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Top 5 Leonardo DiCaprio Performances

Leonardo DiCaprio is a rare sort of actor nowadays. He is the most profitable outside of those who have worked in superhero franchises and manages to still pull in an audience of all kinds. Beloved since his career-making turn as an autistic teenager in 1993’s What’s Eating Gilbert Grape? DiCaprio has evolved from child star to young heartthrob, playboy to a mature rounded actor who can seemingly master any role he plays. This year saw his second collaboration with renowned director, Quentin Tarantino and it hs propelled him into the race for the Best Actor gongs this awards season.

During a time where his star someone seems to still be on a rise despite being at the top of his game, I thought I’d compile a list of my top 5 performances from DiCaprio. This proved difficult and it’s not to say that anything excluded means that it’s bad, I just didn’t have the space.

Here’s my top 5 in chronological order:

What’s Eating Gilbert Grape? (1993)

The film that brought DiCaprio to worldwide attention and melted the hearts of a global audience, DiCaprio plays Arnie Grape, the younger brother of the titular character (played by Johnny Depp), who acts as his carer. Playing a role such as Arnie is deeply complex and requires much maturity that a lot of actors don’t possess, but DiCaprio shows his dedication to the craft beautifully. Arnie is a hopeful individual who Gilbert thinks the world of. DiCaprio’s performance is tender and layered as we see the character’s frustration rise throughout the film until it explodes. It earned DiCaprio a well-deserved Oscar nomination for Best Supporting Actor (many people even think he should have won). A role such as this would be a good enough highlight for any actor’s resume, but for DiCaprio, this is only the beginning of a blossoming career.

Titanic (1997)

I would be lying if I said this wasn’t my favourite DiCaprio performance. The iconic love story that defines the Hollywood blockbuster and tells the fictional story of two star-crossed lovers on the doomed 1912 liner that sank to the sea after hitting an iceberg. DiCaprio plays Jack Dawson, an artist with a hard-working attitude who wins tickets for the Titanic at a game of poker. He stays in a third-class cabin with his friend Fabrizio (Danny Nucci) and fate hands him a meeting with the beautiful first-class passenger, Rose DeWitt Bukater (Kate Winslet). If What’s Eating GIlbert Grape? was a stroke of luck then Titanic cemented his superstar status. He lost out on a much-deserved Oscar-nomination but he was instantly recognised by fans everywhere. Jack and Rose’s story immediately became synonamous with classic Hollywood and the film is still loved around the world. I can’t even begin to explain how much I love this film. It must be among my most watched films of all time and partly because of the sincerity and heart in DiCaprio’s performance.

The Aviator (2004)

DiCaprio’s first collaboration with Martin Scorsese showed that DiCaprio is more than capable of leading a dramatic feature at top billing. He does so perfectly in this Howard Hughes biopic in his turn as the legendary producer through the high times of his career. DiCaprio won a Golden Globe for his performance and lost out on an Academy Award. The Aviator is an interesting insight into the Golden Age of Hollywood and what people will do to hold onto the power and fame that they have. Even against a strong supporting cast, particularly Cate blanchett in an Oscar-winning turn as Hughes’ love interest, Katharine Hepburn, DiCaprio holds himself with ease. I was torn between this and his more recent Scorsese collaboration, The Wolf of Wall Street but I think that this film bridges the gap between his heartthrob days and his breaking into “serious” acting as he isn’t afraid of allowing him to become immersed in the role.

Django Unchained (2012)

After scheduling conflicts got in the way of him playing Hans Landa in Inglourious Basterds (2009), Quentin Tarantino cast DiCaprio as the evil plantation owner, Calvin Candie who is introduced into the 3 hour film halfway through but manages to make such an impact that it influences the entire film. The film follows former slave, Django (Jamie Foxx) as he and bounty hunter Dr. King Schultz (Christoph Waltz) seek to track down and free Django’s wife, Broomhilda (Kerry Washington) who has been sold to Candie and works at his Candieland plantation. It’s a film that was mired in controversy from the beginning due to its excessive use of racial slur and extreme violence. The hard-hitting parts of the film come from Candie’s treatment of the slaves such as forcing them to partake in “Mandingo fighting” where two black men are forced to fight to the death for their owners’ entertainment. The scene is brutal and hard to watch as Django looks on helplessly as Candie cheers as his man wins. What makes this role so different for DiCaprio is that this role is the first where his character is not lovable in any way. Candie’s evil nature is clear when he has a slave ripped to shreds by dogs in front of Django to show his power as a white man.

