Tag Archives: Disney

Pinocchio-1940

Pinocchio-1940

Director Ben Sharpsteen, Hamilton Luske

Voices Cliff Edwards, Dickie Jones

Scott’s Review #723

Reviewed February 1, 2018

Grade: B+

As a follow-up to the marvelous 1937 Walt Disney production of Snow White and the Seven Dwarfs, 1940’s Pinocchio is a darling tale of a wooden puppet longing to become a real boy.

The film vastly differs from its predecessor in that the protagonist is male, and the thematic elements are Italian (based on an Italian children’s novel). Still, similarly, Pinocchio is a touching experience and is magical and whimsical, telling a humanistic story about wishes and dreams coming true.

As narrated by a fantastic, cheerful little insect named Jiminy Cricket, an elderly woodcarver named Geppetto creates a wooden puppet named Pinocchio and wishes upon a star for the puppet to become a little boy.

A mysterious yet lovely Blue Fairy arrives one night and tells Pinocchio that he must be brave and truthful for the desired effect to occur- Jiminy serves as his conscience. Throughout the remainder of the film, Pinocchio’s morals are tested by unsavory characters who attempt to steer him down a dark path.

Certainly, Pinocchio is intended to be a message film for little boys and girls everywhere about the importance of honesty and truthfulness. However, some comic elements are mixed to avoid making the experience too dark or scary.

This is evidenced by the legendary way Pinocchio’s nose grows longer with each fib he tells. The film preaches a valuable lesson, which is why the adorable story holds up so well in the present.

Some values never go out of flavor.

In superb Disney form, Pinocchio features an emotional tearjerker of a scene towards the end of the film as Geppetto mourns the loss of his son.

The scene is sweet and touching and will fill even the hardest of hearts with feelings- regardless of age. In this way, Pinocchio becomes even more of a timeless treasure and is a film that the entire family, generations upon generations, can enjoy together.

Films of this nature are so important as a bonding form.

Enough praise cannot be given to Pinocchio’s incredibly effective theme song, “When You Wish Upon A Star,” belted out by Jiminy Cricket. The resounding tune is as emotional as it is timeless and bold. It is belted out at just the ideal time during the film and is still associated with the legendary film.

In fact, over the years, the song has become synonymous with the Walt Disney Company itself.

One slight oddity of the film is that Geppetto—clearly at the grandfather’s age—is the father of a young boy. This might have been perceived as sweet in 1940, but in 2018, it may have been perceived as a bit creepy or at least unusual.

Still, this is a minor flaw that can be easily overlooked. I have come to assume Geppetto is the grandfather in the story.

For those in the mood for a charming, classic animated Disney picture, 1940s Pinocchio is a mesmerizing and creative experience. At its core, it is a timeless benevolent lesson in goodness and purity.

Pinocchio is artistically filmed and told, and it can be enjoyed by anyone, regardless of age or gender.

Oscar Nominations: 2 wins Best Original Score (won), Best Original Song-“When You Wish Upon a Star” (won)

Sleeping Beauty-1959

Sleeping Beauty-1959

Director Clyde Geronimi, Les Clark, Wolfgang Reitherman, Eric Larson

Voices Mary Costa, Bill Shirley

Scott’s Review #721

Reviewed January 30, 2018

Grade: B+

Sleeping Beauty is a 1959 musical fantasy film and Walt Disney’s sixteenth animated production. By this point, Disney was a master at crafting wonderful and magical productions, and Sleeping Beauty was a solid work.

However, due to mixed reviews and poor box office performance, Disney films were retired for many years. The effort achieves a lighter tone than heavies like Dumbo and Bambi but is enjoyable nonetheless.

In a magical land of royalty, fairies, and both good and evil, King Stefan and Queen Leah, the benevolent leaders of the land, finally conceive their first child, Princess Aurora.

