Not an ideal choice for younger kids, this hip and violent animated feature from Disney was nevertheless a huge smash in theaters and on video, and it continues... read more

Not an ideal choice for younger kids, this hip and violent animated feature from Disney was nevertheless a huge smash in theaters and on video, and it continues to enjoy life in an acclaimed Broadway production. The story finds a lion cub, son of a king, sent into exile after his father is sabotaged by a rivalrous uncle. The little hero finds his way into the "circle of life" with some new friends and eventually comes back to reclaim his proper place. Characters are very strong, vocal performances by the likes of Jeremy Irons, Nathan Lane, and Whoopi Goldberg are terrific, the jokes are aimed as much (if not more) at adults than kids, the animation is sometimes breathtaking, and the music is more palatable than in many Disney features. But be cautious: this is too intense for the Rugrat crowd. --Tom Keogh

How good-looking is the DVD restoration of Disney's popular animated film? Take a look at the serviceable but dull film clips incorporated in the plethora of extras and compare them to the vivid gorgeousness of the film presentation. This "special edition" also adds a 90-second song ("Morning Report") that originated in the lavish stage musical. To Disney's credit, the original theatrical version is also included, both restored and featuring two 5.1 soundtracks: Dolby Digital and a new Disney Enhanced Home Theater Mix, which does sound brighter. As with the Disney Platinum line, everything is thrown into the discs, except an outsider's voice (the rah-rahs of Disney grow tiresome at times). The excellent commentary from the directors and producer, originally on the laser disc, is hidden under the audio set-up menu.

The second disc is organized by 20-minute-ish "journeys" tackling the elements of story, music, et cetera, including good background on the awkward Shakespearean origins at Disney where it was referred as "Bamlet." The most interesting journey follows the landmark stage production, and the kids should be transfixed by shots of the real African wildlife in the animal journey. Three deleted segments are real curios, including an opening lyric for "Hakuna Matata." Most set-top DVD games are usually pretty thin (DVD-ROM is where it's at), but the Safari game is an exception--the kids should love the roaring animals (in 5.1 Surround, no less). One serious demerit goes to the needless and complicated second navigation system that is listed by continent, but just shows the same features reordered. --Doug Thomas (hide)

The film that officially signaled Disney's animation renaissance (following The Little Mermaid) and the only animated feature to receive a Best Picture Oscar nomination, Beauty and the Beast... read more

The film that officially signaled Disney's animation renaissance (following The Little Mermaid) and the only animated feature to receive a Best Picture Oscar nomination, Beauty and the Beast remains the yardstick by which all other animated films should be measured. It relates the story of Belle, a bookworm with a dotty inventor for a father; when he inadvertently offends the Beast (a prince whose heart is too hard to love anyone besides himself), Belle boldly takes her father's place, imprisoned in the Beast's gloomy mansion. Naturally, Belle teaches the Beast to love. What makes this such a dazzler, besides the amazingly accomplished animation and the winning coterie of supporting characters (the Beast's mansion is overrun by quipping, dancing household items) is the array of beautiful and hilarious songs by composer Alan Menken and the late, lamented lyricist Howard Ashman. (The title song won the 1991 Best Song Oscar, and Menken's score scored a trophy as well.) The downright funniest song is "Gaston," a lout's paean to himself (including the immortal line, "I use antlers in all of my de-co-ra-ting"). "Be Our Guest" is transformed into an inspired Busby Berkeley homage. Since Ashman's passing, animated musicals haven't quite reached the same exhilarating level of wit, sophistication, and pure joy. --David Kronke --This text refers to an out of print or unavailable edition of this title. (hide)

Pirates of the Caribbean: At World's End is a rollicking voyage in the same spirit of the two earlier Pirates films, yet far darker in spots (and nearly... read more

Pirates of the Caribbean: At World's End is a rollicking voyage in the same spirit of the two earlier Pirates films, yet far darker in spots (and nearly three hours to boot). The action, largely revolving around a pirate alliance against the ruthless East India Trading Company, doesn't disappoint, though the violence is probably too harsh for young children. Through it all, the plucky cast (Keira Knightley, Orlando Bloom, Geoffrey Rush) are buffeted by battle, maelstroms, betrayal, treachery, a ferocious Caribbean weather goddess, and that gnarly voyage back from the world's end--but with their wit intact. As always, Johnny Depp's Jack Sparrow tosses off great lines ; he chastises "a woman scorned, like which hell hath no fury than!" He insults an opponent with a string of epithets, ending in "yeasty codpiece."!

