Series Report Card: Disney Animated Features (1999-2001)

37. Tarzan

The last two DAFs lacked a real visual punch; “Tarzan” more then makes up for them. With its deep, rich, colorful backgrounds and lively character designs, the animation is just splendid and a wonder to be hold. The wonderful animation is probably the main reason to see this, though there’s certainly nothing wrong with the story.

Many liberties are taken but this is an at least semi-faithful adaptation of the first novel. It’s brought to life in a energetic fashion with several exciting moments, though the story does have something of a been-there-done-that feeling to it.

The voice cast is pretty decent, with Minnie Driver’s Jane being one of Disney’s most appealing female characters. I found the voice of Tarzan to be awfully uninteresting, though, and Rosie O’Donald’s casting is pretty gimmicky.

It would be easy to make fun of Phil Collin’s music, since, hey, it’s Phil Collins, but the songs are actually pretty good and probably the last thing of any worth he’s done. I would compare this to “Aladdin” in that, why the film doesn’t really do anything spectacularly different, it is still very entertaining. [Grade: A-]

38. Fantasia 2000
A worthy follow-up to the original. I’m not sure how necessary the inclusion of the celebrity hosts were and I could have done without seeing “The Sorcerer’s Apprentice” again. This one is also decidedly less experimental then the original.

Still, the images and music are matched nicely. “Rhapsody in Blue” is without a doubt my favorite segment. The rich use of color and the fluid animation matches the laid-back melody of the song perfectly and I suppose the story of everyday people breaking away from their boring lives to live their dreams appeals to me on some level. “Pines of Rome” and “Firebird Suite” are both beautiful, sweeping segments filled with gorgeous CGI animation. I would have loved to have seen them on the IMAX screen were their large scale probably could have been appreciated more. Beethoven’s Fifth is a nice segment and the closest you get to the tone of the original film.

“The Steadfast Soldier” has very nice animation and is highly enjoyable in a typically Disney sort of way. “Carnival of Animals” is colorful, playful, funny, goofy, short and sweet. I liked it a lot. “Pomp and Circumstance” is definitely the lame-duck segment this time around. Pairing Donald Duck with Noah’s Arc and the graduation march just doesn’t quite gel with me. It’s also one of the few cases were I feel that the traditional animation is limiting the scope of the story. Though not as intense an experience as the original, “Fantasia 2000” is still damn good and carries on the spirit of first film, at least. [Grade: A-]

39. The Emperor’s New Groove
Different from what you’d expect from Disney and I can’t help but feel that’s part of the movie’s strength. It’s a hilarious buddy comedy full of highly quotable dialogue and lots of great gags. The movie feels a lot like a Looney Toons skit, tossing out any air of seriousness in favor of just good-old goofiness.

However, the filmmaker’s were smart. To prevent the film from burning out on its own energy, they pace the story with several softer scenes, like of Pacca’s family life, in-between the humor. The result works very well, and the film keeps it up until the end.

The cast is nice. Patrick Warburton is the most memorable, get’s all the best lines, has the best delivery, and is just the funniest member of the cast. This is probably the best thing David Spade has ever done. It’s also nice to hear from Eartha Kitt. John Goodman gives a solid performance though it hardly breaks any new ground for him.

Sting’s music was originally far more involved but it’s been scaled back to just one song now. This is a good thing because, as far as aging British pop stars go, Sting doesn’t have the talent of Elton John or the luck of Phil Collins. (I feel the latter’s success on “Tarzan” was more of a fluke on Collins’ behalf.) The one song of his that did make it into the final cut is awful but luckily just plays over the end credits. “The Emperor’s New Groove” has a rapid fire wit about it and got the most laughs out of me since Genie in “Aladdin.” [Grade: A]


40. Atlantis: The Lost Empire
As a change in direction, an attempt to do a sci-fi action/adventure film, “Atlantis: The Lost Empire” gets some points for being a little different. Sadly, the movie is pretty mediocre.

