Tag Archives: Animated

#129 Favorite Film, 1942 Films, Animated, Children, Clyde Geronimi, David Hand, Disney, Drama, Eric Larson, Favorite Film of the Year, Top 250 Films

Bambi-1942

Leave a comment

Bambi-1942

Director David Hand

Starring Various voices

Top 250 Films #129

Scott’s Review #556

Reviewed December 22, 2016

Grade: A

Bambi (1942) is one of my favorite classic Disney animated features. It is simply a lovely, endearing, and heartbreaking tale.

Gorgeous and flawless, the film conveys a clear message about animals yearning for peace in a world where hunters seek to disturb and kill the graceful deer.

After all these years, this message still resonates loud and clear, sad, heartbreakingly. All deer hunters should watch this film and dare to take a shot.

Bambi was released during the Golden Age of Disney films, which was led by notable films such as Snow White, Dumbo, and Pinocchio, among others.

We first meet baby Bambi as his dear mother nurtures and nestles him, fawning over him with pride and teaching him the joys of the forest. Bambi’s father is the Great Prince of the Forest- protector of all the creatures of the land.

Bambi’s mother (unnamed) warns an exuberant Bambi to be cautious of the gorgeous yet dangerous meadows, where the deer are vulnerable and unprotected.

During the film’s famous gut-wrenching scene, tragedy occurs, and violence disrupts the peaceful forest, leaving Bambi alone, lost, and devastated, forced into a cruel world of tragedy, realism, and responsibility.

The scene gets to me every time, as we see the pain and harshness of life for the sweet deer, to say nothing of the other animals in the forest —namely, Thumper (a rabbit) and Flower (a young Skunk).

These characters are Bambi’s best friends. The dripping teardrop that oozes from Bambi’s eye can never be forgotten.

To counterbalance the film’s darkness, Disney successfully incorporates cheerful scenes of the animals dancing and interacting with each other as a unified community.

This is nice, as it shows the power and bond between the creatures – they are united as a family and take care of one another. I love this message, especially as young people will watch the film for the first time.

There is also a sweet romance offered between Bambi and Faline.

Watching the film and listening to the musical score is a way to experience sheer beauty. The music makes the film powerful- its classical and operatic elements are gorgeous and will elicit emotions.

Visually, each frame is a drawing set against a still, and it is magical to watch and marvel at the amount of work that undoubtedly went into this preparation.

In the end, the circle of life comes full circle. Bambi becomes the Great Prince of the Forest, replacing his father as the protector. Now, all grown up with two tiny babies of his own, he must protect his family and friends.

Life goes on. This is a sad yet realistic message. How brave Disney was in creating a masterpiece like Bambi.

Personal satisfaction is observing my beloved female feline friend, Thora, become mesmerized and attentive to the film each time I watch it.

Disney’s Bambi is a wonderful, cherished treasure that evokes emotions and conveys a valuable, poignant message. It is a timeless masterpiece to be enjoyed for generations to come.

One will not escape the film with dry eyes, a testament to the marvelous filmmaking involved.

Oscar Nominations: Best Scoring of a Dramatic or Comedy Picture, Best Original Song-“Love Is a Song”, Best Sound Recording

#138 Favorite Film, 1941 Films, Animated, Ben Sharpsteen, Children, Clyde Geronimi, Disney, Fantasy, James Baskett, Les Clark, Top 250 Films, Wilfred Jackson, Wolfgang Reitherman

Dumbo-1941

Leave a comment

Dumbo-1941

Director Ben Sharpsteen

Starring Various voices

Top 250 Films #138

Scott’s Review #559

Reviewed December 24, 2016

Grade: A

One of the best-produced (and at sixty-two minutes, one of the shortest) of the classic Walt Disney films of the golden age, Dumbo, in a similar fashion to another Disney classic, Bambi, is both heartbreaking and mixed with fun entertainment.

It should be heralded and viewed by everyone —children and adults alike —and teaches a valuable lesson in acceptance and tolerance, messages that never go out of fashion, despite the film being made in the grand old year of 1941.

To draw more comparisons to Bambi, we are introduced to the title character, Dumbo, who is nuzzled and cherished upon being brought into the world by storks by his warm and affectionate mother.

Dumbo is an elephant, and his mother is a circus elephant, where she spends her days as entertainment, along with a group of other female elephants —none of whom possess her grace, kindness, or dignity.

Sweet Dumbo is born with an imperfection- he has enormous ears. While others —namely the female elephants —ridicule and stare in horror at the lovable little elephant, his mother embraces and cuddles her little bundle of joy, eliciting a genuine, good-natured warmth rarely seen in cinematic history.

There is something innately good about this character (Mrs. Jumbo). She has a richness and way about her that is fantastic and consuming.

Sadly, one day, while entertaining the masses, a bratty human child taunts Dumbo, causing Mrs. Jumbo to go ballistic and immediately go into protection mode.

She was then deemed a “mad elephant”, shackled, chained, and worse yet- separated from her baby. How anyone can watch this portion of the film and not shed a tear or get a lump in their throat is beyond me.

Walt Disney was a master at eliciting raw emotion from his audience and writing heartbreaking yet charming stories.

The centerpiece of Dumbo is the extraordinary bond between mother and son —a sweet and powerful connection that almost everyone can relate to. The pride and joy in Mrs. Jumbo’s eyes when she is granted a visit from Dumbo while she is imprisoned is magical – it means the world to her.

The supporting characters are key to the richness of the film- Timothy Q. Mouse is an essential character in the story. Upon Dumbo and Mrs. Jumbo’s separation, he becomes Dumbo’s only friend, sympathizing with Dumbo, and is instrumental to Dumbo’s reunion with his mama as well as his future successes in the circus.

The bitchy female elephants are crucial, too- despite being one of their own, they still reject Dumbo and Mother. There are some light moments, such as when the ladies, (Catty, Giddy, and Prissy), gossip and act superior to others.

Another fun scene, to balance out the heavy drama, occurs when Timothy and Dumbo accidentally mistake champagne for water, causing them to hallucinate and imagine pink elephants.

Dumbo is essential in that it sends a powerful message about the way animals (especially circus animals) have historically been treated. Why animals should be used to amuse and entertain human beings is anyone’s guess, but this film serves as a powerful reminder of this.

Fortunately, the film has a happy and satisfying ending, which should please fans.

Dumbo (1941) is a timeless animated classic.

Oscar Nominations: 1 win-Best Scoring of a Musical Film (won), Best Original Song

#147 Favorite Film, 1937 Films, Animated, Ben Sharpsteen, Children, David Hand, Disney, Eric Larson, Fantasy, Favorite Film of the Year, Les Clark, Musical, Top 250 Films, Wilfred Jackson, Wolfgang Reitherman

Snow White and the Seven Dwarfs-1937

Leave a comment

Snow White and the Seven Dwarfs- 1937

Director David Hand

Starring Various Voices

Top 250 Films #147

Scott’s Review #625

Reviewed March 18, 2017

Grade: A-

Snow White and the Seven Dwarfs (1937) is Walt Disney’s debut feature-length production and the first animated feature.

Until their release, animated stories were not features at all, but rather shorts that were shown as gag-filled entertainment, not to be taken too seriously.

Snow White and the Seven Dwarfs made animated films something to be appreciated and respected. The 1937 film was re-released in theaters numerous times until the 1990s and serves as a blueprint for what animated features would become.

The film is based on the famous fairy tale of the Brothers Grimm, and it is a cherished treasure.

Beautiful inside and out, Snow White is a lonely princess who lives with her devious, wicked stepmother, the Queen. Making the most of her troubled life, Snow White hums and sings with her bird friends, who gather to keep her company as her stepmother forces her to work as a scullery maid.

The Queen is a vain woman, jealous of Snow White’s natural beauty. She constantly consults her mirror to ask, “Who is the fairest one of all?”

One day, the Queen decides to put an end to Snow White and orders a henchman to kill her in the forest and return her bloody heart to her in a box. When the henchman cannot do the deed, he pleads with Snow White to flee.

She winds up in a bit of cottage housing seven dwarf men, whom she befriends, as the Queen is determined to take drastic measures to find her.

In the late 1930s and for years to come, animated features were not created as they are today. Instead, they were simplistic —and excellent —in using storyboards and drawings in their creation.

This daunting task, along with the creativity involved, makes them just lovely to look at.

Since Snow White and the Seven Dwarfs was the debut animated feature, the drawings are fantastic to view, like pictures, and to appreciate the craftsmanship involved.

The characters are richly created, with bright, vivid colors that distinguish them from one another—Snow White’s bright red lips and the blue and gold colors of her dress contrast with the regal purples used on the Queen, to say nothing of the deep red color of the poison apple.

The color makes the apple appear delicious but also dangerously blood red. These nuances lend the characters depth and texture.

The friendships Snow White forms with the dwarfs and the animal life in the forest are whimsical and filled with love, and the animal element later becomes a staple of Disney’s works, as seen in Dumbo and Bambi.

The animals are naturally drawn to Snow White because she is joyful and kind. They, in turn, warn her of impending danger as the Queen turns herself into an old woman and lumbers towards Snow White, snug in the cottage.

Snow White and the Seven Dwarfs features an old-style romance. The handsome Prince takes a shine to Snow White, noticing her natural beauty as she sings, and is later determined to save her, which he does when he magically kisses her in the film’s finale.

The songs featured only enhance the love story—”Some Day My Prince Will Come” is a lovely ode to romance, tenderly sung by Snow White as she longs for the Prince’s touch, frustrated with her life.

The seven dwarfs are created magically, and seven little men living together seem quite natural in those innocent times.

Each is distinctive—Dopey is my personal favorite in his innocence and playfulness—and Happy, Doc, Grumpy, Sneezy, Sleepy, and Bashful are all written with great zest. We fall in love with each of them from the first moment we meet them as they belt out “Heigh-Ho” in unison.

Since Snow White and the Seven Dwarfs deserve merit for being Disney’s first, it is overlooked that the film omits any family members of Snow White’s besides the evil Queen. Where are Snow White’s father and mother? Any siblings? Indeed, they are presumed dead, but they are never mentioned.

Also, why does the Queen have a Magic Mirror and have special powers that nobody else has?

At one hour and twenty-three minutes, Snow White and the Seven Dwarfs is a relatively brief film, yet it does not feel underdeveloped. The story and the characters are rich with appeal and intrigue, making the film a classic that should be shared with all youngsters.

It is a classic tale of good versus evil and a great love story, setting the tone for other Disney masterpieces to follow.

