Category Archives: John Ratzenberger

1982 Films, Ben Kingsley, Biography, Candace Bergen, Daniel Day-Lewis, Drama, John Mills, John Ratzenberger, Martin Sheen, Political Drama, Richard Attenborough, Roshan Seth, Saeed Jaffrey

Gandhi-1982

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Gandhi-1982

Director Richard Attenborough

Starring Ben Kingsley

Scott’s Review #1,189

Reviewed October 30, 2021

Grade: A

Ben Kingsley delivers an astonishing performance as Mahatma Gandhi,  the steady-handed lawyer who stood up against British rule in India and became an international symbol of nonviolence and peaceful understanding until his tragic assassination in 1948.

Entitled simply Gandhi (1982) the film is directed by Richard Attenborough who has created masculine offerings such as The Great Escape (1963) and The Sand Pebbles (1966) before.

Calmly, the director creates a grandiose epic but one that is thought-provoking and introspective in its humility.

I was incredibly affected by this picture.

As beautiful as the cinematography and other such trimmings are the message is what stands out to me most. One man’s spirit and thirst for fairness and human equality are beyond inspiring decades after the film was made.

Thanks to Kingsley, the biography infuses an infectious channeling of what being a human being is all about and how human decency is the desired goal.

The film belongs to Kingsley. Despite hosting a cast of literally thousands he is the only name worth mentioning. He is that superior.

Attenborough, who teams with screenwriter John Briley presents major events in the life of Mohandas Gandhi (Kingsley). The film starts suddenly in January 1948, when an elderly Gandhi is on his way to an evening prayer service and is shot point-blank in the chest in front of a large number of dumbfounded greeters and admirers.

His state funeral is shown, the procession attended by millions of people from all walks of life, with a radio reporter speaking beautifully about Gandhi’s world-changing life and projects.

The film then returns to decades earlier when Gandhi, a young man, has a violent and racist experience. He vows to dedicate himself to the concept of nonviolent resistance. Initially dismissed, Gandhi was eventually internationally renowned, and his gatherings of passive protest moved India towards independence.

Gandhi has been criticized for its extraordinary length with a running time of three hours and ten minutes. A suggestion is to watch the film in multiple sittings though the best recommended approach would be to see it on the big screen.

Unfortunately, I didn’t but fantasize about the massive sequences and how gorgeous they would appear at the cinema.

The story, acting, production, and pretty much everything else about Gandhi is a ravishing spectacle.

It’s worth its weight to sit back and watch Kingsley completely immerse himself in the role. The actor deservedly won the Best Actor Academy Award and despite his oodles of other film roles is best remembered for this one.

I’m half surprised that it didn’t typecast him since he is so identifiable in the role.

I’d like to mention two aspects that some might not notice as much as others but that is simply astounding. The cinematography of the deserts, towns, and cities of India is plush with detail and accuracy. If one cannot go on a trip to India the next best thing is to watch this film instead. You’ll get a good dose of realism.

South Africa is also featured.

The costumes brilliantly showcase Indian flair and culture so well that I felt that I had been to an interesting country at the time that the film portrayed the events and felt nestled amid the luxurious colors and good taste.

Post-1982, the film genre of the epic exists rarely if ever anymore.

Long gone are the days of brilliance like Gone With the Wind (1939) or Lawrence of Arabia (1962) which are truly a delight to simply lay one’s eyes on.

Gandhi deserves to be appreciated as much as those other films despite being released in less than an artistic decade in cinema.

Gandhi (1982) is a wonderfully tragic film and leaves the viewer feeling sad but also inspired to carry the torch picked up by one brave man.

A history lesson it’s also as much a lesson in humanity and the courageous fight that one man fought. Military power is not the way to achieve change in the world.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-Richard Attenborough (won), Best Actor-Ben Kingsley (won), Best Screenplay-Written Directly for the Screen (won), Best Art Direction, Best Cinematography (won), Best Costume Design (won), Best Film Editing (won), Best Makeup, Best Original Score, Best Sound

1981 Films, Brad Dourif, Drama, Elizabeth McGovern, James Cagney, Jeff Daniels, John Ratzenberger, Mandy Patinkin, Mary Steenburgen, Milos Forman, Period Drama, Samuel L. Jackson

Ragtime-1981

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Ragtime-1981

Director Milos Forman

Starring Howard E. Rollins, Brad Dourif, Mary Steenburgen

Scott’s Review #1,183

Reviewed October 1, 2021

Grade: A-

Milos Forman, most famous for directing 1975’s One Flew Over the Cuckoo’s Nest and 1984’s Amadeus, creates a relevant period piece drama with a moving racial storyline.