After proclaiming a memorable holiday and celebration, a festive scene turns dark when an evil and powerful fairy, Maleficent, jealous with rage, puts a curse on the innocent baby.

Thanks to a kindly fairy, the curse of death on Aurora’s sixteenth birthday is slightly blocked in favor of Aurora falling into a deep sleep- only to be awakened by true love’s kiss.

The characters in Sleeping Beauty are pretty lovely and, overall, sweet and kind. My favorite characters are the three fairies: Flora, Fauna, and Merryweather. Each has her personality but wields special magical powers—all good-natured.

While Flora and Fauna possess song and beauty, which they bestow on Aurora, Merryweather arguably saves the young girl’s life. The three women are also instrumental in being the unsung heroes of the film, while the handsome Prince Phillip gets star billing.

Compared to many other Disney films, Sleeping Beauty is quite the show. It is lush with colors as bright as stars, and the sparkles that drizzle from the fairies’ wands ooze magic that will make children giggle with delight and adults marvel with adoration.

In this regard, Sleeping Beauty is extravagant and the most expensive Disney production to date.

Maleficent is a fantastic villain, and when she finally turns into a lethal, fire-breathing dragon, this is sure to scare youngsters watching the film for the first time. Sure to mention, Maleficent’s web of thorns that she uses to surround Aurora’s castle is a spectacle in and of itself.

Upon watching the film, I continue to draw comparisons to another of Walt Disney’s famous films, 1937’s Beautiful Snow White and the Seven Dwarfs, as both films resemble each other in a sheer mass of ways.

The beautiful and innocent main female characters, both in peril from devious, older women, clearly jealous of Snow White’s and Aurora’s goodness, are apparent.

Besides, both contain dashing princes who come to the rescue in just the nick of time and kindly little things who assist in the drama.

Perhaps Sleeping Beauty’s similarities to Snow White and the Seven Dwarfs—in fact, the pair would be perfect to watch together on a rainy Saturday afternoon—led me to conclude that Snow White is the more charming and grabbing of the two films.

Also, Sleeping Beauty does not triumph in the important humanistic lessons that the Dumbo and Bambi (my favorites of all the Disney films) have.

Sleeping Beauty contains elements of an empathetic, feel-good animated experience. A King, a Queen, a Prince, a vicious villain, giddy fairies, and a beautiful heroine are all represented in this delicate and satisfying Disney venture- not the greatest in the pack, but assuredly a good time.

Oscar Nominations: Best Scoring of a Musical Picture

Beauty and the Beast-2017

Beauty and the Beast-2017

Director Bill Condon

Starring Emma Watson, Dan Stevens

Scott’s Review #634

Reviewed April 18, 2017

Grade: A-

When I went to see the live-action version of the Disney animated classic Beauty and the Beast, which was released in the spring of 2017, I was unsure what to expect.

Would it be a cheesy or amateurish retread of the 1991 animated smash only with human beings? Why the lackluster March release date? Indeed, this is telling; otherwise, why not release the film in the coveted fourth quarter with potential Oscar buzz?

I do not have the answers to all these questions, but this version of Beauty and the Beast is enchanting, romantic, and lovely- a spring treat for the entire family to enjoy.

Our protagonist, Belle (producers wisely casting Harry Potter legend Emma Watson), is a kindly farm girl living with her father, Maurice (Kevin Kline),  in a quaint village outside of Paris.

Considered a bit odd by her village mates because she loves to read, she rebuffs the advances of the dashing soldier, Gaston (Luke Evans), because he is arrogant- the other village ladies (as well as Gaston’s gay companion, LeFou) flaunt over Gaston’s good looks.

When Maurice ventures into unknown parts and stumbles upon a dilapidated castle, he is locked up by a vicious beast. Having once been a handsome prince, he has since been cursed by a beggar woman.

The only way the beast can return to his former self is to find true love before a wilted rose loses all of its petals—enter Belle to the rescue. Belle convinces the Beast to let her stay in prison and release her father.