Oscar Nominations: Best Scoring

#241 Favorite Film, 1970 Films, Animated, Children, Disney, Eric Larson, Hermione Baddeley, Les Clark, Scatman Crothers, Top 250 Films, Wolfgang Reitherman

The Aristocats-1970

Leave a comment

The Aristocats-1970

Director Wolfgang Reitherman

Starring Various voices

Top 250 Films #241

Scott’s Review #570

Reviewed December 29, 2016

Grade: B+

The golden age of Disney films mainly occurred before the release of this film, The Aristocats is a latter-day Disney film, released in 1970- the first release since Walt Disney’s death in 1966.

It is a darling story with a very cute subject matter- cats living in sophisticated Paris face peril from their butler.

Like many Disney works, the film’s message pertains to the treatment of animals. The Aristocats is much safer fare than the dark Bambi or even Dumbo, but it is a fantastic film worth watching.

Glamorous and elegant retired opera star, Madame Adelaide Bonfamille, lives peacefully with her gorgeous mother cat, Duchess, and her three kittens, Marie, Berlioz, and Toulouse in the heart of Paris, circa 1910.

They are sophisticated beyond measure and enjoy every luxury known to cats, and are accompanied in their estate by English butler, Edgar.

One day while Madame is discussing her will with her attorney, Edgar learns that she plans to leave her entire estate to her cats, until their death, then all goes to Edgar.

Filled with greed, Edgar plots to kill the cats. This leads to an adventure in the country as the accosted cats attempt to find their way back home to Madame, with the help of feral yet kindly cat friends.

Ever so sweet to the film is the burgeoning romance that erupts between Duchess and Thomas O’Malley, as he aids the cats in returning to Paris. It is the classic girl from high class, who meets the bad boy from the wrong side of the tracks- only cat style.

The chemistry is readily apparent between the pair and, on a personal note, my female cat Thora certainly seemed smitten with Thomas O’Malley as she sat smiling at Thomas while she watched the film.

During their adventure, Thomas and Duchess manage to dance and sing along with Thomas’s best friend Scat Cat, who leads a Jazz band of alley cats- this makes the film light and lively in tone. The group also shares adventures with English geese, Abigail and Amelia Gabble, who share a fondness for style and a prim and proper manner.

Throughout it all, the group continues to be pursued by Edgar, who is portrayed more as a bumbling villain than a sinister one, making The Aristocats a fun film rather than anything too heavy or sinister.

The sophistication of the film is really what makes me enjoy it so much. The high style of the Parisian city blocks, Madame’s gorgeous mansion, and the beautifully drawn French countryside are my favorite elements.

I love the contrasts in this film- the city and the country. The high-brow characters meet the more blue-collar ones, but in the end, everyone comes together to conquer the mischievous foe.

Whereas in Bambi man is the serious enemy, in The Aristocats, Edgar is more of a buffoon than a truly dangerous element. He is cartoon-like (no pun intended), and the film is more of a caper with hi-jinks than of true danger.

For the cat lovers in all of us, The Aristocats is a delightful film with a nice message and a wonderful cultural experience.

Who can forget the fantastic theme song, “Ev’rybody Wants to Be a Cat”?

2022 Films, Adventure, Animated, Antonio Banderas, Children, Comedy, Da'Vine Joy Randolph, Florence Pugh, Harvey Guillén, Joel Crawford, Olivia Colman, Salma Hayek

Puss in Boots: The Last Wish-2022

Leave a comment

Puss in Boots: The Last Wish-2022

Director Joel Crawford

Voices: Antonio Banderas, Salma Hayek Pinault

Scott’s Review #1,357

Reviewed April 14, 2023

Grade: B

There is a connection between the Shrek film series and Puss in Boots, which I didn’t realize until researching this review.

The title character appears in Shrek 2 (2004) and a film called Puss in Boots (2011), which I think I’ve seen but don’t remember well, precedes the 2022 film Puss in Boots: The Last Wish.

I’m not a big enough fan.

The film is an entertaining adventure, laden with bright, colorful animations and Skittles- or rainbow-type colors, marred by blacks and greys. This works well and provides energy.

There is also a cool incorporation of familiar fairy tale characters. The names are reintroduced mostly as scheming people intent on capturing Puss in Boots, which accelerates the fun and my interest.

The result is a good but not a great film. I’m not sure what would have made Puss in Boots: The Last Wish a masterpiece, but the target audience is firmly set on young viewers.

My two cats glanced at the screen once or twice before deciding on a cozy nap instead. They were not engaged.

Even the darker subject matters of death and dog abuse somehow fall by the wayside in favor of the other cute, adventurous, and fight sequences.

Surprisingly, they do not pack a deeper punch.

Puss in Boots (Antonio Banderas) returns as the daring outlaw who discovers that his passion for danger and disregard for his safety have taken their toll, and he is forced to consider retirement.

As a cat, he is on his ninth and last life!

He tries to get those lives back by returning to the Black Forest to find the mythical Wishing Star on his grandest quest yet. At the risk of death, Puss will have to ask for help from his former partner and nemesis, Kitty Softpaws (Salma Hayek Pinault).

They are joined in their journey by a chatty and cheerful mutt named Perro (Harvey Guillén). Together, they try to stay one step ahead of the fairy tale villains, including Goldilocks and the Three Bears, ‘Big’ Jack Horner, and the Big Bad Wolf.

I didn’t know the character histories of Shrek or Puss in Boots, despite having seen them, but I’m not sure that’s imperative to one’s enjoyment of the film. I quickly caught on that Puss in Boots and Kitty Softpaws were meant to be an ‘item’.

The story is a compelling enough adventure, but it becomes meandering a some point. I knew the troupe would ultimately emerge on the Wishing Star and all would end well. It did, and the characters rode swiftly off into the sunset.

That’s how a film like Puss in Boots: The Last Wish is supposed to end, and I respect that. Best not to tarnish youngsters too early, especially when reality can sometimes be quite dark.

The fun for me was the visuals and specific moments. Puss in Boots’s stunning, gleaming green eyes are astounding and balance nicely with Kitty’s blue ones.

‘Big’ Jack Horner is patterned after Donald Trump. Bullying, fat, and loud, he is a feared pastry chef and a crime lord who plans to use the Wishing Star to gain control of all magic. Snubbed as ‘Little’ Jack Horner as a kid, he vows revenge and exhibits a pouty, snotty vibe.

The writers must have fun with that character.

Finally, a darling sequence featuring Mama Luna, an elderly cat lady who initially takes Puss in, is excellent. Puss in Boots, more like a human being eating human food and using the toilet, is reduced to cat chow and a litter box, like all the other cats.

Director Joel Crawford and screenwriters Paul Fisher and Tommy Swerdlow carefully tone down the violence and darker themes in favor of a robust adventure and largely succeed.

Perfect for kids, it’s not bad for adults either.

Oscar Nominations: Best Animated Feature

2009 Films, Adrien Brody, Animated, Bill Murray, Brian Cox, Children, George Clooney, Jason Schwartzman, Meryl Streep, Noah Baumbach, Owen Wilson, Wes Anderson, Willem Dafoe

Fantastic Mr. Fox-2009

Leave a comment

Fantastic Mr. Fox-2009

Director Wes Anderson

Voices George Clooney, Meryl Streep, Bill Murray

Scott’s Review #1,329

Reviewed December 30, 2022

Grade: B+

I have fond memories of, either reading or being read, Roald Dahl’s famous 1970 children’s novel entitled Fantastic Mr. Fox. The story involves the clever and hungry Mr. Fox and how he outwits his farmer neighbors to steal food from under their noses.

In 2009, it was adapted into a stop-motion animated film by Wes Anderson and includes the voice of George Clooney and Meryl Streep as Mr. and Mrs. Fox.  Anyone familiar with Anderson’s work knows well that an added dose of eccentricity will inevitably be included as well as a unique narrative.

I confess to either being in the mood for an Anderson film or not but at least I know to know what I’m in store for.

Anderson co-wrote the screenplay with Noah Baumbach known for making witty and intellectual comedies like The Squid and the Whale (2005) and Greenberg (2010).

Fantastic Mr. Fox pairs well with 2018’s Isles of Dogs if we are talking about Anderson films. Both include the thoughts and peculiarities of animals, similar stop motion, and a story about trickery and revenge pitting man against animals.

There is an eerie and prominent comparison to Animal Farm, a 1950s George Orwell novel and film adaptation, that I noticed.

The farm, animals, class system, and desire for power and authority.

When Mr. Fox’s nightly raids on three nearby farms raise the tempers of three selfish farmers who are losing their chickens, he must outwit the outrageous plans to catch him.

After all, in his mind, he is merely trying to feed his hungry family and neighbors, and Mr. Fox must find a new way to get his paws on the bounty.

Billed as a children’s film probably because it’s based on a children’s novel, Fantastic Mr. Fox contains aspects that will go way over kids’ heads. This suits me well however because I have a fascination for animation that pushes the envelope or moves beyond the overdone ‘safe genre’.

Think of it as a kid’s film for adults.

It would appear difficult to side solely with Mr. Fox since he is a thief. We are all taught at a young age not to steal but it’s difficult not to root for Mr. Fox. He steals not to gorge himself but to feed his family and community.

Of course, he is addicted to being a cad and quickly returns to his thieving ways finding his calling and strong satisfaction.

A good lesson for kids and adults is the neighborly aspect of Fantastic Mr. Fox. There is a camaraderie amongst the animals that I find lovely and inspiring. They band together and cohabitate in an underground community and later the sewer always having each other’s backs.

The farmers are portrayed as the villains though we can certainly understand their hardships at having their animals stolen and eaten. But Anderson hits home that the farmers are greedy and obsessed with their wealth, happy to kill any animals they see fit.

It’s satisfying to see them get defeated.

The story is outshined by the visuals though. It’s difficult not to focus on the technique and stunning attention to detail, especially in the tunnel sequences. The character performances and shadowy framework make one realize just how far stop motion has come.

The autumnal colors of red, orange, and yellow, perfectly enhance the visual style and season that Anderson and team create. Even the cue card titles between scenes are meticulous art that harkens back to sophisticated cartoons of yesteryear.

Fantastic Mr. Fox (2009) is a creative, edgy, and intelligently written and scored production. Multi generations are featured with means young kids, parents, and grandparents with a hunger for a left-of-center and thought-provoking approach will be well satisfied.

Oscar Nominations: Best Animated Feature, Best Original Score

2021 Films, Animated, Best Animated Feature Oscar Winners, Byron Howard, Children, Chris Buck, Disney, Fantasy, Jared Bush, Jennifer Lee, John Leguizamo, Lin-Manuel Miranda, María Cecilia Botero, Musical, Stephanie Beatriz

Encanto-2021

Leave a comment

Encanto-2021

Director Jared Bush, Byron Howard

Voices Stephanie Beatriz, John Leguizamo

Scott’s Review #1,323

Reviewed December 16, 2022

Grade: B+

Encanto (2021) is a lovely film produced by Walt Disney Animation Studios. It’s part musical, part fantasy, and part comedy with plenty of bright, colorful, and culturally significant sequences that are quite pleasing to the eyes.