Once Upon a Time in Hollywood (2019)

In his second collaboration with Tarantino, DiCaprio is promoted to the leading role as fading actor, Rick Dalton. Once Upon a Time in Hollywood is witty and shows DiCaprio in top form. I have written a full review which you can read here. I wouldn’t be surprised to see DiCaprio’s name filling up nomination spots come awards season as this is a role that he pulls off fantastically as the self-pitying, alcoholic actor.

As I come to the end of this list, I want to give a really special shoutout to his mega turn as Jordan Belfort in martin Scorsese’s 2013 hit, The Wolf of Wall Street. Admittedly, this is the top 5 that my gut went with and it breaks my heart not to include this or his Oscar-winning turn in Alejandro Gonzalez Inarritu’s The Revenant but as I said in my introduction, there are so many performances to choose from and they are the five that made the biggest impact on me.

What do you think? What’s your favourite Leonardo DiCaprio performance? Let me know in the comments below!

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Inferno (1980)

Dario Argento’s second feature in his Three Mother’s trilogy transport us from the Freiburg set Suspiria (1977) to New York where a young writer, Rose (Irene Miracle), is suspicious of a curse within her building. After reading an antique book titled The Three Mothers, she finds that the apartment block she lives at was once occupied by one of the Mothers. The Three Mothers rule the world with sorrow (Mater Suspiriorum who lives in Freiburg), tears (Mater Lachrymarum who lives in Rome) and darkness (Mater Tenebrarum who resides in New York). With Mater Suspiriorum meeting her demise in Suspiria, we now see Mater Tenebrarum face off those who rebel against her rule in New York. Tenebrarum is the cruelest of the sisters and the deaths in this film definitely reflect that.

Directed and written by Argento, Inferno carries on the themes explored in Suspiria but on a seemingly bigger scale. The stronger scenes are those based in the Mother’s domains as their presence can be felt at every corner. Argento’s love for the dramatic is also carried on in this film with lingering suspense and exaggerated deaths. Upon a traumatic discovery in the cellar of her apartment block, Rose writes to her brother, Mark (Leigh McCloskey), who is studying music in Rome and begs him to come and help her solve the mystery. From the moment Rose posts the letter, deaths begin to happen to whomever the siblings come across with Mark dealing with Mater Lachryrum during his time in Rome. Like Susie Banyon (Jessica Harper) in Suspiria, Rose is a strong and independent female character which is refreshing to see in classic horror films. Romani Albani is brought on as cinematographer and does a brilliant job of bringing Argento’s vision to life by bringing contrasts throughout the film from the surreal apartment that Rose’s sickly neighbour, Elise (Daria Nicolodi) lives in to the gritty sewers of Central Park. It feels like visual growth from Suspiria.

The film is filled with suspense from start to finish with a breathtaking scene in the cellar as Rose tries to search for the clues to lead her to the mysterious owner of the building. When her necklace falls into a deep pool, she is forced to dive and founds an underwater ballroom in a scene that sets the tone for the rest of the film. Argento never allows the audience to feel settled and the only scenes that don’t contain scares or violence tend to be those where background story is given in Argento’s signature fairytale way. Even the introduction begins with Rose reading an excerpt from The Three Mothers aloud in a way that makes it seem like an adult fairytale. Much like Suspiria, the experience of Inferno is heightened by the amazing soundtrack with a score composed by Keith Emerson who does a brilliant job. He combines new electronic sounds with dramatic operatic pieces to add to the unbalanced ambience that the film creates. It’s a striking score that I think is overlooked due to the iconic association that Argento has with The Goblins who composed the stellar music for Suspiria. What Emerson does is create an entirely different film with his unique sound.

My favourite scene comes near the beginning of the film when we are first introduced to Mark who is attending a classical music session. As he tries to read Rose’s letter, he is distracted by Mater Lachrymarum who is disguised as a beautiful student (Ania Pieroni). He can see that she is mouthing something at him and he feels pain. It is an intense scene as the wind picks up and he is visibly uncomfortable. When he snaps out the pain, she has mysteriously disappeared and he accidentally leaves the letter behind. It’s a brilliant scene that uses the classical music as the main force of emotion as the gradual crescendo coincides with his building pain.

Although the film overall isn’t as tight as Suspiria, I think it is highly underrated. I think that Suspiria is a stronger film because it focuses on the first witch but Inferno brings in the remaining witches with the first act showing killings in Rome before travelling to New York. I think the short running time of 90 minutes means that we don’t spend much time in either place. On release, this film was critically panned but over the years has developed much love in retrospect. In some ways I find this film more interesting than Suspiria because it brings in the legend of The Three Mothers. Much like Suspiria, the aesthetic of the film is beautiful as well with Argento’s signature use of bright contrasting colours to set the mood of the scene and plenty of gore and blood throughout. There is clearly a lot of passion that was put in this film and it’s a shame that the film did badly on initial release. It’s a horror film that I think will only get better with time.