On the positive side, there is an excellent voice cast including names like Michael J. Fox, James Gardner, Leonard Nimoy, James Varney, and veteran voice actress Cree Summers. While many of the supporting characters are quite interesting and amusing, they are perhaps just too many of them for the cast to be properly developed. We never get any sense of brotherhood among the group and few of the characters seem to be designed beyond basic gimmicks.

I’m not sure what it is, but the animation just doesn’t feel very lively. It lacks a sharpness and clarity that many past Disney features had. There’s nice use of CGI and I like the look of the Atlantian civilization. The plot twist about halfway through doesn’t really work either. The final action scenes, however, are nicely done and the best part of the film. This film more or less proves that Disney is at it’s best when doing sweeping, dramatic musicals and that Indiana Jones style adventures aren’t really their thing. [Grade: C]

Series Report Card: Disney Animated Features (1995-1998)

33. Pocahontas
After three highly successful films in a row, you get the feeling that maybe the creative juices that went into “Pocahontas” were a little strained. As a result, the film is just not as good as those that precede it. Still, it’s not for a lack of trying.

The music is really spectacular here and certainly the best part. The animation is as excellent as always. Continuing on what was started with “The Lion King,” there is an attempt to work some social issues into the story. There’s a general message of tolerance here. It is clearly stated in the song “Savages” and is some pretty stirring stuff.

Sadly, the film lacks an emotional core. The relationship between Pocahontas and John Smith is not developed fully and none of the supporting characters really come to life. Sad to say, the talented voice cast, including Mel Gibson and Christian Bale, aren’t given much to do. So why I appreciate the visual beauty of the film and its message, I found myself only caring about half of it. And the cute animal antics feel really forced and out-of-place here. [Grade: B]

34. The Hunchback of Notre Dame
Continuing the trend set by “Pocahontas,” in that it’s unafraid to tackle some heavier issue then you’d expect from a Disney, for a fact, "Hunchback of Notre Dame" might be the heaviest yet. The often visited theme of “accept people for who they are” is the main one, but it is handled with a steady maturity. Religious prosecution and hypocrisy are also major themes. It’s dark for Disney but still tones down the original novel quite a bit by adding several comic relief sidekicks. There are also some moments of slapstick humor that feel incredibly out of place.

The animation is absolutely spectacular, full of long wandering pans across the Paris sky line. The attention to detail is especially appreciated and I love how well done the lighting is. However, the use of cheap CGI extras doesn’t go without notice.

The music is some of the best ever featured in a Disney film, both the songs and the score. “God Help the Outcast” is gorgeous and moving while “The Bells of Notre Dame” and “Heaven’s Light/Hellfire” are just some of the other sweeping pieces. The score, with its chanting monks and percussion, is very effective.

The cast is perfectly handled as well. Tom Hulce’s voice is so soft but forceful when necessary. Demi Moore proves herself to be a better actress here then in any of her live action roles. Veteran voice actor, and sadly recently deceased, Tony Jay oozes sinister intent with his deep baritone. The complexity of the character makes Frollo one of the most subversive Disney villains ever. Not quite perfect but “The Hunchback of Notre Dame” ranks third behind “Beauty and the Beast” and “The Lion King” as the best of the nineties era. [Grade: A]

35. Hercules
It makes sense that after the relatively heavy subject matter of the last two features, that Disney would handle a much lighter film. The majority of “Hercules” is a comedy with enduring characters and plenty of amusing sight gags and one-liners.

As far as the animation goes, the style is obviously meant to be similar to the paintings of ancient Greek which contrasts nicely with the light material. There are some nice fantasy designs but there aren’t as many opportunities for beauty as there have been in past features. The action sequences are well-done and the fight with the Hydra and the Titans are both exciting.

