Princess Farah refuses to marry Sinbad until Prince Kassim, her brother, is able to give his consent. However, the Prince's wicked stepmother, Queen Zenobia, has changed Kassim into a baboon in order to have her own son crowned as caliph. Sinbad, his crew, the Princess and the transformed Prince travel to a distant land, fighting every obstacle Zenobia places in their path, to seek the advice of a legendary wise man who can possibly tell how to end the spell.
Princess Farah refuses to marry Sinbad until Prince Kassim, her brother, is able to give his consent. However, the Prince's wicked stepmother, Queen Zenobia, has changed Kassim into a baboon in order to have her own son crowned as caliph. Sinbad, his crew, the Princess and the transformed Prince travel to a distant land, fighting every obstacle Zenobia places in their path, to seek the advice of a legendary wise man who can possibly tell how to end the spell.
The film is a classic fantasy adventure centered on a heroic quest to defeat an evil sorceress and restore a rightful heir to the throne. Its focus on apolitical themes of good versus evil and adventure, rather than modern political ideologies, leads to a neutral rating.
This classic fantasy adventure film features a cast that aligns with traditional Hollywood casting practices of its time, without explicit efforts toward modern diversity. The narrative focuses on a straightforward hero's journey, presenting traditional identities in a neutral to positive light without incorporating explicit DEI themes or critiques.
The character of Sinbad, originating from the Arabian Nights as an Arab, is portrayed by a white actor in this film. This aligns with previous Western film adaptations but constitutes a race swap from the character's literary source material.
Sinbad and the Eye of the Tiger is a classic fantasy adventure film that does not feature any identifiable LGBTQ+ characters or themes. The story's focus is entirely on a heterosexual romance and a quest to break a magical curse, with no elements that could be interpreted as affirming, problematic, or incidental to queer identity.
The film features Princess Farah and the sorceress Zenobia as significant female characters. Princess Farah is not depicted engaging in physical combat. Zenobia primarily uses magic and commands transformed creatures or minions, rather than participating in direct physical altercations herself.
The film features characters consistent with their established genders from prior Sinbad lore or as original creations for this specific installment. No characters canonically or historically established as one gender are portrayed as a different gender.
Combines user and critic ratings from four sources