What do you think of Inferno? Did you like it or loathe it? Let me know in the comments below!

You can my review on Suspiria here!

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Ready or Not (2019)

These past couple of years have seen a resurgence in horror films and it seems that a lot of writers and directors are using the genre to push forward ideas and responses to the current political climate. Ready or Not is definitely among this class of horror film, incorporating messages on classism in an increasingly divided landscape where the rich appear to be getting richer against limited social mobility for the poorer. Led by rising star, Samara Weaving plays Grace, a woman who was raised in foster homes who finds herself marrying her dream guy who just so happens to be a part of a huge family dynasty that owns a large gaming company. When face with the odd tradition that she has to play a game before being a part of the family, it becomes a game of cat and mouse as the family attempt to kill Grace as part of a ritual.

The film definitely lives up to its 18 rating with f-bombs everywhere and gore galore that makes Midsommar feel like a Disney film. If Netflix’s The Babysitter was a mere introduction to Samara Weaving then Ready or Not has cemented her status as the newest Scream Queen. Grace is a brilliant character who is fully aware of her position as an outsider from the beginning. At first she attempts to resist playing the game but seeing the seriousness in their attempt to kill her, she is forced to become efficient and do things she never thought she would. With a brillient supporting cast including Mark O’Brien as Alex, Grace’s new husband, Adam Brody as Alex’s conflicted brother, Daniel and Andie MacDowell as Alex’s mum. It’s a film that shows the complexity of human nature as each of the characters are thrown into this unexpected situation.

The screenplay is brilliant and makes use the singular space that the film inhabits. Written by Guy Busick and R. Christopher Murphy and directed by Matt Bettinelli-Olpin and Tyler Gillett, this film could have easily fallen flat with so many creatives at the helm, particularly given the limited setting and characters but they fought the odds and came up with a film that is smart and tied together. The scene in which Grace is told the backstory of the family before selecting her game is hugely intense as the audience knows that they cannot trust anyone. The film is full of symbolism and pay offs, the most obvious being Grace’s wedding dress. The difference between how it looks at the start and the end really hits home the events of the film. Another aspect of the film that was unexpected is how funny it was throughout. Even in the most gruesome scenes, the writing is witty and on point as the clueless relatives try to deal with the prospect of actually killing someone. One hilarious relation, Fitch (Kristian Bruun), spends some of his time learning how to use a crossbow on YouTube.

You’ll have to withstand a lot of gore but it’s a fun film to watch and is definitely worth watching on the big screen if you get the chance. I think it’ll go down as a modern favourite for horror fans and I look forward to seeing what Samara Weaving does next.

What did you think of the film? Let me know in the comments below!

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Midsommar (2019)

As Summer is coming to an end, I thought it would be apt to write a post on my favourite film of the season. Unsurprisingly enough, it comes in the form of a summertime nightmare with Ari Aster’s second feature Midsommar. Following on from his brilliant debut, Hereditary (2018), Aster has managed to surpass expectations and once again brings us a new and refreshing take on traditional horror. The film follows college student, Dani (Florence Pugh) who joins her boyfriend, Christian (Jack Reynor) and his friends: Mark (Will Poulter), Josh (William Jackson Harper) and Pelle (Vilhelm Blomgren) on a trip to Sweden to observe a rare festival among Pelle’s familial commune. Things quickly turn sour as members of the group begin to disappear without a trace. It’s easy enough to expect a film in the same vein as The Wicker Man when introduced to the pagan style life the commune leads in the Swedish woods.

Florence Pugh’s leading turn only helps to further push her presence as an actress to watch. Dani is one of the most complex female characters to arise from modern cinema. We see her shift from the Westernised world that she lives in where there is no hope for her to the cult where she begins to feel belonging. It’s a haunting portrayal of depression and anxiety and is shown in an explicit way that hasn’t been explored before. The events in the film happen due to other’s people actions but they are always directly in relation to Dani and her welfare. Pugh’s acting chops are really highlighted in the dance scene where she becomes so absorbed in the competition that she finds herself speaking Swedish fluently with her competitors. The scene is transformative for Dani as she allows herself to be open to the ceremony and the community.