As far as the cast goes, James Woods is the best, playing up his serio-comic villain, though Tate Donovan, Danny DeVito, and Rip Torn are also of mention as well as a Charlton Heston’s cameo. The score is good but the musical numbers are pretty light-weight. Selecting a gospel choir as the storytellers of Greek mythology is a bizarre choice but does lead to the best songs in the film. As a whole the music pales in comparison to the composer’s past work. “Hercules” is good but it’s closer to “The Sword in the Stone” then to “The Lion King” on the quality spectrum. [Grade: B]


36. Mulan
The first thing I noticed about this one is the art style which is obviously influenced by Chinese theatrical art and just looks fascinating. It’s a good way to distinguish “Mulan” from other Disney works.

The film can be separated into two very distinct parts. The first half is more comedy focused. The shift to a more serious tone halfway through the film is deliberate and actually works on some level. There are several exciting and well-done sequences throughout. Mulan’s decision to run away is shown in a very moody moment accompanied by Jerry Goldsmith’s excellent score. The battle on the mountain and the final takeover of the imperial castle are both very well managed.

The music is very underplayed and almost feels tacked on but is actually pretty good, particularly “Be a Man” and “A Girl Worth Fighting For.” The cast is decent, full of strong voices including James Hong, Pat Morita, and George Takai, but no body really stands out. Well, except Eddie Murphy. His role is potentially annoying and the casting is pretty gimmicky but it’s not a horrible performance. “Mulan” is a strong, entertaining effort. [Grade: B+]

Series Report Card: Disney Animated Features (1990-1994)

29. The Rescuers Down Under
First thing I notice about this one is how great the animation is. The first shot, slowly observing some bugs crawling around on a leaf, before the camera goes launching out across a field is breathtaking and seems to suggest how this film will be much “bigger” then its predecessor. The scope is certainly larger and the Australian outback adds an exotic flavor to the proceedings, despite the fact that only one character actually speaks with an accent.

I don’t know how successful it as a sequel. The character designs are very attractive and well-done, especially the eagle. Bernard and Miss Bianca don’t even show up until about the fifteen minute mark and aren’t even all that involved with the story until the last act. Their relationship has expanded some and Newheart and Gabor are still good together, though her voice has aged considerably.

The story is awfully similar to the first film. George C. Scott makes a great bad guy and he certainly feels like the star of the film as he owns every scene he’s in. I like John Candy as the new albatross and he gets plenty of funny lines though I did tire of the surfer dude bit after a while. The environmental slant to the story is interesting and gives the pace some drive. I thought there was a bit too much of the cute animal antics and how the little boy communicates so easily with them is just a little disconcerting. [Grade: B+]

30. Beauty and the Beast
“The Little Mermaid” is generally accepted as launching the new era for Disney animation but I think it’s “Beauty and the Beast” that really perfected the formula. It is the best Disney film in overall quality since “The Jungle Book.”

Somehow the animation quality in these films keep managing to get better and better and the quality here is nothing sort of amazing. Like in “The Little Mermaid,” the songs are like numbers and, unlike in that film, all the performances actually move the story forward and develop the characters.

Speaking of which, all the characters are fascinating and interesting. The two title characters and their developing relationship is built effectively. The supporting cast, particularly the castle servants, also have vivid characteristics. And let’s talk about Gaston, the bad guy. What a brilliant way to turn typical clichés on their heads. The square-jawed “hero” is actual a pompous, and dangerous, egotist. How awesome is that? “Beauty and the Beast” is a masterpiece, really, effective as a romance, a fantasy adventure, and a fairy tale filled with character-based comedy and drama. [Grade: A]

31. Aladdin
“Aladdin” is a film that doesn’t really do anything exceedingly impressive. The animation is pretty much the high standard you’d expect and there are many stand-out moments in that respect. All the voice actors are matched pretty solidly with their character but none of them stand out all that much.

Except for Robin Williams, of course. Williams is basically a cartoon anyway and his manic energy is actually kept in check, for once, and Genie is easily the most memorable character in the film.

The music is quite good, especially “Friend Like Me” and “Whole New World,” though it pales in comparison to the composers’ work on “Beauty and the Beast” and “The Little Mermaid.” The story is standard and Aladdin’s character arc is about as cliché as they come.