Will Beast and Belle fall madly in love?

Of course they will. The fated romance is part of what makes the film heartwarming and lovely.

The now-legendary classic fairy tale feels fresh and energized with the Disney-produced project. Director Bill Condon carefully and successfully crafts an honest effort, making sure that while providing a fairy tale happy ending, not to make the film seem contrived, overblown, or overdramatized.

I fell for the film hook, line, and sinker. It is an uplifting experience. The song and dance numbers abound with gusto and good costumes—my personal favorites are the rousing “Be Our Guest” and the sentimental “Beauty and the Beast.”

The crucial romance between Watson’s Belle and the Beast, earnestly played by Dan Stevens (of Downton Abbey fame), works in spades. Their chemistry feels authentic and passionate. As Belle is at first held captive by the misunderstood bad boy instead of Maurice, the pair at first loathe each other, but this is done with innocence and no malice.

Condon wonderfully exudes the right amount of slow build to make the pair beloved by audiences with the correct pacing.

The CGI in Beauty and the Beast is heavy, as expected. However, the Beast’s distraction is a bit confusing. Was the Beast a complete CGI creation save for the close-ups, or was Watson dancing with Stevens when filming commenced in certain scenes?

I am unsure.

The controversial “gay storyline”, which helped the film be banned in the southern United States and Russia, as well as other countries, is pure and utter rubbish.

The subject is explored extremely superficially and not worthy of all the fuss.

Worthier of mention is the tremendous diversity that is featured in the film, most notably in the opening sequence. Interracial couples appear in the form of Madame de Garderobe (Audra McDonald), the opera singer turned wardrobe, and Maestro Cadenza (Stanley Tucci), turned harpsichord.

On the gay issue, it is sweet that the implied gay character of LeFlou finds love with another man at the end of the film.

A minor complaint is the scattered authentic French accents of many of the household staff and village people, but Belle and Maurice speak in the British tongue. Being a fairy tale, liberties must be taken, and suspending disbelief is necessary, but this was noticed.

Beauty and the Beast (2017) is a lovely experience that combines fantastic musical numbers with romance, with a side of diversity thrown in for good measure.

Since the film will undoubtedly be seen by many youngsters and teens, this is a wonderful aspect of the film and, hopefully, a shining, positive example in filmmaking.

Oscar Nominations: Best Production Design, Best Costume Design

WALL-E-2008

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

Toy Story 3-2010

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

Fantasia-1940

Fantasia-1940

Director James Algar, Various

Starring Leopold Stokowski, Walt Disney

Scott’s Review #544

Reviewed December 11, 2016

Grade: B+

Before viewing this 1940 gem by Walt Disney, I was naive about precisely what Fantasia was about. Indeed, I had heard of it and knew it was an animated production, but I was also mystified by it. Now embarrassed, I realize what a creative treat I missed out on.

Better late than never.

I expected a Walt Disney animated story like Snow White or Pinocchio, but this assumption mistook me. While the film took me a bit to get into, it is a marvel and quite extravagant.

The combination of classical pieces and the animated story is brilliant and visually impressive. There are eight pieces in total, all with stories to tell.

Animated films are not typically my genre of choice, but this one impressed me quite a bit if nothing more than the imagination involved.

A Fantasia reboot emerged in 2000.

Fantasia 2000-2000

Fantasia 2000-2000

Director James Algar, Various

Starring Steve Martin, Bette Midler

Scott’s Review #535

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Reviewed December 4, 2016

Grade: B+

Fantasia 2000 is a visually stunning remake of the 1940 Disney film. The modern version was produced by Roy Disney, nephew of the famous Walt Disney.

There are nine segments in total, each set to a classical music piece. Masterpieces such as Symphony No. 5 by Beethoven and Rhapsody in Blue by Gershwin are featured.

The Rhapsody piece is a gorgeous story of four individuals who dream of a better life in 1930s New York City. The four do not know each other, but their lives intersect uniquely.