The musical numbers are wonderfully catchy and fun, especially the standouts ‘We Don’t Talk About Bruno’ and ‘Welcome to the Family Madrigal’. Since the musical numbers are primarily created by Lin-Manuel Miranda and composed by Germaine Franco, they are professional and memorable.

The film has a wholesome, upbeat, yet diverse quality that makes it challenging not to enjoy.

The representation provided is a significant win for the film.

The setting of Colombia helps with this, and the main character, Mirabel (Stephanie Beatriz), is darling. Her positive and forthright personality is cheerful and instantly likable, and I imagine inspiring young girls everywhere.

It’s nice to see Disney expand its reach internationally in today’s world of inclusion and diversity.

The Madrigals are an extraordinary family who live hidden in the mountains of Colombia in a charming residence called the Encanto.

The magic of Encanto is well known throughout the nearby town, and its magic has blessed every child in the family with a unique gift, except Mirabel, who mysteriously has no gift.

Or so it would appear.

When Mirabel discovers that the magic surrounding the Encanto is in danger of running out, she may be their last hope.

The success of Encanto lies in the character of Mirabel. She is imperfect and unique, yet firm and confident, defying the mold. This is what Disney does well to make her relatable. You could say that Mirabel feels left out and isolated, different from her more conventional siblings.

The primary objective is to craft a character that the audience can identify with and feel a connection to. Since the target demographic of Encanto is young females, the idea is successful.

The animation is also inspiring. Challenged with genuinely replicating the mountains of Colombia, the gorgeous, lush locales can frequently be seen in sequences. The way the family estate rests along the landscape made me want to be there with them.

The colorful pastels and psychedelic moments are dizzying in a good way. The costumes alone are evidence of this, including embroidered wool with astonishing patterns. With pinks, purples, blues, and yellows, it’s an orgy of spectacular images.

The Madrigals appear to be an affluent family revered by their community, but besides having magical powers, it’s unknown how they cultivate their wealth.

They serve the villagers with their gifts, but what does that mean exactly? Are they paid with cash?

Encanto (2021) won the Academy Award for Best Animated Feature, and this is no surprise. The Academy sometimes rewards creativity and diversity over mainstream fluff, and this film is an example of when the Academy gets it right.

The entire family can enjoy the film for multiple reasons, rather than just a product that appeals to kids whose parents are forced to tag along.

Oscar Nominations: 2 wins-Best Animated Feature (won), Best Original Score, Best Original Song-“Dos Oruguitas” (won)

2022 Films, Angus MacLane, Animated, Bill Hader, Children, Chris Evans, Dan Scanlon, Disney, James Brolin, Keke Palmer, Lee Unkrich, Pete Docter, Taika Waititi

Lightyear-2022

Leave a comment

Lightyear-2022

Director Angus Maclane

Voices Chris Evans, Keke Palmer

Scott’s Review #1,322

Reviewed December 13, 2022

Grade: B

The popular Toy Story (1995-2019) franchise spawns a new child with Lightyear (2022), a spin-off prequel film within the franchise. Box office receipts will determine if Lightyear has any children of its own.

It’s a pleasant and fairly conventional offering, as it focuses solely on one ‘toy’, the masculine Buzz Lightyear, and tells his story. The visuals are delightful and colorful, and there is enough adventure to keep the whole family engaged.

Unfortunately, there isn’t much in the way of legacy or connection to the Toy Story characters, and even the voice of Buzz is replaced by Tim Allen and Chris Evans.

One’s enjoyment of the film predominantly depends on one’s preference for the franchise in general or the hero in question. Better satisfied may now be adults who were kids in 1995, harkening back to a nostalgic film featuring a favorite childhood character.

As a semi-fan, but not a diehard fan, of the Toy Story films, I found the overall result pretty good, but not astounding.

It doesn’t explain why Lightyear went from a living and thriving action hero to becoming a suburban kid’s possession, but it also doesn’t matter much, at least to me.

For fans of the series, it’s a nice trip down memory lane, more than anything groundbreaking or breathtaking.

Sometimes familiarity breeds comfort.

The film follows Buzz Lightyear (Evans), a space ranger, as he is marooned on a hostile planet with his commander and crew. He attempts to find a way back home while confronting a threat to the universe’s safety.

His ambitious recruits, Izzy, Mo, Darby, and his robot companion, Sox, serve as new characters following Lightyear’s every move. As this motley crew tackles its most challenging mission yet, they must learn to work together as a team to escape the evil Zurg and his dutiful robot army, which is never far behind.

Possibly the most interesting, and I’ll confess the primary reason why I saw Lightyear, was the notorious same-sex kiss that unceremoniously got the film banned in some Middle Eastern countries.

It also pissed off conservatives who found the kiss too much for them and the potential damnation and ruination of young children everywhere.

In truth, the kiss is timid and a non-issue. The issue is more likely a prominent female lesbian character and her wife, and best friend, Buzz. It’s like, how dare the all-American Lightyear have a black lesbian for a best friend?

Alisha (Uzo Aduba) is strong, confident, and black. She is a commanding officer and arguably the most interesting character in the film.

What an inspiration for young girls everywhere to see such representation and potential. The kicker is that she is in a relationship with a woman who has a granddaughter named Izzy (played by Keke Palmer), one of Buzz’s recruits.

Despite the addition of inclusion and diversity, Lightyear is nonetheless a by-the-numbers offering. The message is one of a robust adventure, though I appreciate the social importance of such a good character.

Once Buzz is in flight and soaring for the stars, Lightyear turns into action/adventure in a hurry. The filmmakers intend to create a popcorn summer blockbuster, with our hero saving the day, and this intention is fulfilled.

The time travel and aging of characters are interesting because we see their life cycles and the generations that follow. For example, Buzz is close to Izzy.

He cares deeply for Alisha, whom he misses terribly, because he has been far away and hasn’t aged, while she has aged like a normal human.

Lightyear (2022) offers a safe flight plan, despite being brave enough to include diverse characters. It doesn’t connect to the origin of Toy Story as much as I’d like it to, and feels somewhat like a stand-alone.

Time will tell if a sequel is made, but it would be unnecessary.

1968 Films, Animated, Comedy, Dick Emery, Geoffrey Hughes, George Dunning, George Harrison, John Clive, John Lennon, Musical, Musical Comedy, Paul McCartney, Ringo Starr

Yellow Submarine-1968

Leave a comment

Yellow Submarine-1968

Director John Clive, Geoffrey Hughes

Starring John Lennon, George Harrison, Ringo Starr, Paul McCartney (*singing only)

Scott’s Review #1,291

Reviewed August 18, 2022

Grade: B+

By 1968, The Beatles, or the ‘Fab Four’ as they were commonly nicknamed, were household names, and their music was played all around the world.

Instead of their earlier 1960s pop and radio-ready songs, the band was beginning to branch out into far more daring and creative territory.

Yellow Submarine (1968), also a song, is a bright and colorful journey into the weird and wonderful psychedelic sensibilities the band had created. It’s fabulous and edgy, though sometimes it doesn’t make complete sense.

The target audience was likely adolescents, but since ‘Yellow Submarine is a children’s song, there is a Sesame Street educational factor to it, which is hard to explain well, but I felt that vibe.

A thought for adults might be to concoct a potent libation for maximum enjoyment while watching Yellow Submarine. One’s mind must be kept open to the Blue Meanies and the odd world of Pepperland that are featured as the gang traverses the land in a Candy Land-like maze of events.

Adults might be best suited to foraging into the world of silly while watching.

The film is The Beatles’ only animated project.

The music-loving inhabitants of Pepperland are under siege by the Blue Meanies, an unpleasant group of music-hating creatures.

The Lord Mayor of Pepperland (Dick Emery) dispatches sailor Old Fred (Lance Percival) to Liverpool, England, where he is to recruit the help of the Beatles (John Lennon, Paul McCartney, George Harrison, Ringo Starr).

The sympathetic Beatles ride a yellow submarine to the occupied Pepperland, where the Blue Meanies have no chance against the Fab Four’s charisma and groovy tunes.

As bizarre as Yellow Submarine is to an adult’s frame of mind, I can only imagine the joy and energy a child would take from the film, though perhaps not fully understand it. I tried to keep this in mind while watching it.

The colors are dazzling and vibrant, one of the film’s biggest strengths. The delightful and vivid greens and blues mix well with the lighter pinks and yellows of the famous submarine.

I confess I had a difficult time with the plot of Yellow Submarine at the beginning and struggled to make sense of what was going on. This might have been because of the distraction of the beautiful animation and color direction.

I finally began to piece together clues and characters from Beatles songs, and my realization turned into one of pleasure and anticipation.

Once the band meets the lonely Jeremy Hillary Boob Ph.D., also known as the ‘Nowhere Man, I got the point of the film. I began to look for other characters like Eleanor Rigby and Lucy from the song ‘Lucy in the Sky with Diamonds’.

The fun commences with speculation of what the famous Beatles tune could be next. Speaking of ‘Lucy in the Sky with Diamonds’, this number is the trippiest and most interesting of them all as a spirit-like creature dances around with weird shapes and styles.

Other treats like the tremendous ‘All You Need Is Love, the charming ‘When I’m Sixty-Four’, and naturally ‘Sgt. Pepper’s Lonely Hearts Club Band and ‘Yellow Submarine’ are featured.

Yellow Submarine (1968) is a must-see for fans of The Beatles and for those with an appreciation for the arthouse magic it contains. Intelligent kids who are exposed to the project will surely fall in love with it and reminisce about it years later.

2021 Films, Animated, Danish, Documentary, Independent, International, International Documentary, Jonas Poher Rasmussen, LGBTQ+ Documentary, LGBTQ+ Films, LGBTQ+ International

Flee-2021

Leave a comment

Flee-2021

Director Jonas Poher Rasmussen

Scott’s Review #1,274

Reviewed July 7, 2022

Grade: A-

Flee (2021) holds the distinction of being the first film to be a documentary, an animated movie, and classified as international, as it was made in Denmark. It was nominated in all three categories for icing on the cake at the Academy Awards.

It’s a unique telling of one man’s journey out of war-torn Afghanistan as a refugee and his eventual safe destination of Denmark. He eventually went to Princeton University in the United States.

This is pretty impressive for a man who could have easily died in Afghanistan before he even had a fair shot.

The film also depicts stories of his family, and his realization that he is gay is made further complicated because of the country in which he was born.

Flee contains beautiful graphics and art design and shifts focus from the present-day to the past and back again, and includes real-life footage of various soldiers and battles (hence the documentary status).

It’s one of a kind and a tremendous effort, though I longed for a bit more of the LGBTQ+ storyline and was curious for a glimpse of what the real-life figures looked like, which usually comes at the end of a biography-type film.