Set in the turn of the twentieth-century New York, Ragtime (1981) mixes an important message with gorgeous costumes and a peppering of romantic intrigue.

The film was honored with an astounding eight Academy Award nominations but came away empty-handed.

The cast is enormous and I love that aspect of the film. At two hours and thirty-five minutes, the experience nearly felt too short since there were plenty of stories left to tell, mainly with the sub-plots.

Some resolutions are not clearly explained but of course, the central story ends tragically.

A fun fact is that initially Robert Altman was signed on to direct the film but was replaced by Forman. My mind conjures up endless juicy moments that Altman likely would have added. As good as Forman is Altman would have been even better.

There are also a few real-life people sprinkled in with fictitious characters which may cause some confusion, especially with the high volume cast. Newsreels of Theodore Roosevelt, Houdini, and architect Stanford White are featured.

A flurry of juicy tales based on E.L. Doctorow’s eponymous novel dissects life in pre-World War I New York City. The haves and have-nots see their lives intersect in many different ways.

A lavish party in Atlantic City is a fabulous highlight of Ragtime.

One day, a rich white family living in New Rochelle, New York, finds a black baby in their yard and takes in the mother (Debbie Allen) as a maid. A black pianist, Coalhouse Walker Jr. (Howard E. Rollins Jr.), returns for his woman and child after finding success in a Harlem jazz band.

A group of small-minded firefighters, irritated to see a successful black man own a Model-T Ford, deface it, and Walker demands retribution. This sets the main chain of events in the film as a war rages between Walker and his friends and the white firefighters.

There are more stories presented in a lesser form that I would have loved more from like the interesting friendship between the black Walker and the white younger brother played by Brad Dourif.

In a strange scene, millionaire industrialist Harry Kendall Thaw (Robert Joy) makes a scene when White unveils a nude statue atop Madison Square Garden, modeled after former chorus girl Evelyn Nesbit (Elizabeth McGovern), Thaw’s wife.

Convinced White has corrupted Evelyn, Thaw publicly shoots him dead.

From an acting perspective, the film belongs to Howard E. Rollins. I immediately treasured the character he plays and rooted for him to win. Intelligent yet put upon he goes through several incarnations of the character and twice as many emotions. He was by far the richest character of all as far as substance.

Other characters intrigued but to dissect them would be impossible since there were so many of them. McGovern, Mandy Patinkin, and Mary Steenburgen are my favorite characters.

The only slight drawback is that the film has a glossy look to it and gritty scenes are not powerful enough. As intense a moment as the finale is, for example, I wanted something dirtier. When Walker’s fate is sealed I wanted to be more frightened instead of feeling like I was being fed high drama.

Ragtime (1981) successfully and nearly flawlessly combines artistic style with an enormous social message. It looks polished and representative of the early 1900s and it challenges audiences to take a look at how different cultures co-existed in another time.

Oscar Nominations: Best Actor in a Supporting Role-Howard E. Rollins Jr., Best Actress in a Supporting Role-Elizabeth McGovern, Best Writing, Screenplay Based on Material From Another Medium, Best Art Direction-Set Direction, Best Cinematography, Best Costume Design, Best Music-Original Score, Best Music-Original Song-“One More Hour”

2020 Films, Animated, Children, Disney, John Ratzenberger, Pete Docter

Onward-2020

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Onward-2020

Director-Dan Scanlon

Starring Tom Holland, Chris Pratt

Scott’s Review #1,164

Reviewed July 23, 2021

Grade: B+

An emotionally satisfying adventure film that the whole family can enjoy Onward (2020) feels fresh and inventive while still employing some standard plot points. Pixar/Disney sure knows how to churn out animated features with a nice message and a family unit sensibility.

There is also plenty of diversity that delivers an inclusive feeling so hugely important in the modern age. Kids are impressionable and learn so much from the films they watch so this quality brought a smile to my face in an otherwise enjoyable experience.