All of this would make you think this is a mediocre film, right? But it’s not. Despite all this, “Aladdin” is still exceedingly entertaining. You get the feeling that the Disney creation team was in such a solid niche by this point. They knew how to create an entertaining, satisfying, memorable, lovable film with an ease that should put any other mainstream studio to shame. Just by using the same tools that had worked so well on their other films, they transformed a story that could have been rather ho-hum into another hit. Good job. [Grade: A]


32. The Lion King

With “Aladdin,” the Disney team proved that they could pretty much create a highly entertaining animated feature without even really trying all that hard. With “The Lion King,” they took it to the next level.

This film has something many of its predecessors don’t and that’s subtext. There are a lot of different angles you can come at from this film and it really does transcend the Disney standard of just being a “kid’s flick.” The movie is something of a “Hamlet” adaptation. There’s a lot of discussion about the relationship between father and son. You could see something of a political statement in how easily Scar ascends to the throne. Simba’s tale of exile and return almost has biblical cogitations to it. The story has legitimate power to it.

On top of this, you have great memorable characters, wonderful music, beautiful animation, and combination of everything above that suggests an expert hand is at work. So, in short, “The Lion King” might be the proudest achievement of the nineties era of Disney animation. [Grade: A]

Series Report Card: Disney Animated Features (1985-1989)

25. The Black Cauldron
Most people remember this film nowadays because it’s pretty much without doubt, though “The Hunchback of Notre Dame” comes close, the darkest Disney animated feature. Separating the film from that controversy and taking it on its own terms, it’s a fairly successful fantasy adventure. Disney is obviously not completely committed to the dark material as three cute funny animal sidekicks are featured and a generous amount of light comical touches are added. Still the dark mood, suicide of a major character, undead army, animated cleavage, lack of songs, and the first on-screen blood in a Disney Animated Feature since “Sleeping Beauty,” adds enough excitement and edginess to keep this interesting.

The character’s are only slightly more compelling then your typical fantasy clichés and the plot and pacing could be better. The Horned King, voiced brilliantly by John Hurt, is a very threatening presence and ranks among the best Disney villains. The animation is very good with memorable character designs and moody coloring. I liked the score a lot too. The movie also features a death cheat, usually something I would hate, but they at least try to make it part of the plot, so the cop-out hurts less. [Grade: B]

26. The Great Mouse Detective
As I’ve sat back and re-watched all these Disney films, I’ve tried to separate them from the vague childhood memories I have. Nostalgia clouded ramblings never make for good reading. However, in this case, I just can’t do that. This was probably my favorite movie as a child and I can recollect watching it once a day at one point.

Of course this isn’t all that surprising considering it’s the only Disney animated feature to star Vincent Price. And he sings in it! Twice! He’s so great as the villainous Prof. Ratigan that I wonder why nobody cast him as the villain in a live-action Sherlock Holmes film. This is also one of the rare cases were the villain is as interesting as the hero of the story. Basil of Baker Street is certainly one of the less “straight” heroes as he’s prone to bouts of depression in-between his general cool as a cucumber persona. The rest of the cast is quite good as well though I honestly can’t remember any of their names. The film retains a little bit of the darkness of last feature and might be a little scary for young children. (The slow building of music box melody leading to… Ah, I won’t spoil it but I’ll tell ya’, it’s awesome.)

The pace is also some of the best you’ll find in a DAF. The story never looses a beat and runs at a steady clip throughout. I love how easily this story could exist in the same universe as “The Rescuers.” I could go on and on for pages about how much I adore this film but I’ll just close by saying “The Great Mouse Detective” is, without question, my all-time favorite Disney animated feature. [Grade: A]

27. Oliver and Company
Another “Pets in Peril” film with good music and little else to offer. The movie features the music of Billy Joel, Bette Midler, Huey Lewis, and one of the Pointer Sisters. Considering how very ‘80s the tunes are, they hold up well.