In this case, it never did.

But the gripe is small potatoes when stacked against the meaning and inspiration that Flee provides.

The focus of the story is on Amin Nawabi, who wrestles with a painful secret he has kept hidden for over twenty years, one that threatens to ruin the life he has built for himself and his soon-to-be husband, Kasper.

Recounted primarily through animation by director Jonas Poher Rasmussen, he tells the story of his extraordinary journey as a child refugee from Afghanistan.

Because of the animation, I was initially thrown off by Flee, as it starts with the interviewer and interviewee having a conversation. In a traditional documentary, we would see the two people face to face, but instead, we hear their voices in animated characters.

I quickly got used to this, and it’s the way the film is throughout. The real-life characters, such as Amin’s family and future husband, are all animated, and real human beings never appear except for the newsreel-type footage.

Surprisingly, and also a deepening of the story, is when Amin admits that he initially lied about his family all being dead. The reason he does this is out of instinct and a survival technique (for both him and his family).

Flee is perfectly paced at one hour and thirty minutes. There is ample time to discuss and showcase Amin’s decision to leave Afghanistan and the terrible journey his mother and sisters were forced to endure.

They traveled by boat from Russia to the safety of Sweden as human traffickers.

What a horrific way to escape a country, especially as many stories of deaths due to suffocation follow human traffickers.

Amin is a man of secrets, and anyone who has ever harbored some out of desperation will assuredly relate to Amin’s plight.

He keeps many secrets from his husband, and the viewer can understand his secrecy and deep-seated fear of a return to Afghanistan and a particular execution.

His story is both tragic and courageous, and I yearned to learn more about his life with Kasper. How did they meet? Did Amin have trouble realizing his homosexuality? He mentions that he was a ‘different’ child and openly wore girls’ dresses, but how else did he deal? What obstacles do they continue to face?

There is a beautiful scene where he comes out to his understanding brother and sisters, but I guess I wanted more.

Visually, the graphics are modern and edgy. The different countries of Afghanistan, Russia, Sweden, and Denmark all take on distinctive identities, and the animation during the boat sequences is quite nerve-racking.

If a standard documentary can provide adequate emotion and storytelling, the way the filmmakers decided to make Flee (2021) is remarkable and worthy of praise.

For those seeking a humanistic tale of one man’s courageous struggle, Flee will leave you thoroughly satisfied.

Oscar Nominations: Best Animated Feature, Best Documentary Feature, Best International Feature Film

2005 Films, Animated, Ben Stiller, Bob Saget, Cedric the Entertainer, Children, Chris Rock, Comedy, David Schwimmer, Jada Pinkett Smith, Sacha Baron Cohen, Tom McGrath

Madagascar-2005

Leave a comment

Madagascar-2005

Director Eric Darnell, Tom McGrath

Voices Ben Stiller, Chris Rock, David Schwimmer

Scott’s Review #1,247

Reviewed April 17, 2022

Grade: B-

Madagascar (2005) is a film that I found mildly entertaining but struggled to enjoy as much as others might. Films with a target audience of ages thirteen and under are a tough sell for me because I don’t see them very often.

Having no children I have few opportunities to join in on the children’s games or sit at the kiddie table and get in that mindset.

Nonetheless, this film somehow crossed my radar.

It’s lighthearted and juvenile but playfully fun sending a positive message of friendship and dedication. Not a fan of the zoo at all my curiosity was piqued at how this angle would be represented if at all.

Would the captivity of the zoo face off against the natural African wildlife?

The screenwriters tread safe waters keeping their audience in mind and don’t go for any deep message or environmental or animal issues, playing it quite safe.

Madagascar suffers from blandness and predictability knowing that the audience isn’t quite ready to think outside the box and their parents will obediently sit beside them watching the film.

The result is a film brimming with possibilities that it never realizes. It’s a ready-made family film and nothing more.

Alex the Lion (Ben Stiller) is the king of the urban jungle and the main draw at New York’s Central Park Zoo. He and his best friends Marty the zebra (Chris Rock), Melman the giraffe (David Schwimmer), and Gloria the hippo (Jada Pinkett Smith) have spent their lives at the zoo with admiring fans and tasty meals provided for them.

In their minds, they have it pretty good.

Yet Marty yearns for more and lets his curiosity get the better of him when he escapes the zoo to explore the world. He and his friends wind up on a ship back to Africa and are then shipwrecked on Madagascar and left to fend for themselves in the wild.

They face dangers and allies during their adventures and wrestle with either returning to the zoo or staying in their natural habitat.

There is plenty of humor to occupy the crowd but most of the jokes are tepid or fall flat altogether. They have very little substance to offer but rather are silly gags meant to keep the adventure going.

Big stars like Rock, Schwimmer, and Stiller are cast most likely to appeal to parents forced to go to the show with their kids. Recognizable voices always sell tickets in the animated world.

Secondary characters work better than the main cast. Sacha Baron Cohen as King Julien XIII is a standout.

Mildly entertaining and soft touch in its approach Madagascar (2005) left me feeling dull and yearning for something a bit more challenging and robust in the field of kid’s film.

Its intent is merely to entertain and not to challenge so the result is a middle-of-the-road experience for me.

I’ll take the Toy Story (1995-2019) films any day.

2020 Films, Angela Bassett, Angus MacLane, Animated, Best Animated Feature Oscar Winners, Children, Comedy, Dan Scanlon, Dave Mullins, Disney, Drama, Fantasy, Jamie Foxx, June Squibb, Lee Unkrich, Pete Docter, Phylicia Rashad, Rosana Sullivan, Tina Fey, Trent Reznor, Trevor Jimenez

Soul-2020

Leave a comment

Soul-2020

Director Pete Docter

Voices: Jamie Foxx, Tina Fey

Scott’s Review #1,172

Reviewed August 18, 2021

Grade: B+

It’s pretty reassuring when a magical animated feature comes down the pike. Too often, the mainstream multiplex summer offerings are trite or too ‘kiddish’ for my tastes.

Soul (2020) is creative, colorful, and sentimental, with a terrific musical score composed by Trent Reznor (Nine Inch Nails).

The writing is fresh and inventive, with gorgeous animation that feels magical. I did not see the film on the big screen and bet it would have made the experience even more delightful.

Soul is not too dark, nor is it too trivial. It strikes a perfect balance between humanism, darkness, and hope. The title can be construed with a double meaning.

Based on the musical angle, the lead character is a piano player, the soul could mean rhythm, but I’m only half right. An out-of-body or celestial experience and the essence of a living being are also part of his soul.

While watching the film, I kept ruminating over how lovely and inspirational a film like Soul is during a crushing pandemic. It has heart and magic.

Unfulfilled music teacher Joe Gardner (Jamie Foxx) finally lands the gig of a lifetime at the best jazz club in town, supporting legendary Dorothea Williams (Angela Bassett). But his excitement gets the best of him, and he stumbles into a maintenance hole on a New York City street.

Lying in a coma, Joe enters a fantastical place: The Great Before. There, he teams up with Soul 22 (Tina Fey), and together they find the answers to some of life’s biggest questions while embarking on a journey in the switched bodies of Joe and a therapy cat.

Set in the massive Big Apple itself, the film offers a wealth of hustle, bustle, and life. I adored the setting. The smoky jazz club, with its sultry set design and creative music, made me feel immersed in the wonderful surroundings.

The story itself slightly confused me when Joe arrived in the “Great Beyond” as a soul. Assuming this meant death, I was relieved when he backtracked to the “Great Before” and met with counselors all named Jerry. The counselors, I realized, prepare unborn souls for life with the help of mentor souls.

This didn’t resonate with me as much as other aspects of the film.

Foxx and Fey are fine doing the voices for Joe and 22, respectively, but they are not the highlight either. I never really thought of either of them throughout the duration. There were better aspects to focus on.

Disney/Pixar’s feature film, which features a black central character, is worthy of mention, and it is about time. Joe’s family is black, adding an incredible mother figure and supporting characters of ethnicity to the fold.

The music, the music, the music! This makes Soul as good a film as it is.

Trent Reznor’s collaboration alone made me eager to see it. His creative use of keyboards and partnership with fellow Nine Inch Nails bandmate Atticus Ross provide proper ambiance to the metaphysical sequences.

A hallucinogenic, trance-like musical beat is unique and trippy.

Younger children may be perplexed or bewildered by much of the activity, so I’m not sure I’d recommend it for that demographic. However, music fans and admirers of rich stories with a subtext of life will likely enjoy the experience and the subsequent message that Soul (2020) provides.

Oscar Nominations: 2 wins-Best Animated Feature Film (won), Best Original Score (won), Best Sound

2020 Films, Adventure, Angus MacLane, Animated, Children, Chris Pratt, Dan Scanlon, Disney, Fantasy, John Ratzenberger, Julia Louis-Dreyfus, Lee Unkrich, Madeline Sharafian, Octavia Spencer, Pete Docter, Rosana Sullivan, Tom Holland, Tracey Ullman

Onward-2020

Leave a comment

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 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, showing that not having a traditional mother and father and a pet dog doesn’t make you strange or unworthy of love and understanding.

Onward is not entirely outside the box, however, and is careful to lure in the mainstream middle America audience. Still, 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 whom the audience can see in themselves or a former self of years gone by.

His brother, Barley, is the opposite. He is fearless and doesn’t care 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 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 conveys 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 reunion would occur between the boys and their father. Their gift of a day spent with their father was marred by the fact that only his bottom half was visible, but I suspected we would eventually see the rest of him.

Avoiding complete predictability, only one of the boys gets to interact with his father as the other looks on longingly.

I enjoyed this element quite a bit as it avoided cliché 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- look at the cover art above for proof. With gorgeous purple and blue colors, the nighttime scenes work exceptionally 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 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

2020 Films, Adrien Merigeau, Animated, Erick Oh, Gísli Darri Halldórsson, Madeline Sharafian, Michael Govier, Shorts, Will McCormack

Oscar-Nominated Animated Short Films-2020

Leave a comment

Oscar-Nominated Animated Short Films-2020

Directors Madeline Sharafian, Adrien Merigeau, Will McCormack, Michael Govier, Erick Oh, Gisli Darri Halldorsson

Scott’s Review #1,135

Grade: A-

Having the honor of being able to view the five short films nominated for the 2020 Academy Award for Best Animated Short Film at my local art theater was pretty amazing.

Especially in the year of Covid! Far too often dismissed as either irrelevant or completely flying under the radar of animated offerings, it is time to champion these fine little pieces of artistic achievement.

On par with or even superseding the full-length animated features, each of the five offers a vastly different experience. Still, each offers either inspired or hopeful messages or dark, devious, and edgy stories.

The commonality this year is that there are no similarities.

The overall tone is dour, except for one cute short featuring a rabbit and a peculiar look at the everyday life of Icelandic people.