The film also celebrates non-traditional families and shows that not having a traditional mother and father and pet dog doesn’t make you strange or unworthy of love and understanding.

Onward is not completely outside the box, however, and is careful to lure in the mainstream middle America audience but some progressive treats mix well with a robust brotherly adventure tale.

Though the title, Onward, doesn’t stick in my mind very long the film itself does.

I may have even shed a tear or two during the heartfelt finale.

Teenage elf brothers Ian and Barley (voiced by Tom Holland and Chris Pratt) embark on a magical quest to spend one more day with their deceased father who loved magic. Their journey is filled with cryptic maps, overwhelming obstacles, and discoveries like any good adventure.

But when their Mom (voiced by Julia Louis-Dreyfus) finds out her sons are missing, she goes into mother lion mode and teams up with the legendary manticore (voiced by Octavia Spencer) to bring her beloved boys back home.

The lead character, Ian, is a sixteen-year-old boy with growing pains and vulnerabilities that immediately make him likable. He is eager to make friends but awkward about doing so. It is suggested that he has no friends coming to his birthday party but it’s unclear why not. Ian is also a nervous driver, terrified of traversing a busy freeway.

He is an ordinary kid who the audience can see in themselves or a former self of years gone by.

His brother, Barley, is the opposite. He is afraid of nothing and cares not who he befriends or what people think of him. His outrageous vehicle, named Guinevere, is a rebuilt van. Think the mystery mobile from Scooby-Doo.

The crux of Onward is about relationships. At first, we assume that the big payoff will be between Ian/Barley and their father. While that sort of happens, a surprise blossoms along the way, and instead of a standard father/son dynamic we get a brother/brother one. This is a treat and manufactures a dual message. Never take for granted a loved one already in your life because one day they may be gone.

I enjoyed the adventures of Ian and Barley mostly because I just knew that some sort of reunion would occur between the boys and the father. Their gift of one day spent with their father was marred by only his bottom half being visible, but I suspected we would see all of the father eventually. Avoiding complete predictability, only one of the boys gets to interplay with his father as the other looks on longingly.

I enjoyed this element quite a bit as it avoided cliche and offered raw emotion.

Speaking of diversity, two gay female police officers appear in one scene and a suggestion that some of a motorcycle gang of pixies might be gay is also noticed. Again, this is important for child viewers to be exposed to.

Another win is the animation itself- just look at the cover art above for proof. With gorgeous purple and blue color, the nighttime scenes work especially well with a bright and luminous look that I adored.

A slight miss was that the boy’s mother never got to reunite with her dead husband and their relationship was treated as merely an afterthought. The featured plot was only that the brothers missed their Dad. A reunion between husband and wife would have been nice.

With a tender and emotionally satisfying conclusion, this cemented my appreciation for Onward (2020). There may be a tad too many car chase scenes and a couple of hokey plot ploys but the film has a lot of heart that shines through.

Oscar Nominations: Best Animated Feature

2019 Films, Animated, Best Animated Feature Oscar Winners, Bill Hader, Children, Disney, Jay Hernandez, John Ratzenberger, June Squibb, Keegan-Michael Key, Pete Docter, Rashida Jones, Tony Hale

Toy Story 4-2019

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Toy Story 4-2019

Director-Josh Cooley

Voices-Tom Hanks, Tim Allen, Annie Potts

Scott’s Review #966

Reviewed December 10, 2019

Grade: B

Toy Story 4 (2019) is the fourth installment in the Pixar/Disney-produced Toy Story series, now nearly twenty-five years old!

The glitter is beginning to fade on a once endearing franchise and hopefully, this is the last one- additional segments are not needed unless desperation develops.

After a slow start and too many retread moments, the film shows bombast and familiar heart and tenderness in the finale, presumably wrapping up the long story with a neat bow.

The animation is vivid and colorful, almost astounding, making up for an unnecessary story.

In a flashback sequence, nine years after Toy Story 2, Bo Peep (Annie Potts) is donated to a new owner, and Woody (Tom Hanks) begrudgingly decides to maintain his loyalty to the owner, Andy.

Years later and now a teenager, Andy donates a forgotten Woody to a young child named Bonnie, who lacks the affection for the toy that Andy had. When Bonnie makes and bonds with Forky, a toy made of plastic, Woody struggles to convince Forky that each is more than garbage.