The animation is the standard for the time and is fairly bright and colorful though it doesn’t have any standout moments like the Big Ben sequence in the last feature or the Cauldron consuming the castle in “The Black Cauldron.”

Retooling “Oliver Twist” as a cute animal movie certainly doesn’t rate among Disney’s best ideas but it could have worked with some colorful characters. Sadly, that’s where this film fails. You’d think with an ensemble cast filled with talented actors that it would work but the groups of characters are all horribly underdeveloped. The cast is probably too large considering how one-note most of them are.

I found the climax pushed my suspension of belief even for an animated feature. Still, the movie really isn’t bad. It doesn’t overstay its welcome at seventy-eight minutes, there are one or two funny lines, and it should be perfectly pleasant viewing for the youngins but the rest of us really only have the music as a reason to stick around. [Grade: C]


28. The Little Mermaid
This is the film generally credited with launching Disney into another golden age of animation, with a long succession of high-quality and successful animated films following.

The music is a primary reason for this success. For the first time in a long time, all the songs really feel like performance numbers, though how much some of the tunes advance the story is questionable. The voice acting, which lacks the big star voices that characterize many modern animated in favor of actual talented performers, is quite strong. The film features a much smaller cast then past Disney films and instead provides a captivating central group of core characters. Ariel is change in pace for a Disney princess in that she is not only interesting, but actually strong-willed and less submissive. Ursala, in the kind of role that could’ve been played by an aging Betty Davis or Joan Crawford, is a great villain with her manipulative intentions. The love interest, Prince Erik, still comes up with the short end of the stick personality wise but is still more rounded then Snow White’s Prince Charming.

The animation is beautiful of course and utilize many of the tools invented for the earlier eighties animated features to full effect. My biggest problem with the film is how overstuffed the final act feels. A lot of plot points come up pretty quickly and the final confrontation is a bit rushed. While later films would be better, I can understand how this would set the studio back on it’s feet, creatively and finically. [Grade: A-]

Series Report Card: Disney Animated Features (1973-1981)

21. Robin Hood
Reminded me a lot of “The Jungle Book” and not just because Phil Harris plays another bear. Like that film, this one also features an excellent voice cast and very good music. Another similarity is the strong character personalities. Like many of the best Disney films, most of the enjoyment comes from watching everyone respond to everyone else. I generally dislike villains that are played for comic relief but Peter Ustinov’s performance as King John made it worth while.

The animation is good though this film features a lot of recycled footage. The story is pretty weak and doesn’t have a lot of drive behind it, though I really like the Archery contest sequence. The generally laid back tone has a double edge to it in that it makes the film a friendly, enjoyable watch but can also put you to sleep pretty easily. One of the more minor Disney features but a fun one none the less. [Grade: B]

22. The Many Adventures of Winnie the Pooh
This film really opens up conflicting emotions in me. It is incredibly sugary cute, almost to the point of being coy. The music is only okay with much of it sounding alike, though “The Blustery Day” and “The Wonderful Thing About Tiggers” are pretty good. The “Heffalump and Woozlies” section is awfully similar to “Pink Elephants on Parade” in both the imagery and the music.

The film is very charming and it’s hard not to love the characters. It’s really the innocence of the material that is its soul. It is the world of a child’s imagination, completely void of danger and fear.

Though the film isn’t completely naive, as the coda hints at the sadness of leaving behind the whimsies of childhood. It’s this heartwarming section that really decided my opinion of the film as a positive one. The film’s goal seems to be to speak to the viewer’s inner child, the one that still sees their teddy bear as a dear friend as opposed to just a stuffed toy. On that level, it is a success. [Grade: B+]

23. The Rescuers
I notice Don Bluth’s name in the credits which makes me wonder how much creative input he had in this project. It seems more like something he would do as opposed to a traditional Disney feature. Even the animation is more reminiscent of his studio’s style. I don’t know how explored the concept of mice having a mini-society within our own was when this first came out, but it does add some nice twist to the idea.