In the previous Dead Man's Chest, Sparrow was killed--sent to Davy Jones' Locker. In the opening scenes, the viewer sees that death has not been kind to Sparrow--but that's not to say he hasn't found endless ways to amuse himself, cavorting with dozens of hallucinated versions of himself on the deck of the Black Pearl. But Sparrow is needed in this world, so a daring rescue brings him back. Keith Richards' much ballyhooed appearance as Jack's dad is little more than a cameo, though he does play a wistful guitar. But the action, as always, is more than satisfying, held together by Depp, who, outsmarting the far-better-armed British yet again, causes a bewigged commander to muse: "Do you think he plans it all out, or just makes it up as he goes along?" As far as fans are concerned, it matters not. --A.T. Hurley (hide)

From the moment that Prince Eric's ship emerged from the fog in the opening credits it was apparent that Disney had somehow, suddenly recaptured that "magic" that had... read more

From the moment that Prince Eric's ship emerged from the fog in the opening credits it was apparent that Disney had somehow, suddenly recaptured that "magic" that had been dormant for thirty years. In the tale of a headstrong young mermaid who yearns to "spend a day, warm on the sand," Ariel trades her voice to Ursula, the Sea Witch (classically voiced by Pat Carroll), for a pair of legs. Ariel can only succeed if she receives true love's kiss in a few day's time and she needs all the help she can from a singing crab named Sebastian, a loudmouth seagull, and a flounder. The lyrics and music by Howard Ashman and Alan Menken are top form: witty and relevant, and they advance the story (go on, hum a few bars of "Under the Sea"). Mermaid put animation back on the studio's "to do" list and was responsible for ushering Beauty and the Beast to theaters. A modern Disney classic. --Keith Simanton (hide)

Disney's 1992 animated feature is a triumph of wit and skill. The high-tech artwork and graphics look great, the characters are strong, the familiar story is nicely augmented... read more

Disney's 1992 animated feature is a triumph of wit and skill. The high-tech artwork and graphics look great, the characters are strong, the familiar story is nicely augmented with an interesting villain (Jafar, voiced by Jonathan Freeman), and there's an incredible hook atop the whole thing: Robin Williams's frantically hilarious vocal performance as Aladdin's genie. Even if one isn't particularly moved by the love story between the title character (Scott Weinger) and his girlfriend Jasmine (Linda Larkin), you can easily get lost in Williams's improvisational energy and the equally entertaining performances of Freeman and Gilbert Gottfried (as Jafar's parrot). --Tom Keogh (hide)

Worry not, Disney fans--this special edition DVD of the beloved Cinderella won't turn into a pumpkin at the strike of midnight. One of the most enduring animated films... read more

Worry not, Disney fans--this special edition DVD of the beloved Cinderella won't turn into a pumpkin at the strike of midnight. One of the most enduring animated films of all time, the Disney-fied adaptation of the gory Brothers Grimm fairy tale became a classic in its own right, thanks to some memorable tunes (including "A Dream Is a Wish Your Heart Makes," "Bibbidi-Bobbidi-Boo," and the title song) and some endearingly cute comic relief.

The famous slipper (click for larger image)

We all know the story--the wicked stepmother and stepsisters simply won't have it, this uppity Cinderella thinking she's going to a ball designed to find the handsome prince an appropriate sweetheart, but perseverance, animal buddies, and a well-timed entrance by a fairy godmother make sure things turn out all right. There are a few striking sequences of pure animation--for example, Cinderella is reflected in bubbles drifting through the air--and the design is rich and evocative throughout. It's a simple story padded here agreeably with comic business, particularly Cinderella's rodent pals (dressed up conspicuously like the dwarf sidekicks of another famous Disney heroine) and their misadventures with a wretched cat named Lucifer. There's also much harrumphing and exposition spouting by the King and the Grand Duke. It's a much simpler and more graceful work than the more frenetically paced animated films of today, which makes it simultaneously quaint and highly gratifying. --David Kronke