When Bonnie and her parents embark on a summer road trip to an amusement park, Woody and other familiar faces are along for the ride.

The group meets other forgotten toys, some benevolent and some sinister, at the park and a nearby antique store. Woody’s dear friend and comic relief, Buzz (Tim Allen), is in the mix and helps all the toys realize that they are not forgotten and that they can still bring joy to children.

The film provides an unwieldy list of celebrities in major and minor roles. The incorporation of characters like Chairol Burnett, Bitey White, and Carl Reineroceros (voiced naturally by Carol Burnett, Betty White, and Carl Reiner) may not be necessary, but it’s fun to watch the credits roll and see who’s who from the cast.

The minor characters are little more than window dressing, but the creativity is admirable.

The main story of abandonment, loyalty, and discarding of one’s toys is ample and nice but has occurred in every segment thus far in the series.

Do we need to see this again? Yes, it is an important message for both children and adults, but why not simply watch the first three installments of Toy Story, each brilliant in their own right?

Toy Story 4 plays by the numbers with little surprises.

One glaring notice is how almost every single adult is either incompetent or played for laughs. I get that the main draw is the toys and outsmarting the adults is half the fun, but when Bonnie’s father assumes his navigation system is on the fritz, rather than catching on to the fact that one of the toys is voicing the system, one must shake his or her head.

Suspension of disbelief is required more and more in these types of films.

Toy Story 4 picks up steam in the final twenty minutes with a thrilling adventure through the amusement park and a cute romance between Woody and Bo Peep.

When the long-forgotten toy Gabby Gabby (Christina Hendricks) emotionally rescues a lost child, she is rejuvenated and breathes new life into both the child’s life and her own.

In a darling moment, Forky meets another creation named Knifey. Knifey suffers from the same existential crisis as Forky once did, and Forky immediately becomes smitten with her, both realizing that even though they are odd-looking, they still matter.

The nice lesson learned is that even toys from the 1960s and 1970s can provide warmth and comfort to a young child and are more than “of their time”. This is a clear and bold message that correlates with human beings and how advanced age does not come with an expiration date.

Everyone matters and brings importance. The overlying theme is heartwarming and central to the film, bringing it above mediocrity.

What should certainly be the final chapter in a tired franchise that continues to trudge along, the bright message and strong animations remain, but the film feels like a retread.

Given that Toy Story 3 was made in 2010, Toy Story 4 (2019) needs to bring the series to a conclusion before installments 5, 6, 7, or 8 result in dead on arrival.

Oscar Nominations: Best Animated Feature Film (won), Best Original Song-“I Can’t Let You Throw Yourself Away”

2017 Films, Animated, Best Animated Feature Oscar Winners, Children, Disney, John Ratzenberger, Pete Docter

Coco-2017

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Coco-2017

Director-Lee Unkrich

Voices-Anthony Gonzalez, Benjamin Bratt

Scott’s Review #737

Reviewed April 4, 2018

Grade: B+

Winner of the 2017 Best Animated Feature Academy Award, Coco is an exuberant and colorful affair filled with marvelous lights and a Mexican cultural infusion that serves the film well, making it feel robust with diversity and inclusion.

The overall theme of family, traditions, and musical celebration is apparent and makes for good razzle-dazzle with lots of upbeat song and dance.

Mixed in is a lovely inter-generational theme, where older folks are respected, something all too lacking in today’s real world.

Miguel Rivera is a twelve-year-old boy living in Mexico with his extended family, including his elderly great-grandmother, Coco- sadly suffering from intermittent dementia.

Through flashbacks, we learn that Coco’s father, (Miguel’s great-great-grandfather), was an aspiring musician who abandoned the family for greener pastures. Subsequently, all music has been banned by the Rivera clan in favor of a modest shoe-making business.

As Miguel realizes his passion for music, he comes into conflict with his family, who have other aspirations for the young man. Miguel embarks on a fantastic journey to the magical and somewhat frightening land of his deceased ancestors, coinciding with the festive Day of the Dead celebration, a tradition of Mexican culture.

There he realizes the true nature of his great-great-grandfather’s sudden departure.

Coco is a film that can really be enjoyed by all members of the family and is structured in just that way. The blatant use of multiple generations holds great appeal for blending the family unit.

