceful society. It's clearly not that peaceful if they have people's heads chopped off after being presumed guilty.Furthermore, even if they are obliged to accommodate his request, a council that is willing to let the most important prince, heir in line for the throne, actually be executed is a problematic society indeed. Although it is stated later by Eris that this is part of her plan, and that she expected it, at the same time it makes it very difficult to sympathise with the people and be concerned for their well-being, and the book. Perhaps it would be better if they were to lose their all-important magical artefact and change for the better!The book was returning to Syracuse at the beginning, but it isn't said where it was and why it was away. It also isn't clear how the book works, either, since when Eris steals the book, the city immediately becomes darker and the buildings deteriorate, and when it's returned at the end, they're immediately restored. How does that work exactly, if it was only being brought back at the beginning of the film? But it's easy to see why these things were not brought up. The people of Syracuse weren't really meant to be that sympathetic, because obviously the audience were supposed to like and cheer for Sinbad, and that is accomplished very well. It may well be that the writers set it up so that the apology Sinbad receives at the end is more appreciated by the audience, and that perhaps, one imagines, the people will re-examine their system of government and dependency on a single item for the welfare of their realm.But really, the film is so lovable that it's easy to overlook that and simply assume that the people were meant to be cast as antagonists (which they are, though relatively lesser than Eris, of course) who are later given a sort of redemption. It also makes the film much more dynamic than most fare for young audiences, in showing that appearances are not everything, and even the most idyllic-seeming place can have serious problems that aren't handily solved in the space of a 90-minute adventure. It also shows that nobility isn't something that can be equated with lawfulness or authority, which is another good message; even if Sinbad is a thief and a pirate, he ultimately does what's right, whereas those in authority in Syracuse repeatedly do instead what is wrong.The only really nagging regret I have with the film is that Proteus never really gets a break. Nothing good comes of his nobility. He is a genuinely good person who does the right thing in every case, and yet he receives no reward for it. That was the only real disappointment in the film; even if the rest of the inhabitants of Syracuse were not particularly respectable, he at least tried to do his best and not only nearly died for it, but also lost his fiancée, for whom he seemed to harbour genuine feelings.However, the film was quite good, quite strong and well-done, and although it might seem to try too hard at first, it quickly warms the viewer up to it and its sense of humour. Like any good comedy act, the jokes do get funnier. The action was gripping, the adventure was well-paced, and in a particularly unique and nice turn, the final confrontation didn't involve swashbuckling or violence, but cleverness and intelligent conversation. Amazing!You could do worse than spend an hour and a half with Sinbad. The unique Greek tones add a novel element as well. All in all, it's a fantastically fun adventure. Just don't think about that book too much!

All set to steer a course for Fiji, the immoral Arabian sailor Sinbad (Pitt) is waylaid by Eris, Goddess of Chaos (Pfeiffer), and framed for stealing the priceless 'Book of Peace' - which she has squirreled away in her hellish domain of Tartarus. Or, as Sinbad puts it: "I meet Eris, she's got a major crush on me - and she's invited me back to her place." Sinbad and crew have just 10 days to retrieve the book or former childhood pal and heir to the throne of Syracuse, the noble Prince Proteus (Fiennes), will be executed in his place.Joining the not-so-happy band is Marina (Zeta-Jones), Proteus' betrothed, principally there to ensure our anti-hero fulfils his mission to the ends of the Earth and beyond. However, she soon proves herself more than a match for Sinbad, along with the mythological monsters - including seductive sirens and a murderous Roc bird - the mischievous Goddess has placed in their path.For those nursing fond childhood memories of Ray Harryhausen's 'Dynamation' flicks, Dreamworks' take on the sailor man may come as something of a let-down. Certainly, it sunk with barely a ripple Stateside, the third major 2-D animated feature to do so after The Road To El Dorado and Treasure Planet. And Sinbad does look rather flat at times, despite some ingenious blending of traditional artwork and CGI, especially 'when Sirens attack'.Yet the 'adult-accommodating' Rat Pack-style wisecracks between the curiously camp shipmates ("Get a shirt on before you poke someone's eye out!" Sinbad admonishes his large-nippled helmsman) become tiresome pretty quickly. However, well-developed character relationships - the tumultuous pair-off between Marina and the eponymous rogue in particular - just about elevates this one above formula.The noticeable lack of a histrionic Phil Collins or Elton John ballad also helps, while Pfeiffer, in full-on Catwoman mode, is a treat, bringing to the role her unsurpassed mix of exquisite evil and playful sexuality. The ending, unexpected and surprisingly moving, may even have you surreptitiously wiping a little tear away.