DVD Features

For another of its classic films, Disney delivers another dazzling DVD with a gorgeous, razor-sharp picture and 5.1 sound. (Note: the 1949 film is properly presented in full-screen format, 1.33 aspect ratio, because widescreen films weren't made until the '50s.) The best part of the supplemental features is the archival material, the absolute highlight of which is two unused songs, "Cinderella's Work Song" (in which Cinderella imagines multiplying herself à la the Sorcerer's Apprentice) and "Dancing on a Cloud."

Bippity-boppity-boo! (click for larger image)

Because these numbers were never animated, they're accompanied by stylish illustrations from the Disney artists, and they're simply marvelous to look at. The artist of much of that material, Mary Blair, gets her due in a 15-minute featurette, while the better known "Nine Old Men" are the subject of a round-table discussion among some of today's top animators. In addition, a 38-minute documentary covers their contributions to specific characters of Cinderella as well as the film in general and the vocal cast. Also on the historical side is "The Cinderella That Almost Was," tracking the development of the project through decades of original Disney concepts, characters, and songs, including the 1922 silent "Laugh-o-Gram," which is also included in its entirety.

The pumpkin transformed (click for larger image)

Additional musical material includes three radio programs and a short promo of the movie by Perry Como, in which he summarizes the plot amid some songs by the Fontaine Sisters, star Ilene Woods, and the host himself. Seven other unused songs (17 minutes total) are available in audio-only. The material for kids is on the sparse side, consisting of two music videos, Disney Channel personality Sally (from "Mike's Super Short Show") learning how to become a princess with the help of the Extreme Makeover: Home Edition crew and others, a minor dancing-princess feature, and a DVD-ROM design studio. Oddest extra: ESPN's "top Cinderella stories," including the 1980 U.S. Olympic hockey team and Joe Namath's New York Jets, although stories on Mia Hamm and tennis's Williams sisters should appeal to the film's primary target audience of young girls. --David Horiuchi

Cinderella Throughout the Years

Rodgers & Hammerstein's Cinderella (1957 Television Production)	Rodgers & Hammerstein's Cinderella (1965)	The Slipper and the Rose (1976)
Faerie Tale Theatre - Cinderella (1982)	Rodgers & Hammerstein's Cinderella (1997)	Ever After - A Cinderella Story(1998)

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A delightful undersea world unfolds in Pixar's animated adventure Finding Nemo. When his son Nemo is captured by a scuba-diver, a nervous-nellie clownfish named Marlin (voiced by Albert... read more

A delightful undersea world unfolds in Pixar's animated adventure Finding Nemo. When his son Nemo is captured by a scuba-diver, a nervous-nellie clownfish named Marlin (voiced by Albert Brooks) sets off into the vast--and astonishingly detailed--ocean to find him. Along the way he hooks up with a scatterbrained blue tang fish named Dory (Ellen DeGeneres), who's both helpful and a hindrance, sometimes at the same time. Faced with sharks, deep-sea anglers, fields of poisonous jellyfish, sea turtles, pelicans, and much more, Marlin rises above his neuroses in this wonderfully funny and nonstop thrill ride--rarely does more than 10 minutes pass without a sequence destined to become a theme park attraction. Pixar continues its run of impeccable artistic and economic success (their movies include Toy Story, A Bug's Life, Toy Story 2, and Monsters, Inc). Also featuring the voices of Willem Dafoe, Geoffrey Rush, and Allison Janney. --Bret Fetzer (hide)

There is greatness in film that can be discussed, dissected, and talked about late into the night. Then there is genius that is right in front of our... read more

There is greatness in film that can be discussed, dissected, and talked about late into the night. Then there is genius that is right in front of our faces--we smile at the spell it puts us into and are refreshed, and nary a word needs to be spoken. This kind of entertainment is what they used to call "movie magic," and there is loads of it in this irresistible computer animation feature. Just a picture of these bright toys reawaken the kid in us. Filmmaker John Lasseter thinks of himself as a storyteller first and an animator second, much like another film innovator, Walt Disney.