Pixar successfully sets all the right elements in place for a successful film, and the well-written story only adds layers. The film is quite mainstream, yet appealing to the masses.

Perhaps very young viewers may become frightened by some of the skeleton-laced faces of Miguel’s ancestors in the other world where he visits, but these images are somewhat tame and mixed with vibrant colors and wonderful production numbers.

These images are undoubtedly meant to entertain rather than be scary and the creatures possess a friendly vibe.

Having viewed the film on an airplane traveling cross-country (admittedly not the best way to watch a film), I was entranced by the lovely and touching musical number, “Remember Me (Lullaby)”, so much so that I was moved to tears right on the plane.

How’s that for effectiveness?

The emotional level reached via this song impressed me immensely about Coco, even when the story occasionally is secondary to the visual or musical elements.

In fact, for me, the story began to lag slightly until the aforementioned big musical number came into play. The song really kicked the action into high gear in an emotional way, and I became more enamored with the characters and the connections they had to one another.

The love that Miguel and his relatives share became clearer to me and the conclusion is fine and satisfactory.

A slight miss to the film, corrected mid-way through, is the bratty and entitled nature to Miguel. Heaving sighs when he does not get his way, this seems more apparent early on and was quite the turn-off- at first, I did not care for the character, yet I knew I was supposed to.

Thankfully, the character becomes, naturally, the hero of the film and ultimately a sweet, likable character. I began to ponder,  “Is that what kids are really like these days”?

Pixar does it again as they create a family-friendly experience with a positive, yet non-cliched message of belonging, forgiveness, and the importance of family connections, that feels fresh.

In current times of divisiveness, especially with immigration and other cultures being attacked, how appropriate to experience a feel-good, yet not contrived project.

Oscar Nominations: Best Original Song-“Remember Me” (won), Best Animated Feature Film (won)

2008 Films, Andrew Stanton, Animated, Best Animated Feature Oscar Winners, Children, Disney, Fred Willard, John Ratzenberger, Lee Unkrich, Pete Docter

WALL-E-2008

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WALL-E-2008

Director Andrew Stanton

Starring Various voices

Scott’s Review #594

Reviewed January 8, 2017

Grade: B+

After hearing so much buzz about WALL-E (2008), I decided to see for myself what all the fuss was about.

Disney-Pixar has created another fantastic film. Visually, it is a creative and intelligent experience that warrants the praise it has received. They also do a lot with intricate graphics and animations.

In a futuristic world where humans have destroyed their environment, and thereby abandoned planet Earth, robot, WALL-E, is left to clean up the mess.

He then meets a fellow female robot named EVE, and the two develop an innocent, sweet relationship that is charming and authentic.

The humans in the film are portrayed as fat, lazy, incapable of intelligent thought, and most unable to move very much since technology has trained them to be as such.

Sad.

The story itself is very sweet, and touching, and sends a very important message about society and taking care of our environment.

Very enjoyable.

Oscar Nominations: 1 win-Best Original Screenplay, Best Animated Feature Film (won), Best Original Score, Best Original Song-“Down to Earth”, Best Sound Editing, Best Sound Mixing

2010 Films, Animated, Best Animated Feature Oscar Winners, Bonnie Hunt, Children, Disney, Don Rickles, Estelle Harris, Joan Cusack, John Ratzenberger, Laurie Metcalf, Lee Unkrich, Michael Keaton, Ned Beatty, Pete Docter, Richard Kind, Tim Allen, Timothy Dalton, Tom Hanks, Whoopi Goldberg

Toy Story 3-2010

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Toy Story 3-2010

Director Lee Unkrich

Starring Tom Hanks, Tim Allen

Scott’s Review #562

Reviewed December 26, 2016

Grade: B+

It’s not easy for sequels to succeed in the creativity or originality categories, but surprisingly, Toy Story 3 (2010) is a fresh, imaginative, fun film.

The characters are charming, interesting, and heartwarming, and the film can avoid a sappy result.

Pixar has another hit.

Andy, now grown up and headed off to college, sees no reason to keep any of his childhood toys, now irrelevant and headed for the scrap box- at least that is what Woody, Buzz Lightyear, and friends, fear will happen as the dreaded day approaches.

They must scheme to avoid their fate.

Many interesting new toys are introduced to this franchise with unique personalities, thereby giving a fresh approach, yet not forgetting the past.