Each segment is introduced by a celebrity: Steve Martin, Angela Lansbury, Bette Midler, and Quincy Jones appear, adding helpful thought and interpretation.

The final piece, in particular, is both moving and breathtaking. Firebird Suite-1919 version- by Stravinsky tells of a sprite (an ethereal entity), awoken by her companion, an elk, as a volcanic spirit has erupted in the peaceful forest, burning it down. The sprite must work to rebuild the peaceful land.

It is an earnest, heartbreaking piece.

Being somewhat of a film traditionalist, I prefer the original slightly, but this version is great.

Fantasia 2000 is wonderful to look at.

Frankenweenie-2012

Frankenweenie-2012

Director Tim Burton

Starring Catherine O’Hara, Martin Short

Scott’s Review #454

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Reviewed July 23, 2016

Grade: B

Frankenweenie is a very creative Tim Burton-made, stop-motion film that received a nomination for Best Animated Feature at the 2012 Oscars.

On the dark side, it is a pleasure to watch for the thought-invoked and left-of-center approach as compared to many safe modern animated features.

The story revolves around a lonely young man who experiments on his recently deceased dog to bring him back to life.

It is a black and white film, has nice horror references (Frankenstein, Bride of Frankenstein) and interesting characters.

It is also heartwarming as the child’s love for the dog is evident.

The movie is easy to compare to 2012’s ParaNorman in multiple ways (lonely male teen, both dark films).

As much as I give major props to this film for the creativity involved, somehow it did not completely connect with me (I liked ParaNorman better) and I’m not sure why, but I have great respect for the creative achievements it encompasses.

Oscar Nominations: Best Animated Feature Film

Inside Out-2015

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)

Maleficent-2014

Maleficent-2014

Director Robert Stromberg

Starring Angelina Jolie

Scott’s Review #251

Maleficent_poster

Reviewed June 27, 2015

Grade: C+

Maleficent (2014) is an updated re-telling of the classic fairy tale “Sleeping Beauty” told from the perspective of Maleficent, the evil godmother, who in this version, it is revealed, was not always.

She is rather sympathetic towards the beginning of the film.

Later in life, becoming the antagonist, she begins life in a world of goodness, wonder, and hope until she is duped by a young man she loves and turns wicked with hatred and revenge.

The casting of Angelina Jolie as Maleficent is excellent and the main reason to watch the film.

Also worth noting is the wonderful, creative art direction and costumes that look gothic and interesting.

Otherwise, the film meanders a bit, is slightly watered down, and contains a sappy Disney-style love story. The story itself is the weakest part of Maleficent.

Maleficent, protector of the fairies in the magical land of the Moors, as a young girl is betrayed and is NOT a villain. Her male suitor (Stefan) is someone she trusts, loves, and respects, is then duped and has her wings stolen by him.

He becomes the King of the neighboring land of humans, vastly different from the peaceful world that Maleficent lives in.

These events lead her to devastation followed by revenge as she places a vicious sleeping curse on Stefan’s firstborn, Aurora.

Jolie is wickedly delicious in this role- the sultry, pouty looks, and those eyes! She plays scorned, revenge-driven to the hilt without being too over the top as lesser actresses would have.

As the actress ages, she is beginning to take on more character, villainous parts rather than sexy bad girls or heroines and I am all for that. It gives the actress something meaty to sink her teeth into. Her dark costumes perfectly give the character an edge.

The art direction is magical and the difference between the two lands is distinctive. The beauty of the Moors with gushing streams, mountains, and flowers contrasts with the stark nature of the human world.

The fairies symbolize peace and freedom with a life filled with treasures, whereas the human kingdom symbolizes ambition, greed, and coldness. The tiny fairies flittering around add zest and life to the film.

The silly love story, though is not believable nor compelling to me, especially the latter film romance between Stefan’s daughter- Aurora, and her wealthy suitor Phillip. They seem manufactured to be together without having a chance to get to know each other.

