Under normal circumstances my natural bitterness would interfere in my consumption and enjoyment of Disney's self-send up fairytale Xmas hit, Enchanted, but since I've been feeling a touch moopy and fragile of late I can report that it was both consumed and enjoyed and, indeed, proved a fine antidote for life's blues. I am not quite skipping through parks throwing roses out of my hat but I finished the film feeling better than when I began it which is just about the best recommendation for a feel-good film I can give.

I'm not, for the record, recommending Enchanted unreservedly. You have to be in the right mood. You have to know - and want - what you're getting, which is a big bucket of schmaltz. Charming schmaltz. And it's still very obviously for a movie for kids - it has none of the knowing risque mischief of the early Shrek films so, although it's quite entertaining for adults, as a parody it's more interesting for who it's by than what it does.

It opens in typical early Disney animated fairytale style: the heroine, Giselle, big-eyed and flat-chested, dancing round her idyllic cottage dreaming (and singing) of "true love's kiss" with a chorus of adorable talking animals. A few minutes later, a handsome Prince does, in fact, show up to save her from an astonishingly unthreatening troll and whisk her away, dueting vigorously (never heard it called that before...), into the sunset. But, naturally, the Handsome Prince has a Wicked Stepmother who doesn't want him to marry so she can stay Queen of the kingdom - therefore on their wedding day she pushes Giselle down a magic well to a place where "there are no happy endings." This is, of course, modern day New York, which is where the film really begins to shine.

Yes, it's a familiar joke but nevertheless there's something utterly and absurdly bewitching in Amy Adam's wide-eyed, flame-haired Giselle in an enormous puffy white crinoline being bustled around the streets of New York. Eventually she's taken under the wing of Robert, a cynical lawyer, and his young daughter, Morgan. And naturally worlds collide, hilarity ensues etc. etc. as more of the fairytale characters burst into the modern world and Giselle learns that there's more to love than kisses (err...I mean emotionally) and lawyer dude gets a lesson in happy ever afters.

The gradual "meeting in the middle" of the lovers is extremely well done, as the balance between reality and fairytale must always be a delicate one. And the film has some truly wonderful moments - as a thank you to Robert, Giselle decides to clean his apartment with the help of her animal friends but, naturally, the only animals available in New York are vermin. The utterly surreal musical number which ensues - which, to be honest the film never quite tops, even with its Central Park set piece - will stay with me for a long time. I don't think I'm ever going to think of pigeons and cockroaches the same way again.

The cast are, for the most part, strong. I'm head over heels in love with Amy Adams. Not only is she drop dead gorgeous but she's so utterly sincere, so breathtakingly sweet that it's impossible not to adore her. James Marsden - last seen as a whiny and uninspiring Cyclops - is surprisingly good as the fairytale Prince Edward - he pretty much steals every scene he's in and the shiny thigh high boots didn't hurt either. Timothy Spall capers about in his standard role of obsequious minion and it's actually starting to become a bit annoying now. I wonder if the poor bastard is sitting on the kerbside in some abandoned lot in Hollywood with a handwritten cardboard sign saying "Will be stereotype for food." But, seriously, America he may be a bit tubby and a bit funny-faced and a bit balding but he's an excellent actor (look at Shooting the Past) - stop making him play the same guy over and over and over again. Susan Sarandon is also faintly disappointing as Queen Narissa: she looks and sounds the part (albeit in a faintly fetishy sort of way - were you really trying to do that, Disney?) but enters the real world in a puff of green smoke a bit too late in the day and almost immediately transforms into a dragon (as is traditional) so she never really has much opportunity to make her presence felt.

I think a large part of the film's effectiveness comes from the fact it's Disney sending itself up. Also it's played absolutely straight throughout which means that, although it's mischievous, it never falls into outright parody and, therefore, its feel-good, cynicism-free charm is never compromised. Yes, if you were in the wrong mood it would be sickly but if you're not it's ... I can't believe I'm going to do this ... genuinely enchanting.