The 10th anniversary edition of the landmark film repackages most of the extras found in the original Ultimate Toy Box set plus a few more. Two keen retrospectives are new, one with an assortment of talents including Roy Disney and Peter Jackson chiming in on the film's impact. The other is a roundtable with Lasseter and three of the creators simply talking about the experiences without--thankfully--any cutaways to noisy film clips. There's a load of other extras since the Ultimate Toy Box was one of the first and best DVD sets. Missing (besides the second film, which will be released separately) is the effects- and music-only tracks. Added is a whopping DTS soundtrack along with a remixed Dolby 5.1 track. The DVD has a higher transfer bit rate for a better picture, but only high-end enthusiasts will notice it. Since the film is a digital-to-digital transfer, both versions are eye-popping. A must-have set unless you have the Ultimate Toy Box.

Lasseter's story is universal and magical: what do toys do when they're not played with? Cowboy Woody (voiced by Tom Hanks), Andy's favorite bedroom toy, tries to calm the other toys (some original, some classic) during a wrenching time of year--the birthday party, when newer toys may replace them. Sure enough, Space Ranger Buzz Lightyear (Tim Allen) is the new toy that takes over the throne. Buzz has a crucial flaw, though--he believes he's the real Buzz Lightyear, not a toy. Lasseter further scores with perfect voice casting, including Don Rickles as Mr. Potato Head and Wallace Shawn as a meek dinosaur. The director-animator won a special Oscar for "the development and inspired application of techniques that have made possible the first feature-length computer-animated film." In other words, the movie is great. --Doug Thomas

The Pixar Feature Films

Toy Story, 1995 A Bug's Life, 1998 Toy Story 2, 1999

Monsters, Inc., 2001 Finding Nemo, 2003 The Incredibles, 2004

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Duchess and her three kittens are enjoying the high life with their devoted human mistress until the wicked butler Edgar, with his eyes on a big inheritance, decides... read more

Duchess and her three kittens are enjoying the high life with their devoted human mistress until the wicked butler Edgar, with his eyes on a big inheritance, decides to dope them and get them out of the picture. How can these fragile creatures cope in the unfamiliar countryside and the meaner streets of Paris? Only by meeting the irrepressible alley cat O'Malley, a rough diamond with romance in his heart. After they get a taste of the wide dangerous world, he guides them home, and Edgar gets his just desserts at the wrong end of a horse. As always, it's really the voices rather than the animation that are the heart of the Disney magic: Phil Harris is brilliant as O'Malley, Eva Gabor as Duchess is... well... Eva Gabor; but perhaps the most memorable turns are by Pat Buttram and George Lindsay, who turn the old hounds Napoleon and Lafayette into a couple of bumbling Southern-fried rednecks. Their scenes with Edgar, and the musical numbers with Scat Cat and his cool-dude band, are classic. Most striking about seeing The Aristocats now is how deeply Disney's style of animation has changed since this was at the cutting edge in 1970. Perhaps the nostalgic, dated feel are just a result of being plonked down in Belle Epoque Paris, but the illustrations are fussier (a pity) and the animation and overall pace much less frenetic (sometimes a relief) than in more recent efforts such as Aladdin. --Richard Farr (hide)

There's an extra coat of hot wax on Pixar's vibrant, NASCAR-influenced comedy about a world populated entirely by cars. Lightning McQueen (voiced by Owen Wilson) is the slick... read more