Below is a review of each of the shorts.

Burrow-2020 (USA)

A darling story, Burrow tells the tale of a young rabbit who tries to build the burrow of her dreams, becoming embarrassed each time she accidentally digs into a neighbor’s home.

By far the safest of the five shorts, and the most hopeful, the experience is pleasant and comical as the rabbit’s exuberance and joys are infectious.

I got a real sense of community and warmth seeing the rabbits and other creatures pull together and form a communal bond rather than living in separation.

It’s an inspiring and wholesome story.

Grade: B+

Genius Loci-2020 (France)

One night, Reine, a young loner, sees the urban chaos as a mystical oneness that seems alive, like some guide.

Genius Loci is dark and depressing and challenging to understand, but my takeaway was one of mental illness and the struggle to face daily life.

Reine appears to either live with someone or have a child, but it’s difficult to determine. Reine sees the world through watercolors and muted shapes, which is quite beautiful to experience, but the plot is tough to define precisely.

I used my imagination.

Grade: A-

Opera-2020 (USA)

Our society and history, which are filled with beauty and absurdity, are experienced with Opera, the oddest of the bunch. At merely nine minutes, it’s a short piece, but intriguing nonetheless.

It is a single, comprehensive image of various activities within a pyramid shape, meant to represent the history of the world and daily life. There are tons of windows showing different activities. Oddities, such as a brothel and someone being fed plate after plate of food, are featured.

This one is also open to much interpretation, as so many events can be seen.

Grade: A-

If Anything Happens I Love You-2020 (USA) (Won)

If Anything Happens I Love You, produced by Laura Dern, describes the aftermath of tragedy, as two grieving parents journey through an emotional void as they mourn the loss of a child.

This short will make the tears flow, if not a downright sob, and is my favorite of the group. The viewer is aware that the parents have lost their ten-year-old daughter, but not how until close to the end. We wonder how death occurs.

The timeliness makes it the most powerful in a time of school shootings and constant gun control battles. Yes, it’s depressing but necessary.

Grade: A

Yes-People-2020 (Iceland)

As someone with a deep affection for Iceland and fortunate enough to have visited the country, I was thrilled to see it represented.

One morning, an eclectic mix of people face the everyday battle, such as work, school, and dish-washing. As the day progresses, their relationships are tested and ultimately their capacity to cope.

Besides Burrow, Yes-People is the only one to include some humor, and the boozy housewife and her fat working husband are my favorites.

Joyous is also the couple who have loud sex for their neighbors to hear. Clever is how the word “yes” can be meant in so many tones and textures.

It’s a short slice of life, offering a glimpse into people’s ordinary lives.

Grade: A-

1997 Films, Amanda Plummer, Animated, Charlton Heston, Children, Comedy, Danny DeVito, Disney, Fantasy, Hal Holbrook, James Woods, Tate Donovan, Wayne Knight

Hercules-1997

Leave a comment

Hercules-1997

Director Ron Clements, John Musker

Starring Tate Donovan, James Woods, Danny DeVito

Scott’s Review #1,109

Reviewed February 7, 2021

Grade: B-

Hercules (1997) is a modern-day Walt Disney film that centers on the world of Ancient Greek mythology. The premise is one I find fascinating and the characters of Hercules, Zeus, Hades, and Pegasus are the focus.

The names alone hold intrigue and appeal but the film is only an adequate watch.

The product feels “produced” and lacks the authenticity and sincerity that is rich and seamless in beloved Disney classics like Snow White and the Seven Dwarfs (1937) or Bambi (1941).

Besides the initial story intrigue, the animations are nothing particularly special and it feels too kiddie-like.

It’s like comparing The Beatles Sgt. Pepper’s Lonely Hearts Club Band historical album to a latter-day solo effort by Paul McCartney and that’s being generous. It may be fine but can’t hold a candle to the former.

And “fine” is not what I wanted from a Disney film. That’s what I felt about Hercules. It’s okay and entertaining but not up to snuff as compared with finer films.

The film is equipped with a fantastic villain though, the best part of Hercules other than the mythological elements. James Woods, who voices the character of Hades, is wonderful and I’m hardly a James Woods fan but for other reasons, like his politics.

Anyway, the rivalry and competitive edge of Hercules and Hades are unique and compelling and will hold one’s attention.

It all begins in a perfect Disney way when Hercules (Tate Donovan), a son of gods, is snatched as a baby by Hades and forced to live among mortals as a half-man, half-god. When he grows to be an adolescent, Hercules needs to perform a rite of passage on Earth to prove himself worthy of living with the gods on Mount Olympus.

With his sidekick, Philoctetes (Danny DeVito), in tow, Hercules must learn to use his strength to defeat evil creatures.

The strong message is written in Hercules to appeal to a sense of good overthrowing evil. It’s a Disney film, trust me it will.

Though predictable the story feels good in a world where far too often the bad guys get away with bad things and the good guys don’t get enough credit.

Appealing and targeted mostly to kids, the film made a ton of money which means a lot of kids saw it. A great reminder is that with any luck truth and honest will win out. So will remaining true to one’s self.

Woods makes Hades a villain with an edge rather than a generic, cookie-cutter type. Hades speaks rapidly, like a used car salesman trying to sell a customer a good deal. We can tell we are trying to be swindled but there is fun in that.

Megara (Susan Egan), the intended love-interest for Hercules, is working for Hades, which adds a level of intrigue.

Unfortunately, the romance between Hercules and Meg never gets off the ground or works well. The main issue is that there is little chemistry or rooting value for the couple. Meg isn’t my favorite Disney character. She is a sarcastic damsel whom Hercules saves from the centaur Nessus.

After Hercules and the others leave, Meg is revealed to be Hades’ servant, having sold her soul to him to save a lover who then left her. She’s had a tough life and finally does the right thing but I never felt invested in the character.

The main song from the film is okay but rather forgettable. The title of “Go the Distance” is a song of determination but also generic and unmemorable. The look of the animations has a 1990s vibe with bright, vibrant colors that look “of the time” instead of feeling classic or alive.

A decent effort, Hercules (1997) hits its mark sometimes and other times misses completely. I was enraptured with the historical and mythological gods and the trimmings that go along with that mystique, but the modern spin doesn’t work and only made me yearn for the classics from the 1940s and 1950s.

Oscar Nominations: Best Original Song-“Go the Distance”

2019 Films, Alfred Molina, Animated, Byron Howard, Children, Chris Buck, Ciarán Hinds, Disney, Evan Rachel Wood, Fantasy, Idina Menzel, Jared Bush, Jennifer Lee, Jeremy Sisto, Jonathan Groff, Josh Gad, Kristen Bell, Martha Plimpton, Musical, Sterling K. Brown

Frozen II-2019

Leave a comment

Frozen II-2019

Director Chris Buck, Jennifer Lee

Starring Kristen Bell, Idina Menzel

Scott’s Review #1,043

Reviewed July 22, 2020

Grade: B

Six years after the enormous success of Frozen (2013) comes the follow-up, Frozen II (2019).

Surprisingly, the long gap of time between creations is a long gap of time between creations, but the beauty of animation is that these characters do not age unless creators want them to.

The adventure story is fun, incorporating a bit of history, which always creates depth, but also charts familiar territory as the first installment.

The film showcases lovely visuals and songs, which usurp the other elements. Breeding so much familiarity, there seems little need for a third chapter, though I’d bet my bottom dollar another will emerge.

We are reintroduced to Anna (Bell) and Elsa (Menzel) as little girls when they are tucked into bed by their father, King Agnarr of Arendelle, one night.

He relays a story about his father (their grandfather), a treaty made with a neighboring tribe, a dam, and a magical Enchanted Forest.

As a youngster, Agnarr barely escapes alive after a fight erupts with the other tribe, causing his father’s death, and enraging the spiritual elements of the forest. There is also a key mention about Anna and Elsa’s parents’ lost ship, which is apparently how they died.

Fast-forward to the present day, Elsa and Anna are adults, three years after the events of the first film. Elsa, the one with ice powers, runs her happy kingdom with Anna serving as Princess.

They live in peace and harmony with familiar characters, Olaf, the snowman created by Elsa, Kristoff, Anna’s boyfriend, and Sven, his reindeer.

When Elsa begins hearing mysterious voices calling to her from the mountains, she pursues them only to reawaken the spirits and threaten her kingdom and her people. The group must come to the rescue to retain harmony, learning the reason for Elsa’s powers in the process.

Frozen II has a “nice” feel, which is positive and negative. A family-friendly film with a feminist, female perspective is beneficial, crafting a positive and inspiring message for youngsters, especially females, who watch it.

Anna and Elsa control their destiny, are empowered to go after what they want, and achieve results.

They also support each other, share sisterly love rather than being rivals, and treat people fairly.

The adventure that the girls and their friends face will end happily, that much we know. Slight peril emerges when Anna goads and then flees from gigantic earth spirits, Olaf melts and is assumed dead, and Elsa is also thought dead in the forest.

Still, these are aspects added for dramatic effect, and the safe feel of the film ensures that all major characters will remain in happily ever after harmony.

When Kristoff awkwardly attempts to propose to Anna throughout the film, we are sure he will eventually do the deed, which he does.

I criticized Frozen for limiting diversity in its production, which is corrected in Frozen II. Mattias, leader of a group of Arendelle soldiers, is a strong and protective character and is black.

As an LGBTQ presence, one is only hinted at.

When Kristoff befriends Ryder over their love of reindeer, Ryder admits he knows nothing about girls. Mention must be made of Elsa’s barbie doll-like appearance with her bright blue eyes and long blonde hair.

Does she have to look that stunning? Might impressionable girls get the idea that looks are most important?

Let’s hope not.

The best parts of the film are the musical numbers, which feel more enhanced than those in the first Frozen. Using the same song composers, the tunes feel slightly less poppy. The most emotional number is “Into the Unknown”, which possesses a mysterious quality and powerful, compelling lyrics.

Its message is to go for it, which can be interpreted as conquering fears or trying something new. The sound is anthem-like and superior to “Let it Go”.

Frozen II (2019) is a predictable yet fun affair, infused with Scandinavian elements, featuring mountains, fjords, and a gorgeous landscape that provides the necessary cold-weather ambiance and magical quality.

The visuals are lavish, bright, and sophisticated.

Part II is a slightly more mature affair but on par with Frozen and wisely targets the right audience. Tastes change, so if Part III is made, filmmakers might want to consider a deeper plot or additional details to maintain interest.

Oscar Nominations: Best Original Song-“Into the Unknown”

2010 Films, Adventure, Alain Gagnol, Animated, Anjelica Huston, Children, French, Jean-Loup Felicioli, Marcia Gay Harden, Matthew Modine

A Cat in Paris-2010

Leave a comment

A Cat in Paris-2010

Director Jean-Loup Felicioli, Alain Gagnol

Starring (ENGLISH) Marcia Gay Harden, Steve Blum 

Scott’s Review #1,006

Reviewed April 1, 2020

Grade: A-

For any lover of all things cats or all things Paris, A Cat in Paris (2010) is a double-punch winner in themes alone and a pure treat.

