History YMMV / FreddieAsFRO7

* WhatDoYouMeanItWasntMadeOnDrugs: What do you get when you combine the rambling, non-linear structure of a bedtime story (as was the origin of the premise) and [[ClicheStorm every single fairy tale and animated feature cliche and stock character]] of the [[UsefulNotes/TheRenaissanceAgeOfAnimation late 80s/early 90s]]? A six foot tall magically-endowed frog who becomes a secret agent, singing Loch Ness Monsters, shrinking building rays, Klansmen and Nazis dancing in roller-skates, overt InterspeciesRomance (including with a sentient ''car''), a magical snake with an hourglass figure who sings with the voice of Creator/GraceJones and Creator/BrianBlessed [[ChewingTheScenery doing his usual thing]] ''for starters.''

** The film's entire narrative arguably consists of a lengthy succession of these. Case in point for the prologue alone: Freddie is transformed into a frog and pursued by Messina ''but then'' he's saved by the Loch Ness Monster ''but then'' he hides out with a society of anthropomorphic frogs ''but then'' Freddie grows six feet high and becomes a secret agent in the 1990s.

* {{Filler}}: You could cut ''every scene'' focusing on Messina away from El Supremo, and it would make the film's plot significantly more streamlined and logical. It has the feel of a twit awkwardly shoehorned into the film to give Freddie a superficially more "personal" connection to his mission.

* BigLippedAlligatorMoment:
** While several examples can go here the most infamous has to be the musical number "Shy Girl". Not only does it slow the film down, not only does it have no purpose whatsoever, but it also portrays Freddie as a slacker and makes you wonder why he isn't trying to save his friends and the entire conquest and instead partying around.

* ClicheStorm: Much of the film's bizarre tone comes from how unflinchingly straight it follows the stock beats of 80s and 90s animated films, bordering on self-parody. The first few minutes are an agonizingly cookie-cutter fairy tale, with magic princes and wicked aunts in a vaguely romantic European setting. Even after the aforementioned AssPull, the aesthetic, characters and soundtrack are clearly borrowing from Creator/DonBluth and early [[UsefulNotes/TheRenaissanceAgeOfAnimation Renaissance-era]] Creator/{{Disney}}.
* CrossesTheLineTwice: The aforementioned VillainSong contains dancing Nazis and Klansmen... but the entire scene is so [[DisneyAcidSequence ridiculous]] and [[BigLippedAlligatorMoment nonsensical]] it's hard to be offended.

* {{Filler}}: You could cut ''every scene'' focusing on Messina away from El Supremo, and it would make the movie make more sense, have a better plot, and avoid 90% of the complaints about that movie. It has the feel of something shoved in last minute.

** El Supremo. He comes out of nowhere, is a very stereotypical villain, and laughs after every sentence he makes. And yet, he's arguably one of the more enjoyable parts of the movie. Doesn't hurt that's he's voiced by Creator/BrianBlessed.

* SuspiciouslySimilarSong: "Evilmania" is a sound-alike of the obscure Creator/MelBrooks song [[https://www.youtube.com/watch?v=giyJbl_aDRs "To Be Or Not To Be (The Hitler Rap)."]]

* WhatDoYouMeanItWasntMadeOnDrugs: What do you get when you combine the rambling, non-linear structure of a bedtime story (as was the origin of the premise) and [[ClicheStorm every single fairy tale and animated feature cliche and stock character]] of the [[UsefulNotes/TheRenaissanceAgeOfAnimation late 80s/early 90s]]? A six foot tall frog who becomes a secret agent, singing Loch Ness Monsters, shrinking building rays, Klansmen and Nazis dancing in roller-skates, InterspeciesRomance (including with a sentient ''car''), a snake with an hourglass figure who sings with the voice of Creator/GraceJones and Creator/BrianBlessed [[ChewingTheScenery doing his usual thing]] ''for starters.''

%%* WTHCastingAgency: We'd give anything within reason to hear the reasons Creator/GraceJones, Creator/BenKingsley, John Sessions, Creator/JonathanPryce and Creator/JamesEarlJones worked on this. [[MoneyDearBoy Probably the usual.]]

* WTHCastingAgency: We'd give anything within reason to hear the reasons Creator/GraceJones, Creator/BenKingsley, John Sessions, Creator/JonathanPryce and Creator/JamesEarlJones worked on this. [[MoneyDearBoy Probably the usual.]]

** El Supremo. He comes out of nowhere, is a very stereotypical villain, and laughs after every sentence he makes. And yet, he's arguably one of the more enjoyable parts of the movie. Doesn't hurt that's he's voice by Creator/BrianBlessed.

* ValuesDissonance: The crows sound and act like African-American stereotypes in the original version. In the US release, this has to be changed for the benefit of more racially-conscious American audiences.

* WTHCastingAgency: We'd give anything within reason to hear the reasons Creator/GraceJones, Creator/BenKingsley, John Sessions, Creator/JonathanPryce and Creator/JamesEarlJones worked on this. [[MoneyDearBoy Probably the usual.]]

** What does Freddy do when El Supremo is lining up his submarines to invade England? He goes to Nessie's underwater dance club and dances to a musical number with her. She even gets herself worn out and then asks what help she can be after the song is over.