This seems contrived and produced to add something young to the story.

On a storytelling note, Maleficent’s sleeping curse is set to transpire on Aurora’s sixteenth birthday when she pricks her finger on a spindle and falls into a deep sleep that can only be remedied by love’s true kiss.

Why does he send Aurora away to live in hiding when she is a newborn? Doesn’t he have sixteen years to enjoy her?

The film then dwindles to the inevitable battle finale with lots of movement and fire and a stand-off between Maleficent and Stefan that is dull and predictable.

Overall, the first half of Maleficent (2014) is the better part and the performance of Angelina Jolie is wonderful.

Oscar Nominations: Best Costume Design

Into the Woods-2014

Into the Woods-2014

Director Rob Marshall

Starring Emily Blunt, Meryl Streep

Scott’s Review #241

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Reviewed May 8, 2015

Grade: B

Based on the stage production of the same name, Into the Woods (2014) is a feature-length Disney film that incorporates several different fairy tales into the main story.

The film is a fantasy musical with numerous songs performed by the cast, featuring a large ensemble of seasoned actors.

The classic fairy tales are modern versions of Little Red Riding Hood, Rapunzel, Jack and the Beanstalk, and Cinderella.

The action mainly revolves around a baker and his wife (James Cordon and Emily Blunt) who are sad and lonely because they cannot conceive a child due to a long-ago curse put upon the baker’s family by a witch- played by Meryl Streep.

Circumstances surrounding the baker’s father caused the once beautiful witch to be turned ugly. The witch offers a bargain to the baker and his wife- if they bring her four items (a white cow, a red cape, yellow hair, and a gold slipper) for a special potion, she will lift the curse, enabling them to conceive a child and live happily ever after.

This prompts the couple into the dark forest to obtain the requested items. From this point, the couple intersects with other characters from the fairy tales as they all question various aspects of their lives.

There are subsequent stories- the witch is Rapunzel’s adoptive mother and keeps her locked in a tower to prevent her from being hurt by the world.

Cinderella (Anna Kendrick) escapes her taunting stepsisters and attends a ball only to flee when noticed by the handsome prince (Chris Pine).

Jack attempts to sell beans to provide food for his mother- and Little Red Riding Hood brings sweets to her Grandmother but is confronted by the Big, Bad, Wolf (Johnny Depp), a strange Woman Giant is stomping through the forest searching for Jack.

All these stories revolve around the baker and his wife’s efforts to retrieve the witch’s requests.

The production and art direction in the film is great. I love the dark, gloomy forest, which translates so well on the screen and gives the magical effect of a mysterious, secret forest.

I enjoyed the songs quite a bit- especially the catchy “Into the Woods”. However, some of the songs are quite one-dimensional and bland and not discernible from each other, let alone memorable.

The duet of the Prince’s, “Agony” is silly and useless to the plot, with gyrations, and dance moves.

Meryl Streep- dynamic in anything she appears in again steals the show as the vile witch turns beautiful at the end. She has a fantastic solo number mid-story, entitled “Stay with Me”.

One drawback I found with the film is, at times it drags a bit and I was not sold on the casting of Anna Kendrick as Cinderella.  Something about her performance was lacking, perhaps she was not as sympathetic or convincing as another actress might have been.

Also, I would have enjoyed seeing Johnny Depp as the Wolf be more prominently featured and a larger role for the Woman Giant. As integral as she is to the plot, it was tough to get a clear glimpse of her face let alone anything more substantial.

An entertaining feast of fairy tales immersed in one film, Into the Woods (2014) has some compelling moments but lost opportunities that bring it far from the reaches of a masterpiece level.

A solid film, but not a great film.