The French-made film was nominated for the Academy Award for Best Animated Feature along with Chico and Rita (2010), another foreign language animated feature, both considered surprise entries.

This was monumental as it aided subsequent non-American features to be allowed into the mix.

The former is a moody and mysterious caper story involving a cat and a young Parisian girl and the adventures they share. The traditional ink colors and hand drawings are lovely and creative, adding to the inventive mood.

The feline-centered story and feminist empowerment angle provide a unique and worthy experience to be well remembered. The French language version contains native language voices while the English version has English speakers.

The main protagonist of the film is Dino, a pet cat who leads a double life. By day he lives with his friend Zoe (Lauren Weintraub), a little mute girl whose mother, Jeanne (Marcia Gay Harden), is a detective in the Parisian police force.

He sneaks out of the window each night to work with Nico (Steve Blum), a slinky cat burglar with a heart of gold, who regularly evades captors as he glides and swishes from rooftop to rooftop with the picturesque Paris skyline serving as a backdrop.

Dino’s two worlds collide when one night Zoe decides to follow Dino on his nocturnal adventures and falls into the dangerous hands of Victor Costa (JB Blanc), an intimidating gangster who is planning the theft of a rare statue.

Now the cat and cat burglar must team up to save Zoe from the bumbling thieves, leading to a thrilling acrobatic finale on top of Notre Dame.

In an acute tongue-in-cheek final moment, Nico gives Jeanne a snow globe with the Cathedral of Notre Dame in it as a Christmas present.

Despite the film being an animated one, this fact does not take away from the cultural and sophisticated Parisian experience.

Delicious views of the distinguished Eifel Tower and the luminous, glowing skylines of the City of Lights assuredly will captivate each viewer fortunate enough to have ever visited the magical city in person, or those who have daydreamed an afternoon away imagining experiencing the grand city.

Alfred Hitchcock’s work is mirrored throughout A Cat in Paris, specifically his film To Catch a Thief (1955). That film is set along the French Riviera instead of in Paris but features a cat burglar, a thrilling rooftop climax, and enough cat and mouse-thrills to last a lifetime.

The director’s work is easy to spot, and the filmmakers are wise to adapt to his style, carefully weaving elements into an animated film with the hopes of exposing children to intelligent filmmaking.

Adults will equally love the film.

At a mere one hour and five minutes, nearly teetering classification of a short film instead of a full-length feature, A Cat in Paris (2010) more than accomplishes what it sets out to in the limited time.

Utilizing fantastic silhouettes and lit shapes and angles, the visual treats alone make this one exceptional. Adding tidbits of the greatest film director of all time’s work without outright stealing it is a wise choice.

May more intelligent international animated films like this one receive their deserved exposure to mass audiences.

Oscar Nominations: Best Animated Feature Film

2019 Films, Animated, Bruno Collet, Daria Kashcheeva, Jean-Francois Le Corre, Karen Ruper Toliver, Kathryn Hendrickson, Matthew A. Cherry, Rosana Sullivan, Shorts, Siqi Song

Oscar Nominated Animated Short Films-2019

Leave a comment

Oscar-Nominated Animated Short Films- 2019

Directors: Daria Kashcheeva, Matthew A. Cherry, Karen Ruper Toliver, Rosana Sullivan, Kathryn Hendrickson, Bruno Collet, Jean-Francois Le Corre, Siqi Song

Scott’s Review #986

Reviewed February 4, 2020

Grade: A-

Having the honor of being able to view the five short films nominated for the 2019 Academy Award for Best Animated Short Film at my local art theater was pretty amazing.

Far too often dismissed as either irrelevant or completely flying under the radar of animated offerings, it is time to champion these fine little pieces of artistic achievement.

On par with, or even superseding, full-length animated features, each of the five offers a vastly different experience, yet each presents either inspired or hopeful messages or dark, devious, and edgy stories.

The commonality this year is relationships, and not necessarily between human beings, as one of them features a darling relationship between a cat and a dog.

Below is a review of each of the shorts.

Memorable-2019 (France)

This offering is the most visually enticing of the five nominees. In the story, a French painter slowly falls prey to the ravages of dementia, while his wife suffers alongside him as his memory disintegrates. He sinks into a world of impressionistic shapes, vivid with gorgeous color.

The film is both beautiful and heartbreaking, making it a challenging watch. The swirling colors and fragmented shapes provide a lush and melancholy feel.

The viewer will likely empathize with the only two characters to appear (husband and wife) and relate to each of them as they experience the misery and confusion, with the assurance of what the outcome will be.  Grade: A

Sister-2019 (China)

Sister is a touching tribute to a person who does not even exist.

A man thinks back to his childhood memories of growing up with an annoying little sister in China in the 1990s. What would his life have been like if things had gone differently? Would the siblings annoy each other or be the best of friends?

With political overtones, the piece describes the inhumane law that Chinese parents could only have one child, the mother forced to abort an impending birth.

Traditional Chinese colors of red and black are used, and the imaginary sister is cute and energetic, a tragic realization of the terrible loss of potential life in a damaged nation. Grade: A-

Hair Love-2019 (USA) (Won)

Created by a team from the United States and strongly considered the front-runner, Hair Love feels the shortest of the bunch and is the most accessible of all the nominees, but hardly fluff either.

A young black girl battles with her wild head of hair on a special day. After she unsuccessfully tries to create a gorgeous hairstyle by watching YouTube videos, she desperately enlists the help of her kindly father. At first disastrous, they manage some success.

The relationship is at first unclear. Is he a single dad? Is he her dad at all? Is he an older brother? The puzzle is quickly resolved with the revelation of the mother’s whereabouts in a tender and heartfelt ending. Grade: A

Kitbull-2019 (USA)

My personal favorite of the bunch, Kitbull, is tough to watch at first.

Any animal abuse in the film makes my stomach turn, and the beginning turned me off as I anticipated giving the piece a low rating.

Instead, Kitbull results in a marvelous experience as a darling and compassionate story of the relationship between a kind cat and a suffering dog.

The unlikely connection brought tears to my eyes as the cat, presumed to be an independent alley cat, came to the rescue of the pit bull, suspected of being in a dog fight. Any animal lover will watch this short with a mix of anger, empathy, and finally, joy.

The sobering reality that so much animal abuse still exists in the world is a both mind-blowing and cruel reality. Grade: A

Daughter-2019 (Czech Republic)

Daughter is a brief, yet vague film that is both confusing and yet resilient and creative. The story consists of two characters- a father and daughter, both of whom seem to suffer from regret.

The father appears to be either sick and recovered, or to have died (unclear if the story is told via flashbacks). The frequent pained expressions of both characters as they yearn to rewind the clock and treasure moments of the past, both of hardships and joy, are lessons that every viewer can appreciate and relate to.

The misshapen ceramic figures and the facial movements, especially the blinking eyes, do much to elicit an emotional reaction from the audience. Grade: B+

2019 Films, Adventure, Alfre Woodard, Amy Sedaris, Animated, Beyoncé, Chance the Rapper, Children, Chiwetel Ejiofor, Donald Glover, Drama, James Earl Jones, Jon Favreau, Keegan-Michael Key, Musical, Musical Drama, Seth Rogen, Shahadi Wright Joseph

The Lion King-2019

Leave a comment

The Lion King-2019

Director Jon Favreau

Voices: Donald Glover, Alfre Woodard, Seth Rogen

Scott’s Review #981

Reviewed January 17, 2020

Grade: B

An impossible feat would have been to eclipse the magic of the stage version or the loveliness of the animated version. Still, The Lion King (2019) offers a different approach as well.

Arguably, this version is both animated and not, infused with computer-generated animation (CGA) and marvelous visual effects, showcasing creativity.

Partial to the two-former offering, this telling is lovely and perfect for the entire family.

The realism of the animals and scenery is remarkable.

To recap, new viewers, the story centers on a den of lions living among the creatures in the “Pride Lands of Africa”. They hunt, prance, love, and guard their territory, mainly from the hungry hyenas, who are kept at bay during peaceful times.

King Mufasa (James Earl Jones) and Queen Sarabi (Alfre Woodard) are fair rulers and anticipate their son, Simba (Donald Glover), taking over the throne one day, much to the chagrin of Mufasa’s evil brother, Scar (Chiwetel Ejiofor), who was passed over for the crown.

Envious of Simba, Scar tricks him and his friend Nala (Beyoncé) into wandering into the land of the hyenas, hoping to cause their deaths. When a heroic Mufasa foils his plot, Scar ups the ante and hatches a scheme to kill his brother.

He not only succeeds but also makes Simba believe he caused his father’s death. Ashamed, the youngster runs away to begin a new life, unaware that he will one day return to save the day.

Props must be given to the filmmakers for their inclusion and cultural authenticity, as many of the characters, especially those at the forefront, are voiced by African-American talent.

This is a notable achievement, considering the film is set in Africa, and it’s unusual for the voices to be Caucasian.

Heavyweights like Jones and Woodard sound polished, especially Jones with his deep and dominant, yet fatherly voice, perfectly cast as the King. Woodard provides gentle warmth and confident complexity.

The musical numbers are terrific.

The film begins with an energetic and tribal rendition of “Circle of Life,” where a legion of wild animals dances together in a warm display of diversity.

The song appears later in the film. The powerful and romantic “Can You Feel the Love Tonight” is performed against a lovely moonlit sky with decadent stars.

The new song “Spirit” performed by Beyoncé is adequate but does not figure into the story as much as it should, seeming more like an afterthought.

The best parts of The Lion King, however, are the astounding visuals.

The contrasting sequences of bright, sprawling African terrain and a magical oasis of colorful flowers and running water, set against the dark and foreboding landscape of the dangerous hyenas, offer the viewer a multitude of delights to savor.

The orange and red colors during the climactic finale are unrivaled in the dazzling bombast of adventure.

As realistic as the elements are in the film, they are also negative. Watching the animals talk and prowl amid the lush landscape felt wonderful, until I realized that all of it is fake.

Real animals were never used; instead, it is a virtual reality tool that creates the illusion of reality.

This aspect slightly saddens me as the genuine quality left me feeling robbed. The possibility of another alternative would have meant a reboot of the animated classic, and I am not sure that would have been wise.

Favreau, once an actor and now a director, known for creating films such as Iron Man (2008) and Iron Man 2 (2010), certainly knows his way around an adventure film.

The story, while containing some menacing moments, also feels a bit safe and lacks the freshness or edginess that the 1994 version possessed. Something seems watered down, and the excitement and heart of the original feel missed.