The opening section of the film is very moody. Bob Newhart and Eva Gabor have nice chemistry together as the lead characters. The story isn’t wholly original but is at least told with some energy. Madam Medusa is a pretty good villain. The single mindedness and cruelty to a little girl makes her into a nastier if less memorable Cruellia DeVille. The music is nice in a way though some of it sounds a bit too much like bad seventies soft pop. I did like the “Rescue Aid Society Theme Song” however.

The animation is perfectly passable but hardly extraordinary. The swamp animals that play a minor role in the plot during the climax are awfully annoying and mostly unnecessary. And yes, I do have an older copy of the film, one that still has the nudity hidden in the background. That seems to be the main reason anybody talks about this now a days which is pretty goofy if you ask me. [Grade: B-]


24. The Fox and the Hound
About half of this is good while the remaining parts fair from mediocre to poor and the bits are distributed unevenly throughout the picture. I really liked the beginning, how it starts out with a slow, quiet pan through the forest before the action starts. The animation is very nice and crisp, certainly a step up from what was seen in the past couple films. Some of the film’s earlier moments are fun and cute without being too cute. Tod’s first night in the forest and the final confrontation with the bear are both very strong sequences, not sugar-coating the cruelty of nature too much. I liked the ending, which is sad and strangely downbeat for a Disney movie.

The cast is very mixed bag. Sandy Duncan has a clear, likable voice, Pearl Bailey is good as Big Momma, and it’s always nice to hear from Kurt Russell. Mickey Rooney is horribly miscast and would it have killed Paul Winchell and John Fielder to come up with voices different then their “Winnie the Pooh” characters? The music isn’t very good with “The Best of Friends” being the only track worth mentioning. Chief living was a cheap cop-out and while I appreciate the film’s attempts at drama, it isn’t handled very well and comes off sounding pretty silly. Ultimately, “The Fox and the Hound” might have been an attempt at trying something different but has a lot of kinks that needed to be ironed out first. [Grade: B-]

Review: Friday the 13th (2009)

The horror remake trend isn’t going anywhere, anytime soon. When relative obscurities like “My Bloody Valentine” get a polished do-over, things are out of control. We mostly have Michael Bay’s Platinum Dunes production company to blame for this. I’m hardly a fan. “The Texas Chainsaw Massacre” re-do wasn’t a complete abomination but was, at best, competently mediocre. Everything else the studio has had its fingers in range from boring (“The Amityville Horror”) to god awful. (“The Hitcher,” the “Chainsaw” prequel.) So when I heard they got their hands on my beloved “Friday the 13th,” I was cautious, to say the least.

Now that the movie is out, what can I say? First off, this one doesn’t shake off the annoying Platinum Dunes trademarks. All the teens look like they were plucked from underwear commercials. (Even the nerd looks ready to do a GAP ad.) There are far too many cheap jump-scares, in which the music and sound effects blast way up in order to get a response from the audience. (I’ll admit, one of these got me. Damn dog.) Even some shaky-cam direction is thrown in, though not enough to ruin the movie. And a personal gripe of mine: The location of Crystal Lake has always been ambiguous. The Ohio plates in the first movie say one thing while the closeness of Manhattan in the eighth movie says another. I guess it’s been moved way south for this one, because we have another case of Beautiful City People being hassled by ugly, sweaty, redneck southerners. Does everybody in Hollywood think people south of the Mason Dixon line look and act like that?

Anyway, if you can ignore all of that bullshit, you’ll have a good time. “Friday the 13th 09” gets a lot of stuff right. This is mostly thanks to Derek Mears performance as Jason. He’s smarter, faster, and nastier then previous incarnations but it doesn’t mess with the established concept of the character. Personality wise, it’s the same Jason we know and love. The mythologies of the previous films are respected, as well. Yes, I would have liked to have seen more of the camp and Mrs. Voorhees but the fact that they’re present means a lot. (That whole mine-shaft thing doesn’t make sense though. Jason having an underground lair is cool but there were more logical ways to explain it.) Marcus Nispel isn’t a bad director and he knows how to create atmosphere. With the teens at the summer home and the brother looking for his missing sister, the story mostly plays like a combination of three and four, with elements of two and one thrown in for flavor. (Yea for Baghead Jason!) The teens are clichés, with some of them not even being that distinct, but none of the acting is distractingly bad. (I do have a problem with one line of dialouge: "Say hi to Mommy for me!" Ugh.)