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The supporting cast also knock it out the park with their performances. Will Poulter in particular gives a career best as the ignorant Mark, who literally and figuratively pisses all over the commune’s celebrations. Whereas Dani’s demons are hidden below the surface, the male characters’ flaws are on show for all to see. Whereas Dani is ridiculed for her struggles in US, the tables are turned for the men in the commune as women dominate the landscape. The film’s goriest scenes are mainly at the cost of the ignorant visitors and yet it doesn’t feel like a slasher film. The audience, like the characters, are outsiders but they are invading the ceremony and evoke little sympathy from the audience because of their ignorance and greed. Jack Reynor also excels as Dani’s emotionally distant boyfriend, Chris. He has allowed himself to become so detached to Dani that he acts emotionless and unsympathetic when tragedy strikes at the beginning of the film. He is unwilling to see how wrong he treats her as she struggles to fight for his love and repair things. During the film, we see Christian’s confidence shaken as he becomes targeted by the cult.

As expected, Aster’s script and direction showcase his talent as an original voice in film and his fearless approach to filmmaking. He isn’t afraid to explore taboo subjects or make the audience uncomfortable. One such scene is during an ättestupa ceremony where two elderly people jump from a high cliff. Aster doesn’t allow the camera to turn away as we see the bodies hit the ground. The reactions that Dani and co feel become all the more real because Aster forces the audience to experience it as well. It’s a film that demands the attention in details from its audience. Every aspect of the costumes and set have been well thought out and serve a purpose that pay off later in the film. The use of striking visual sets make it a memorable film and the immaculate beauty of the cult’s village make the strict lifestyle all the more terrifying. I think this film shows a growth in directorial vision from Aster’s standpoint as he really allows the audience to get into Dani’s psyche. The true brilliance of this film is Aster’s ability to contrast Dani’s claustrophobic feelings to the open space that the commune live in so effectively.

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Another aspect I loved about the film was the use of costumes. Not only the ethereal and fresh qualities the commune colours have which seem refreshing when we first see the village. The standout costume, however, comes in a brilliant floral creation worn by Dani in the films final scenes. In any other film, it would seem ridiculous but it makes sense in this film. It both stands out and blends in at the same time and plays a big role in the terrifying climatic scene.

If it were up to me, this film would be a safe contender for various mainstream awards but I am aware that it is too violent and “out there” for some. It is not a film for the faint of heart or easily offended. Between the subtle cannibalism, male frontal nudity and graphic sex scenes, this isn’t a comfortable film to watch but that is what makes it such a brilliant piece of cinema.

What did you think of the film? Did you like it as much? What was your film of the summer? Let me know in the comments below!

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Once Upon a Time… in Hollywood (2019)

Arguably the most hyped film of the year sees acclaimed director Quentin Tarantino return to his native Hollywood for his ninth (and penultimate) outing. Set in 1969 where hippies reigned and Hollywood stars are quickly on the wain, this film was always going to be the most personal for Tarantino as this film provides the backdrop of his own childhood. It’s a film that provides plenty of Tarantino techniques as well as showing his growth as a filmmaker and storyteller.

It seems only natural that a film set in Hollywood should discuss the cast first. A star studded ensemble headed by Oscar winner, Leonardo DiCaprio in his second collaboration with Tarantino as leading man Rick Dalton who is in desperate need for a decent role to revitalise his waning career. Dalton seems to wallow in self-pity as he is offered role after role on television but isn’t satisfied with the characters. Dalton is the polar opposite of DiCaprio, who is at a point in his life where he is playing some of the most interesting and challenging characters in film today. Ironically, the best character Dalton plays is himself, with a complex self-hatred which contrasts with his desire to see his face everywhere he goes (his house is cluttered with movie posters and his car parking space has a giant painting of his face). Dalton is surrounded by the expectations of the man he once was that he cannot live up to the standards of the actor he could be now. One of the best scenes in the film sees Rick have a drunken breakdown in his trailer when he lightly messes up a scene. Promising never to drink again as he swigs from his whiskey flask, it’s abundantly clear that Dalton’s worst enemy is himself. Partner this with Brad Pitt’s cool and collected Cliff Booth, Dalton’s long-term stunt double who lives in a crammed trailer with his dog behind a drive-through cinema, Cliff dreams of stability after allegedly killing his wife but his rough nature gets in the way. Featuring a controversial scene in which he beats the shit out of Bruce Lee, Booth appears introverted and vulnerable but has a violent streak in a bid to survive.