There's an extra coat of hot wax on Pixar's vibrant, NASCAR-influenced comedy about a world populated entirely by cars. Lightning McQueen (voiced by Owen Wilson) is the slick rookie taking the Piston Cup series by storm when the last race of the season (the film's high-octane opening) ends in a three-way tie. On the way to the tie-breaker race in California, Lightning loses his way off Route 66 in the Southwest desert and is taught to stop and smell the roses by the forgotten citizens of Radiator Springs. It's odd to have such a slim story from the whizzes of Pixar, and the film pales a bit from their other films (though can that be a fair comparison?). Nonetheless, Cars is another gleaming ride with Pixar founder John Lasseter, who's directing for the first time since Toy Story 2. There's the usual spectrum of excellent characters teamed with appropriate voice talent, loads of smooth humor for kids and parents alike, knockout visuals, and a colorful array of sidekicks, including a scene-stealing baby blue forklift named Guido. Lightning's plight is changed with the help of former big-city lawyer Sally Carrera (Pixar veteran Bonnie Hunt), the town's patriarch Doc Hudson (Paul Newman), and kooky tow truck Mater (Larry the Cable Guy). The Incredibles was the first Pixar film to break the 100-minute barrier, but had enough story not to suffer; Cars, at 116 minutes (including some must-see end credit footage), is not as fortunate, plus it never pierces the heart. Trivia fans should have bonanza with the frame-by-frame DVD function; the movie is stuffed with in-jokes, some appearing only for an instant. Ages 5 and up. --Doug Thomas (hide)

Disney's 1959 animated effort was the studio's most ambitious to date, a widescreen spectacle boasting a gorgeous waltz-filled score adapting Tchaikovsky. In the 14th century, the malevolent Maleficent... read more

Disney's 1959 animated effort was the studio's most ambitious to date, a widescreen spectacle boasting a gorgeous waltz-filled score adapting Tchaikovsky. In the 14th century, the malevolent Maleficent (not dissimilar to the wicked Queen in Disney's Snow White and the Seven Dwarfs) taunts a king that his infant Aurora will fatally prick her finger on a spinning wheel before sundown on her 16th birthday. This, of course, would deny her a happily-ever-after with her true love. Things almost but not quite turn out that way, thanks to the assistance of some bubbly, bumbling fairies named Flora, Fauna, and Merryweather. It's not really all that much about the title character--how interesting can someone in the middle of a long nap be, anyway? Instead, those fairies carry the day, as well as, of course, good Prince Phillip, whose battle with the malevolent Maleficent in the guise of a dragon has been co-opted by any number of animated films since. See it in its original glory here. And Malificent's castle, filled with warthogs and demonic imps in a macabre dance celebrating their evil ways, manages a certain creepy grandeur. --David Kronke (hide)

There is only one word that comes close to accurately describing the enchanting Mary Poppins, and that term was coined by the movie itself: supercalifragilisticexpialidocious! Even at 2... read more

There is only one word that comes close to accurately describing the enchanting Mary Poppins, and that term was coined by the movie itself: supercalifragilisticexpialidocious! Even at 2 hours and 20 minutes, Disney's pioneering mixture of live action and animation (based on the books by P.L. Travers) still holds kids spellbound. Julie Andrews won an Oscar as the world's most magically idealized nanny ("practically perfect in every way," and complete with lighter-than-air umbrella), and Dick Van Dyke is her clownishly charming beau, Bert the chimney sweep. The songs are also terrific, ranging from bright and cheery ("A Spoonful of Sugar") to dark and cheery (the Oscar-winning "Chim Chim Cher-ee") to touchingly melancholy ("Feed the Birds"). Many consider Mary Poppins to be the crowning achievement of Walt Disney's career--and it was the only one of his features to be nominated for a best picture Academy Award until Beauty and the Beast in 1991. --Jim Emerson (hide)

It always comes up when people are comparing their most traumatic movie experiences: "the death of Bambi's mother," a recollection that can bring a shudder to even the... read more

It always comes up when people are comparing their most traumatic movie experiences: "the death of Bambi's mother," a recollection that can bring a shudder to even the most jaded filmgoer. That primal separation (which is no less stunning for happening off-screen) is the centerpiece of Bambi, Walt Disney's 1942 animated classic, but it is by no means the only bold stroke in the film. In its swift but somehow leisurely 69 minutes, Bambi covers a year in the life of a young deer. But in a bigger way, it measures the life cycle itself, from birth to adulthood, from childhood's freedom to grown-up responsibility. All of this is rendered in cheeky, fleet-footed style--the movie doesn't lecture, or make you feel you're being fed something that's good for you. The animation is miraculous, a lush forest in which nature is a constantly unfolding miracle (even in a spectacular fire, or those dark moments when "man was in the forest"). There are probably easier animals to draw than a young deer, and the Disney animators set themselves a challenge with Bambi's wobbly glide across an ice-covered lake, his spindly legs akimbo; but the sequence is effortless and charming. If Bambi himself is just a bit dull--such is the fate of an Everydeer--his rabbit sidekick Thumper and a skunk named Flower more than make up for it. Many of the early Disney features have their share of lyrical moments and universal truths, but Bambi is so simple, so pure, it's almost transparent. You might borrow a phrase from Thumper and say it's downright twitterpated. --Robert Horton (hide)