Oscar Nominations: Best Supporting Actress-Meryl Streep, Best Production Design, Best Costume Design

101 Dalmatians-1961

101 Dalmatians-1961

Directors Wolfgang Reitherman, Hamilton Luske, Clyde Geronimi

Voices Rod Taylor

Scott’s Review #226

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Reviewed March 8, 2015

Grade: A-

101 Dalmatians (1961) is a darling Walt Disney film that encompasses wholesomeness, love, and devotion.

Set in London, which adds a level of sophistication to the film, it tells the story of a lonely songwriter named Roger Radcliffe, who lives in a flat with his faithful and devoted Dalmatian, Pongo. Theirs is a happy existence, but something is missing.

Pongo, voiced by Rod Taylor (of The Birds-1963, fame), is determined to find a mate for himself and Roger and sets about to do just that by watching ladies and their dogs walk the streets in front of their homes.

He finds the perfect match for both (Anita for Roger and Perdita for him). The four of them look forward to years of happiness together until a sinister friend of Anita’s, Cruella De Vil, enters the story.

Cruella sees profit in the Dalmatians and attempts to steal and destroy them.

Cruella De Vil is a delicious villain and certainly one of the most entertaining in animated film history, but more than that, she is comically devious. Her maniacal laugh and witty language make her a perfect foil for a wholesome couple and wonderful, cute little pups.

The audience does not root for her, but there is something wicked and fun about her over-the-top character.

The 1961 film has an incredible artistic direction that animation today lacks —the scenes look like beautiful drawings.

There is a Mad Men quality to the design.

The “look” differs from current animation in that it is sleek and constructed skillfully, not loud, fast, and bombastic.

I love that the film is told from the perspective of the Dalmatian Pongo and Perdita, not from the perspective of human beings. The central characters, Pongo and Perdita, tell the story about their dogs, which adds to their empathy for the animals. We see their attempts to rescue all of the stolen dogs.

Also outstanding is how all of London’s dogs (and various other species of animals) band together in rescue. They work as a team to save and protect their own, who are being mistreated and sent to slaughter.

An enjoyable scene involves the climactic car chase between Cruella’s gaudy luxury car and a furniture van. As the pups use the van to escape, a cat-and-mouse game ensues, providing comedy and dramatic flair.

The scene is among the most suspenseful in the film, as the vehicles weave along dirt and back roads toward London.

In addition to this riveting scene are others involving the dogs tiptoeing past their captives as we cross our fingers they will not be heard and subsequently caught, and an adorable scene showcasing the dogs’ cleverness at covering their spots with soot to escape.

A heartwarming, inspirational film for the entire family to enjoy many times over, 101 Dalmatians (1961) will leave you smiling and humming.

It is a truthful, fantastic film about love for animals.

Frozen-2013

Frozen-2013

Director Chris Buck, Jennifer Lee

Starring Kristen Bell, Idina Menzel

Scott’s Review #43

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Reviewed June 18, 2014

Grade: B

The adjective that springs to mind about the latest hit animated film Frozen (2013) that has overtaken the nation is “cute”.

The story is loosely based on the Hans Christian Anderson story (which is modified immensely) and tells the story of two royal sisters (Elsa and Anna), one of whom has special “ice” powers and accidentally injures the other causing a rift.

From this point, there are a series of misunderstandings, love interests, a handsome prince, an adventure through the snow, and a Snow White-type theme.

The story is uplifting, sweet, and targeted to kids and parents seeking a wholesome, safe experience, but is it too safe?

My one criticism is the lack of diversity and culture in the main characters as they are all similar in looks, which doesn’t set the best example for kids watching.

The musical numbers stuck in my head as I hummed them for days. The songs are very trendy, and pop-leaning which may make this film age quickly and have an overly current flavor.

I loved the frozen, icy, wintry animation sets that are perfect while watching in the winter months.

Olaf, the sidekick, the mini snowman is witty and steals the show.

Oscar Nominations: 2 wins-Best Animated Feature Film (won), Best Original Song-“Let It Go” (won)