But when has that ever mattered much? It’s the ways that Jason terminates them that counts. The movie seems unusually centered on machete deaths but there is variety and most of the kills show creativity. (The machete is comically huge, by the way, and looks ridiculous in the hands of anybody but the Sultan.) The dock sequence is the best in the movie and actually creates some minor suspense. Ultimately, it’s “Friday the 13th.” We’ve got Jason, we’ve got Crystal Lake, we’ve got teens getting naked, having sex, doing drugs, making stupid decisions, and getting gorily killed off. We even have something exploding out of the water at the end of the movie. On top of all that, it’s all competently put together. Welcome back to Crystal Lake. Sure feels good to be home. [Grade: B+]

Series Report Card: Disney Animated Features (1961-1970)

17. One Hundred and One Dalmatians
Recently rewatching this film, I was surprised by the fluidity of the animation. All the characters move with a life-like spring in their steps. Though roto-scoping has often been misused as a dollar stretching technique, it adds a level of vividness to the character movements here.

It’s a thoroughly enjoyable little movie. The characters aren’t anything new but still prove interesting to watch. The sequence were Pongo stares out the window trying to pick out a mate for his masters has always struck me as very clever, especially with the ways the owners resemble their pets. The love story between Roger and Anita, though not the main focus of the film, is also pulled off nicely. The story also feels very much of it times. Maybe it’s the art design but this one screams both “England!” and “Sixties!” Which makes it timeless and sort of unique, don’t you think?
Most people remember this today for the villain, Cruella DeVille, who truly is one of the great Disney villains. Just the fact that the character is so callous is what makes her so memorable. She’s not interested in financial gain or power or any typical villainous motivations. She just wants the perfect fur coat. And she’s willing to kill one hundred and one puppies to get it. Puppies, man! How more evil can you get? Her nasty-ness even makes the comic relief henchmen more threatening.

Music doesn’t play as big a part in this film as in other Disney pictures, but Cruella’s theme song is very catchy and instantly recognizable. I’ve also always thought the TV-shows with in the film were a nice touch of meta-awareness on Disney’s behalf. Not a really great Disney film, but definitely one of the more entertaining ones. [Grade: B]

18. The Sword in the Stone
In keeping with the European feel, this plays out sort of like a low-key version of “Sleeping Beauty.” The art design is similar to that film in that it appears to be based at least partially on medieval artwork. Stained glass was an obvious influence on both films. Of course, the animation quality is of a much lower budget then that high point and the colors here are muted and the landscapes flat.

The tone is completely different as well, more in line with what you’d expect from Disney. It’s a mildly amusing comedy. The humor is mostly derived from character interaction which makes it fairly reliable for a laugh. I particularly like the love-struck squirrel. That always got a chuckle out of me as a kid. The characters are more archetypes then anything else. (This is a retelling of the King Arthur story, after all. Wouldn’t you expect archetypes?) I’m not sure I like Merlin as a mildly frenzied old coot either and I certainly could have done without his owl sidekick.
The story is slowly paced and laid back, mostly involving Merlin transforming young Wart into an animal of some sort and related wackiness ensuing. There’s never a definite moving force here and threats are introduced sporadically before being dealt with in an equally swift manner. I’m not sure how I feel about the character designs either, which are more exaggerated then usual.