After creating the last great traditionally animated film of the 20th century, The Iron Giant, filmmaker Brad Bird joined top-drawer studio Pixar to create this exciting, completely entertaining... read more

After creating the last great traditionally animated film of the 20th century, The Iron Giant, filmmaker Brad Bird joined top-drawer studio Pixar to create this exciting, completely entertaining computer-animated film. Bird gives us a family of "supers," a brood of five with special powers desperately trying to fit in with the 9-to-5 suburban lifestyle. Of course, in a more innocent world, Bob and Helen Parr were superheroes, Mr. Incredible and Elastigirl. But blasted lawsuits and public disapproval forced them and other supers to go incognito, making it even tougher for their school-age kids, the shy Violet and the aptly named Dash. When a stranger named Mirage (voiced by Elizabeth Pena) secretly recruits Bob for a potential mission, the old glory days spin in his head, even if his body is a bit too plump for his old super suit.

Bird has his cake and eats it, too. He and the Pixar wizards send up superhero and James Bond movies while delivering a thrilling, supercool action movie that rivals Spider-Man 2 for 2004's best onscreen thrills. While it's just as funny as the previous Pixar films, The Incredibles has a far wider-ranging emotional palette (it's Pixar's first PG film). Bird takes several jabs, including some juicy commentary on domestic life ("It's not graduation, he's moving from the fourth to fifth grade!").

The animated Parrs look and act a bit like the actors portraying them, Craig T. Nelson and Holly Hunter. Samuel L. Jackson and Jason Lee also have a grand old time as, respectively, superhero Frozone and bad guy Syndrome. Nearly stealing the show is Bird himself, voicing the eccentric designer of superhero outfits ("No capes!"), Edna Mode.

Nominated for four Oscars, The Incredibles won for Best Animated Film and, in an unprecedented win for non-live-action films, Sound Editing.

The Presentation
This two-disc set is (shall we say it?), incredible. The digital-to-digital transfer pops off the screen and the 5.1 Dolby sound will knock the socks off most systems. But like any superhero, it has an Achilles heel. This marks the first Pixar release that doesn't include both the widescreen and full-screen versions in the same DVD set, which was a great bargaining chip for those cinephiles who still want a full-frame presentation for other family members. With a 2.39:1 widescreen ratio (that's big black bars, folks, à la Dr. Zhivago), a few more viewers may decide to go with the full-frame presentation. Fortunately, Pixar reformats their full-frame presentation so the action remains in frame.

The Extras
The most-repeated segments will be the two animated shorts. Newly created for this DVD is the hilarious "Jack-Jack Attack," filling the gap in the film during which the Parr baby is left with the talkative babysitter, Kari. "Boundin'," which played in front of the film theatrically, was created by Pixar character designer Bud Luckey. This easygoing take on a dancing sheep gets better with multiple viewings (be sure to watch the featurette on the short).

Brad Bird still sounds like a bit of an outsider in his commentary track, recorded before the movie opened. Pixar captain John Lasseter brought him in to shake things up, to make sure the wildly successful studio would not get complacent. And while Bird is certainly likable, he does not exude Lasseter's teddy-bear persona. As one animator states, "He's like strong coffee; I happen to like strong coffee." Besides a resilient stance to be the best, Bird threw in an amazing number of challenges, most of which go unnoticed unless you delve into the 70 minutes of making-of features plus two commentary tracks (Bird with producer John Walker, the other from a dozen animators). We hear about the numerous sets, why you go to "the Spaniards" if you're dealing with animation physics, costume problems (there's a reason why previous Pixar films dealt with single- or uncostumed characters), and horror stories about all that animated hair. Bird's commentary throws out too many names of the animators even after he warns himself not to do so, but it's a lively enough time. The animator c