I will always go back to the animated 1994 treasure for a cinematic feast, but while The Lion King (2019) could have been a disaster, it isn’t. With modernized songs and enough CGA to last a lifetime, I could easily see some people hating the film, but I embraced it for what it is.

Spectacular visual treats await any fan of cinema, as one will ponder how the project all came together.

Oscar Nominations: Best Visual Effects

2019 Films, Angus MacLane, Animated, Annie Potts, Best Animated Feature Oscar Winners, Betty White, Bill Hader, Bonnie Hunt, Carl Reiner, Carl Weathers, Carol Burnett, Children, Christina Hendricks, Comedy, Dan Scanlon, Disney, Don Rickles, Drama, Estelle Harris, Flea, Jay Hernandez, Joan Cusack, John Ratzenberger, Jordan Peele, Josh Cooley, June Squibb, Keanu Reeves, Keegan-Michael Key, Laurie Metcalf, Lee Unkrich, Madeleine McGraw, Mel Brooks, Melissa Villaseñor, Patricia Arquette, Pete Docter, Rashida Jones, Rickey Henderson, Rosana Sullivan, Tim Allen, Timothy Dalton, Tom Hanks, Tony Hale, Will McCormack

Toy Story 4-2019

Leave a comment

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, and makes up for an otherwise 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 (voiced by 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.

Still, 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 pleasant, but has occurred in every segment thus far in the series.

Do we need to see this again? Yes, it is an essential 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 understand 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 one’s head.

Suspension of disbelief is increasingly required 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 resonates with human beings and acknowledges that advanced age does not come with an expiration date.

Everyone matters and brings importance. The underlying 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 released in 2010, Toy Story 4 (2019) needs to bring the series to a conclusion before installments 5, 6, 7, or 8 result in a dead-on-arrival sequel.

Oscar Nominations: 1 win-Best Animated Feature Film (won), Best Original Song-“I Can’t Let You Throw Yourself Away”

1963 Films, Alan Napier, Animated, Children, Disney, Eric Larson, Karl Swenson, Les Clark, Rickie Sorensen, Sebastian Cabot, Wolfgang Reitherman

The Sword in the Stone-1963

Leave a comment

The Sword in the Stone-1963

Director Wolfgang Reitherman

Voices Sebastian Cabot, Rickie Sorensen, Karl Swenson

Scott’s Review #896

Reviewed May 10, 2019

Grade: B

The 1960s, while not known as the best of decades for Walt Disney productions, offers a small gem of a film in The Sword in the Stone (1963).

Flying marginally under the radar, the film is not typically well-remembered but is a solid offering. It mixes elements of magic and royalty within a cute story.

The production has the dubious honor of being the final Disney animated film released before Walt Disney’s death.

While the film is not great, neither is it bad.

Engaging and innocent, it does not offer the ravaging tragedy of Bambi (1942), the emotion of Dumbo (1941), or the beauty of Snow White and the Seven Dwarfs (1937).

The Sword in the Stone offers an adventure with an appealing lead character, mildly entertaining supporting characters, and a host of fun antics surrounding education.

Set in ancient times, the King of England has died, leaving no heir to the throne. This situation elicits peril and worries, as the country is doomed to war with no successor.

One day, a miracle occurs, and an odd “Sword in the Stone” appears inside a sturdy anvil in London. The anvil’s inscription proclaims that whoever removes it will be the new king.

Despite many attempts, no strong citizens succeeded, and England was reduced to the Dark Ages, leaving the sword and the stone forgotten.

One day, a twelve-year-old boy named Arthur appears. He teams up with his tutor, Merlin the wizard, and the adventures commence.

Inevitably, Arthur can remove the sword from the stone and lead the Knights of the Round Table, accomplishing many amazing feats and becoming one of the most famous figures in history- King Arthur.

The Sword in the Stone entertains and pleases the eyes in many regards, with vibrant colors and an array of bells and whistles creatively interspersed throughout many scenes.

The main villain, Madam Mim, is Merlin’s main nemesis. Haggard and dripping with black magic powers, she can turn from a pink elephant into a queen with the flick of her wrist as she giggles and prances about.

Despite being dastardly, she is also fun and zany and delights in her brief screen time.

The whimsical antics of Merlin are the best aspects of The Sword in the Stone as the senior gentleman bursts and bumbles from one oddity to another in earnest attempts to aid Arthur.

Thanks to clever writing, an educational angle is robustly incorporated into the story. Merlin can see into the future, such as knowing that the world is round, not flat.

What a great learning tool the film provides for young kids to discover.

The story risks playing juvenile in some parts where I can see children under age twelve enthralled but adults finding the film too childish to take seriously.

Despite my efforts to stay tuned, I noticed tidbits of the film that seemed too cute.

When Merlin and Arthur are turned into squirrels and strike the fancy of adorable but clueless female squirrels, the scene seems best catered to very young audiences.

What would give the film some excitement would be a good, solid theme song or a powerful love story. Both aspects, which can solidify a hit for Disney, are glaringly missing.

Snow White and the Seven Dwarfs contain the lovely “Someday My Prince Will Come,” while Snow White and the Prince offer a rich love story.

While sound, The Sword in the Stone can only reach the second tier of Disney classics, missing the upper echelon with its only so-so musical offerings.

A slight miss is how Arthur’s voice changes back and forth between a child and a teenager going through puberty. This is drastically noticeable.

When analyzed, the reason is somewhat perplexing because three different actors were used to play Arthur, resulting in some consistency issues.

Why not just use one actor or age the character slowly and gradually deepen his voice? The back and forth feels sloppy.

The criticisms targeted at The Sword in the Stone (1963) are minor and forgivable as the film plays above average graded on its terms.

The film has a lovely message for children about the importance of education and is a delight best enjoyed by the whole family.

Oscar Nominations: Best Scoring of Music-Adaptation or Treatment

1955 Films, Animated, Children, Clyde Geronimi, Disney, Eric Larson, Hamilton Luske, Les Clark, Musical, Peggy Lee, Wilfred Jackson, Wolfgang Reitherman

Lady and the Tramp-1955

Leave a comment

Lady and the Tramp-1955

Director Clyde Geronimi

Voices Peggy Lee, Barbara Luddy, Larry Roberts

Scott’s Review #894

Reviewed May 5, 2019

Grade: A-

Released midway through a decade of prosperity, Lady and the Tramp (1955) is a lovely production that represents an innocent time and still holds up well decades later.

The Walt Disney film’s story, animations, and characters are charming, with a wholesome yet sophisticated vibrancy. A year in the life of its main character (Lady) has never been more richly created, providing adventure, romance, and fun for the entire family.

At the turn of the twentieth century, John Dear, presumed to be somewhere in the midwestern part of the United States, gives his wife Darling a Cocker Spaniel puppy that she names Lady.

The couple is immediately smitten with Lady, who provides her with all the comforts of warm and lavish country living.

After months, the Dears become pregnant, causing Lady to feel left out. When the baby arrives and the Dear’s go on a trip, their dog-hating and incompetent Aunt Sarah arrives, leaving poor Lady at risk for her life.

Meanwhile, a stray mixed-breed named Tramp prowls the streets, protecting his friends and avoiding the dog catcher. He dines on Italian leftovers at Tony’s and lives his idyllic life, proud not to be owned and able to live on his terms.

He befriends Lady through mutual acquaintances Jock and Trusty, who reside nearby.

When Lady faces peril, the duo embarks on an exciting escapade that leads them to a dog shelter and a farm. They fall in love, resulting in a candlelit dinner for two at Tony’s, which is the highlight.

All the animals are treasures and voiced appropriately, giving Lady and the Tramp life and zest. Tramp is gruff yet lovable, with a “footloose and collar-free” outlook. He is charming and bold in his determination.

Lady’s voice is the polar opposite—demure, feminine, and proper. It is cultured without being too snobbish.

In supporting roles, Tramp’s fellow strays Peg (a Pekingese) and Bull (a bulldog) possess a New York street-savvy, perfect for their characters.

Besides Aunt Sarah, the dog catcher, and a hungry rat, Lady and the Tramp contain no villains, and each character is somewhat justified in their motivations. The rat wants to eat, the dog catcher is doing his job, and Aunt Sarah, a cat lover with two Siamese pets, is foolhardier and more clueless.

She can be forgiven for wanting Lady to have a muzzle because she misunderstands Lady’s intentions toward the newborn baby. These characters are more comical than deadly, and Si and Am add mischievous shenanigans to further the plot.

The heart belongs to the sweet romance between Lady and Tramp. The two dogs immediately appeal to the audience with instant chemistry.

The “Footloose and Collar-Free / A Night at the Restaurant / Bella Notte” medley is the best arrangement of the songs, as the duo shares a delicious plate of spaghetti and meatballs.

In the film’s most iconic and recognizable scene, the pair lovingly munches on the same spaghetti noodle—if that is not love, what is?

Lady and the Tramp (1955) is a charmer containing innocence, vivid colors, and a rich, welcoming story.

Beginning on Christmas and ending precisely a year later, Lady and Tramp’s incredible journey is topsy-turvy but culminates in the birth of a litter of puppies cheerily celebrating life.

The happy ending is a perfect bow on a Disney film that is enchanting, harmless, and inspiring.

The quintessential American love story between the pampered heiress and the spontaneous, fun-loving pup from the wrong side of the tracks — has rarely been more elegantly and entertainingly told.

1946 Films, Animated, Bobby Driscoll, Children, Disney, Eric Larson, Harve Foster, Hattie McDaniel, James Baskett, Les Clark, Musical, Musical Drama, Ruth Warrick, Wilfred Jackson

Song of the South-1946

Leave a comment

Song of the South-1946

Director Harve Foster, Wilfred Jackson

Starring James Baskett, Billy Driscoll

Scott’s Review #893

Reviewed May 4, 2019

Grade: B+

Song of the South (1946) is a Walt Disney film buried in the chambers of cinema history, reportedly an embarrassment never too soon forgotten by the legendary producer and his company.

The reason for the ruckus is the numerous overtones of racism that emerge throughout an otherwise darling film.

Admittedly, the film contains a racial cheeriness that cannot be interpreted as anything other than condescension to black folk, and numerous stereotypes abound.

The mysterious appeal of the film during modern times is undoubted because of the surrounding controversies that hopefully can be put aside in favor of a resoundingly positive message and glimmering childlike innocence that resonates throughout the film.

The hybrid choice of live-action and animation is superlative, eliciting a new progressive experience. Given the surrounding controversies, it would be shameful to spoil it.

The film takes place during the Reformation Era in Georgia, the United States of America, a period of American history shortly after the end of the Civil War and the abolition of slavery. It has a pretty Southern flavor and feel.