The music is fairly minor but still manages to be catchy. I can hum you a handful of bars from “What Makes the World Go Round,” “Higitus Figitus” (which is basically “Bippitiy Boppity Boo” rewritten for a guy) and, the definite highlight, “The Mad Madam Mim.” The wizard dual at the end is a nice sequence and at least takes things out on a high note. A serious retelling of the Arthurian legend was obviously beyond the studios’ means at the time and I’m not sure I’d like to see that tale Disney-ized anyway. Either way “The Sword in the Stone” is completely pleasant and easily watchable, if far from the major masterpieces the studio is known for. [Grade: B-]

19. The Jungle Book
“The Jungle Book” might have the best voice cast Disney ever put together. It was criticized at the time for casting well-known actors in part similar to their established personas. Valid criticism, I suppose, but when it works this well, you can’t really fault the decision. Each voice and character are matched so perfectly. There isn’t a single bad performance in the whole movie. Sebastian Cabot resonates authority as Bagheera but also brings warmth to the part. Though primarily a comic relief character, Phil Harris still gives Baloo a multifaceted personality. Sterling Holloway is allowed to expand past his usually benign personality as the appropriately slithery Kaa. (Ha, I made a pun!) George Sanders imbues Shere Kahn with a sense of menace and style, making him both a truly threatening villain and strangely likable. You certainly never doubt for a minute that he intends on killing poor little old Mowgli. (And, yes, that is the Clint Howard as the voice of the baby elephant. What a long way we’ve come.) I don’t know how much of the strong characterization has to do with performances or with the writing, but each character has a fully rounded personality, even minor supporting parts.

The music is really outstanding as well featuring, so far, the best music yet written for a Disney feature. It’s the closest the song team has come to feature out-right pop music. Every song here is a favorite of mine and, in between “The Bare Necessities,” “I Wanna Be Like You,” and the appropriately alluring “Home of My Own,” I can’t decide which I like more.
The animation is a step-up from “The Sword in the Stone” and the detailed backgrounds and rich color from “Sleeping Beauty” returns as well, though this film lacks the sheer graphic brilliance of that one. The Indian jungle certainly adds a different color palette then previous Mouse Factory offerings.

Despite being only fitfully faithful the original stories, many of Kipling’s powerful themes are maintain, such as the importance of fire or Mowgli returning to civilization, in what might be the best ending of any Disney Animated Feature. If I had to find anything bad to say about this film, it would be that the plot is a little lacking. There’s not really a driving force behind the plot and it’s more of just running into a bunch of different characters but the experience as a whole is just so enjoyable, that seems like a minor squabble. “The Jungle Book” would be the last animated production Walt Disney himself oversaw. He certainly went out on a high note, as its one of the best of the collection. [Grade: A]


20. The AristoCats
The one thing this film really has going for it is its music, which is excellent all around and some of Disney’s most hum-able songs. “Everybody Wants To Be a Cat” is actually a great little number and the standard of many youngster’s birthday parties, believe you me. Many of the other numbers, including “Scale and Arpeggios” and the title track, sung by the distinguished Maurice Chevalier, are also memorable.

Beyond that, however, the movie mostly plays like a weaker retread of “One Hundred and One Dalmatians.” You have the pets in peril, threatened by a selfish human. You have the owners of the animals, who grieve like they just lost a child. Both finales even feature the lower class critters coming to the rescue of our main cast. The resolutions are even similar, with the street animals being accepted into the nice homes.
There’s a wide range of supporting characters here but, despite the best efforts of the solid voice cast, including many Disney regulars like Phil Harris, Eva Gabor, Sterling Holloway, Scatman Crothers, and Paul Winchell, but none of them feel like anything more then clichés. Especially the Scat Cat gang who are all intentionally written as culturally stereotypes. (I point this out less not because its offensive but because its just lazy writing.) The two guard dogs, which meet the standard comedy concept of “Dumb skinny guy who thinks he’s smart and constantly belittles the really dumb fat guy,” bump up against annoying. And there’s plenty of that slapstick I’ve mentioned before, not to mention a totally non-threatening comic relief villain. (There’s a reason Edgar the Butler isn’t spoken of as often as Maleficent or the Evil Queen.) Despite some notable aspects, this is definitely one of the more forgettable Disney features. [Grade: C]