I adore how Toy Story 3 has many dynamic themes (loneliness, abandonment, togetherness), that play very well together with a nice message.

On a deeper level, the film reflects the modern era. People are so easily thrown out, forgotten, and abandoned, whether through a job, relationship, etc. so that makes this film a sad reality if one chooses to look at it that way, which most won’t.

Great movie for kids and adults alike with a meaningful, relevant message. The film is not a sugar-coated affair and offers a cold reality while remaining accessible.

Oscar Nominations: 2 wins-Best Picture, Best Adapted Screenplay, Best Animated Feature Film (won), Best Original Song-“We Belong Together” (won), Best Sound Editing

2015 Films, Amy Poehler, Animated, Best Animated Feature Oscar Winners, Bill Hader, Bobby Moynihan, Children, Diane Lane, Disney, Flea, John Ratzenberger, Kyle MacLachlan, Lewis Black, Mindy Kaling, Paula Poundstone, Pete Docter, Phyllis Smith, Rashida Jones, Richard Kind

Inside Out-2015

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Inside Out-2015

Director Pete Docter

Starring Amy Poehler, Diane Lane

Scott’s Review #272

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Reviewed September 8, 2015

Grade: B+

Frequently, when I view a modern animated feature, (and by contemporary, I mean 1990 and beyond), I am either bored or left with a “meh” feeling, or both. It seems the trend is “Let’s create a manufactured film that will appeal to kids who will drag their parents to it”.

It is almost as if mediocrity is accepted in the animated film, but Inside Out (2015) challenges this trend with a thoughtful, interesting slab of story.

With this latest Pixar offering, we find a refreshing, intelligent film that makes the viewer think, containing a genuine cute factor, with lots of colors and interesting animation interspersed throughout.

Our story finds eleven-year-old Riley Anderson, and her five different personalities, working within her brain in unison. The emotions are five distinct little people representing (and named) Joy, Sadness, Disgust, Fear, and Anger. They overlap, conflict, and humorously strive to take control of Riley’s mind and thought processes.

Joy is central, and the happiest of emotions. They all live in Riley’s conscious mind, named Headquarters.

One day, Riley and her family pack up and move from Minnesota to the unknown and overwhelming city of San Francisco to capitalize on a job opportunity offered to Riley’s father.

The city is bustling and the family is thrown for a loop. Riley in particular has difficulty adjusting to this vastly different world and finds herself friendless and acting out of character.

Sadness accidentally begins touching other emotions within Riley’s mind, which sets off strange emotions causing her to behave erratically and become irritable.

Joy and Sadness struggle to return to Headquarters and fix the issues.

Inside Out is a complex animated film and will go way above the heads of many youngsters who will undoubtedly see it.

I find this rather refreshing.

It is a coming-of-age tale for adults and mature kids that challenges its audience rather than spitting out a retread or formulaic family story that we have seen countless times.

Riley and her parents are arguably supporting players in the story, taking a back seat to the small, interesting creatures in Riley’s mind. Her mind is a carnival of riches and cool characters emerge. I smiled as more characters were introduced. Riley’s imaginary friend from years ago, Bing Bong, was pulled to the forefront of her emotions, as he was sadly forgotten in her mind.

Who cannot relate to this? A childhood ritual of creating a friend.

I adored the trip through Riley’s mind and marveled at the revelation of the inner workings of her mind, with creative colors and bright interesting lights.

What a super-cool adventure for a young film lover to experience! Inside Out is quite sophisticated.

The main concern is the level of patience that this film requires. It is not a force-fed story but encourages one to experience and feel.

Touching scenes prevail, but the message I receive from Inside Out is important. A multitude of emotions in every human being is normal and the way the film shows them overlap and work together is ingenious. Nobody is one emotion, nor should they be as the movie promotes successfully.

Human beings are meant to feel.

The film also contains humor. I laughed out loud when one character saw a button labeled “puberty” and assumed it was unimportant. This inside joke is also alluded to after the film- a sequel perhaps? Since Riley is only eleven, puberty will be a natural progression.

Inside Out challenges the norm in animated films and entices audiences to think. It feels genuine, which is impressive in itself. It is sentimental without feeling contrived or corny.

The film succeeds on many levels.

Oscar Nominations: 1 win-Best Original Screenplay, Best Animated Feature Film (won)