Seven-year-old Johnny (Bobby Driscoll) is excited to visit his grandmother’s (Lucile Watson) lavish plantation outside of Atlanta along with his mother, Sally (Ruth Warrick), and father (Erik Rolf). He is soon devastated to learn that his father will return to Atlanta for business, leaving Johnny behind.

Johnny plots to run away from the plantation and return to Atlanta but develops a special friendship with kindly Uncle Remus (James Baskett). Uncle Remus enchants the young boy with sentimental lesson stories about Br’er Rabbit and his foils, Br’er Fox and Br’er Bear.

Drama ensues when Johnny feuds with two poor neighbor boys and develops friendships with their sister, Ginny. He also bonds with Toby, a young black boy who lives on the plantation.

Thunderous applause must go to the creative minds who thought of mixing the animations with the live-action drama, resulting in positive and compelling effects.

As Uncle Remus repeatedly embarks on a new story for Johnny to listen to, the audience knows they will be transported into a magical land of make-believe as a precise lesson results from these stories.

Uncle Remus is an inspiring character- it is rare to find a black character written this way in 1946. Often, black characters were reduced to maids, butlers, farmhands, or other servant roles.

While the film does not stray from the course by casting many of these roles, including Uncle Remus himself, his character is different because he is beloved by little Johnny, respected by the grandmother, and treated as part of the family. His opinion counts for something and is not merely dismissed as rubbish.

The musical soundtrack to Song of the South is particularly cheery and easy to hum along to. The most recognizable song is “Zip-a-Dee-Doo-Dah,” which recurs several times throughout the feature. The best rendition is at the end, when the mix of live-action and animation culminates with the sing-along.

My favorite appearance is when the “bluebird” referenced in the lyric comes into play, resting on one character’s shoulder, true to the lyrical content.

The accusations of racism are justified as keen viewers will understand the condescension towards blacks in several scenes.

More than once, a parade of black people is seen traipsing through the plantation, singing songs, not precisely cheerfully but not despondent.

The scenes have eerie slavery overtones- despite the black character’s all presumably being free to come and go, the reality is they all work for white folk. The black plight and struggle are completely sugar-coated and dismissed.

The animated characters are voiced by strong ethnic voices and are presumed to be ridiculous. The usage of a Tar-Baby character, ultimately enshrined in black tar, seems offensive, almost teetering on the implication of promoting a blackface minstrel show moment as the character, once white, is then turned black because of the tar.

Song of the South is not the only film of its time to face racist accusations- the enormous Gone with the Wind (1939) and Jezebel (1938) faced similar heat.

Song of the South (1946) is recommended for those who recognize the existing racism and appreciate the film’s artistic merits. Wise and resounding friendships between white and black characters are evident, and it is a lovely story about determination, fairness, and respect.

The film should be treasured for its lovely moments and scolded for racist overtones.

Oscar Nominations: 1 win-Best Original Song-“Zip-a-Dee-Doo-Dah” (won)

2018 Films, Animated, Best Animated Feature Oscar Winners, Bob Persichetti, Brian Tyree Henry, Chris Pine, Hailee Steinfeld, Jake Johnson, Kathryn Hahn, Liev Schreiber, Lily Tomlin, Mahershala Ali, Nicolas Cage, Oscar Isaac, Peter Ramsey, Rodney Rothman, Shameik Moore, Super Hero, Zoë Kravitz

Spider-Man: Into the Spider-Verse-2018

Leave a comment

Spider-Man: Into the Spider-Verse-2018

Director Peter Ramsey, Rodney Rothman, Bob Persichetti

Voices Shameik Moore, Hailee Steinfeld, Lily Tomlin

Scott’s Review #881

Reviewed March 30, 2019

Grade: B+

There have been many film versions of Spider-Man.

To my recollection, the first series consisted of three installments, directed by Sam Raimi: Spider-Man (2002), Spider-Man 2 (2004), and Spider-Man 3 (2007), all starring Tobey Maguire in the title role.

These were the good old days.

Andrew Garfield took over in 2012 and 2014 to mixed reviews before the superhero was merged into Captain America and The Avengers films, as well as one or two additional solo outings. This is where I lose track.

Finally, through all the incarnations comes the very first computer-animated film based on the Marvel Comics character.

Spider-Man: Into the Spider-Verse (2018) was an enormous box-office success as well as a critical success, winning the coveted Best Animated Feature Oscar.

My choice would have been for the dark and sarcastic Isle of Dogs, but the former has impressive merits and grand animation that are astounding to the eyes.

Towards the climax, the film teeters into familiar and predictable territory from a story perspective, though admittedly, the superhero and animated genres are not my favorites.

Miles Morales is a Brooklyn teenager, bright, energetic, and likened to an average city kid. His father, Jefferson Davis, is a muscled policeman who is no fan of Spider-Man, the heroic masked man who prevents city crime, outshining the cops daily.

While close to his father, Miles is much more connected to his uncle, Aaron Davis, despite his father and uncle having a distant relationship.

When a hungry spider bites Miles, he immediately begins exhibiting Spider-Man-like abilities and stumbles upon others with similar stories.

The teen meets super-villain Wilson Frisk (a not-so-subtle Donald Trump parody if ever I saw one), who is intent on accessing a parallel universe to retrieve his deceased wife and son. Events involving a USB drive and the “real” Spider-Man, Peter Parker, also living in a parallel universe, come into play.

The overly complex story is not the best part of the experience, and I began to lose interest in the hows and whys, especially when compared to the escapist and marvelous, super-cool animations.

Spider-Man: Into the Spider-Verse deserves great praise for making the film’s central character ethnically mixed (Hispanic and Black), a first in the franchise’s history.

This diversity, evident in Black Panther (2018), is all the rage now in the superhero genre, along with gender equality, a slogan once deemed a “guy’s movie.”

This is a delight to witness, with hopefully even more of a slant towards richer diversity. Are Asian, gay, or physically impaired characters coming next?

The film looks fantastic, with creative and slick modern animation and graphics that never waver throughout the nearly two-hour running time, which is lengthy for an animated feature.

Styled and bright, the film’s most striking appeal lies in its colors, shapes, and sizes. The metropolitan New York City is a treat to witness, as the creators not only focus on Manhattan, but also on Queens and Brooklyn, boroughs that are often forgotten in favor of Manhattan’s glitz and bustle.

The clever re-titling of FedEx trucks to Red Ex is worthy of mention.

With its glitzy look, fast-paced action, and interesting villains, Spider-Man: Into the Spider-Verse (2018) is an impressive feat and a deep dive into the possibilities of combining the superhero and animated genres.

This is around the corner due to the critical, audience, and award notices that surround this film. If only the story contained more twists and turns and fewer standard genre-pleasing qualities, the possibilities would be endless.

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

2018 Films, Alison Snowden, Andrew Chesworth, Animated, Becky Neiman-Cobb, Bobby Pontillas, David Fine, Domee Shi, Louise Bagnall, Nuria González Blanco, Shorts, Trevor Jimenez

Oscar Nominated Animated Short Films-2018

Leave a comment

Oscar-Nominated Animated Short Films- 2018

Directors Alison Snowden, David Fine, Domee Shi, Becky Neiman, Louise Bagnall, Nuria Gonzalez Blanco, Andrew Chesworth, Bobby Pontillas, Trevor Jimenez

Scott’s Review #869

Animal BehaviourBaoLate AfternoonOne Small StepWeekends

Reviewed February 18, 2019

Grade: A

It was amazing to have the honor of viewing the five short films nominated for the 2018 Academy Award for Best Animated Short Film at my local art theater.

Far too often dismissed as irrelevant or completely flying under the radar of animated offerings, it is time to champion these fine little pieces of artistic achievement.

Each of the five offers a vastly different experience, on par with or even superseding the full-length animated features. Still, each offers inspired or hopeful messages or dark, devious, and edgy stories.

The commonality this year is that four of them feature parent-child relationships.

Below is a review of each of the shorts.

Animal Behaviour-2018 (Canada)

The weirdest in the group, Animal Behaviour, is also the most humorous and the best, but only by a narrow margin.

We witness a therapy session led by a prim and proper dog with his issues. In attendance are a blood-sucking leech, a praying mantis, a cat, a pig, and the newest attendee, a gorilla. All are happy to participate except the gorilla, who sees the session as a waste of time.

As eating jokes, butt jokes, and other adult humor encases the camaraderie each character develops a clear identity and the gorilla learns, in comedic fashion, that he does require therapy.

This short plays out like an intelligent television sitcom. Grade: A

Bao-2018 (USA) (Won)

The most mainstream of the contenders, Pixar’s creation Bao, is cute and heartwarming and an ode to motherhood.

A perfect Mother’s Day offering, the story tells the tale of a Chinese mother who imagines one of her delicious dumplings as her son. She takes him to soccer practice and rides the bus together, but they are inseparable.

As the dumpling matures, he wants to be alone, see friends, and eventually meets a young woman and proposes marriage. The mother is aghast and, in a state of panic, swallows the dumpling!

Depressed, she is awakened by her real son, and the two form a sweet bond made from respect and love. The story is blooming with colors and nuanced with kindness, so it is easily the crowd favorite. Grade: A-

Late Afternoon-2018 (Ireland)

Some will undoubtedly find Late Afternoon a bit of a downer, but I found its honesty uplifting and fraught with creativity. Each afternoon, a caring nurse visits an older woman suffering from Alzheimer’s disease. The nurse is kind, and her actions—serving a hot cup of tea or giving the woman a book to read—trigger memories of her youth with so much promise lying ahead of her.

Eventually, she can recognize that the nurse is her daughter.

The short is filled with compassion, and while melancholy, it is also inspiring, not to mention the creativity immersed in the colors and design. Grade: A

One Small Step-2018 (USA/China)

The most conventional in the lot, One Small Step, will be perceived as empowering to women and a story of both loss and courage.

A Chinese-American girl is raised by her patient and caring single father in California. She is taught to reach for the stars, and he kindly repairs a shoe of hers and secretly stores it away.

Over the years, she has been determined to become an astronaut. While she loves her father, she often takes him for granted. She is denied admission into a prestigious school and, depressed, gives up her dream.

When her father dies suddenly, the girl redoubles her efforts and finally becomes a successful astronaut in dedication to her father.

The short champions energy and a never-give-up attitude. Grade: A-

Weekends-2018 (USA)

Weekends is my second favorite of all the shorts, a bare runner-up to Animal Behaviour.

The most complex and confusing, the short also features the most interesting hand drawings and artwork with a surreal and beautiful touch.

A child of divorce spends his weekdays with his mother and weekends with his father. His mother is depressed and lets the house languish while his father lives a metropolitan bachelor-style life.

When the mother begins dating an abusive man, the boy is terrified, imagining birthday candles that turn into the frightful man. The mother wears a neck brace, which implies physical abuse.

The short is moving and hits home on a personal level. Grade: A