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One of the major talking points in the run up to the film was the handling of Hollywood actress, Sharon Tate, who was one of the real life victims of the Manson Murders. Portrayed by Margot Robbie, we see Sharon in the early stages of her career. From the get go, this was a perfect casting choice. Robbie has shown her strengths and growth as an actress from her breakout role in The Wolf of Wall Street to her Oscar-nominated turn in I, Tonya where she portrayed infamous ice-skater, Tonya Harding. Tate is a more relaxed departure and has a naivety as she navigates her career and enters public life alongside husband, Roman Polanksi who at this point had achieve international acclaim for Rosemary’s Baby. Renowned for her beauty and kind-nature, Tate was in the midst of releasing new film The Wrecking Crew in 1969. In a scene that is both heartwarming and breaking at the same time, we see Tate sneak into a cinema to watch her film among the general public. Her reactions as the audience laugh and cheer her character on allow us to see the woman behind the eventual tragedy, an opportunity for her to be known for something more than a murder victim. Of course it wouldn’t be a Tarantino film if we didn’t see someone’s feet which confused audiences alike. I think it was Tarantino’s way of paying tribute to her while also breaking the blur between reality and fiction. An odd tribute but a tribute all the same.

The big turning point in the film comes when Cliff visits Spahn Ranch, home of Charles Manson’s “family” after an encounter with a potentially underage member (Margaret Qualley). The tone mirrors that of a horror film as Cliff walks the long path to the head house to check on its owner, George Spahn (Bruce Dern). I think that this will go down as one of Tarantino’s best scenes as the direction is impeccable. By this point we’ve seen Cliff’s ability to fight so we know that he is capable of defending himself; however, Tarantino uses the hindsight and context of the situation to drive fear in the audience as crowds of young, waif-like hippies crowd around him in droves. It’s a scene that combines the suspense of The Hateful Eight, the Western qualities of Django Unchained and the hazy Californian setting of Pulp Fiction that brings something quintessentially Tarantino while also showing us something new.

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Now for my favourite part of any film – the script! I wouldn’t be surprised to see Tarantino among the nominees for Best Original Screenplay come awards season. He may even walk away with his third gong at the Academy Awards. The dialogue seems sharper and more realistically placed than his previous offerings. Tarantino does a great job of recreating his childhood through detailed settings and timely cultural references. Whereas Pulp Fiction has plenty of iconic quotes and relies on the words on the page, Once Upon a Time… In Hollywood is quite the opposite and much like its subject, it closes in on the actors and is very physically demanding. The film is largely reserved in its violence for the most part, culminating in a massive showdown at the end which justifies the 18 certificate it received. The film is profoundly analytical and draws more similarities to Boogie Nights than Pulp Fiction in my eyes due to the exposure of the grit beneath the glamour of stardom. Tarantino also takes away his use of “chapters”, instead splitting the films into specific days in the run up to the day of the Manson murders. The direction is brilliant in that it showcases a global talent from the confines of his house for the most part. The importance of the home is reiterated throughout the film as Sharon and Roman have recently moved in to the house next door to Rick who mainly stays in (mostly in part to the drinking problem he has as well as his will to ostracise himself). This is ultimately a film about Tarantino’s home literally and figuratively through his childhood but also cinema as a safe place.

The scope of this film is so vast that it is simply impossible to discuss every aspect in one simple review but it’s definitely a film that requires more than one watch. I wouldn’t be surprised if Tarantino even walked away with his long awaited Best Director Oscar which would thoroughly be deserved. This is the film that he was born to make and only builds up even more hype for his alleged final film. I have a feeling that this will be the film to beat.

Have you seen Once Upon a Time… In Hollywood yet? What did you think?

Let me know in the comments below!

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Disney Animated Classics: Numbers 41-45 Ranking

Sorry for the long break! I’ve been so busy that I haven’t found the time to write up my articles. However, I’m back and ready to carry on with my rankings. I’m sure you’re all dying to see the end result!

Riding on the success of the Disney Renaissance, the studio finds itself in a period of cockiness and nostalgia and proves that the overwhelming success of the 90s didn’t just come on a whim. The head honchos believe that now is a good time to release direct-to-video sequels and prequels galore to accompany the re-releases of the classics that are released from the Disney Vault. This is also a time when lots of projects that were overlooked during the Renaissance find their way onto the big screen.

As ever you can read the previous instalments here:

Films 1-5

Films 6-10

Films 11-15

Films 16-20

Films 21-25

Films 26-30

Films 31-35

Films 36-40

The majority of these films were not kindly looked upon critically or commercially compared to the predecessors of the previous decade. I do have a soft spot for this bunch as I went to see all of them in the cinema (with the exception of Home on the Range) and I have fond memories of watching them all on a loop. However, I do admit that they don’t have the lasting legacy that other Disney offerings have and despite being under 20 years old, they are often overlooked.

Without further ado, let’s crack on with the reviews for films 41-45:

41) Atlantis: The Lost Empire (2001)

Disney spared no expense on the production and marketing for this film (between $90-120 million was spent) and it was everywhere you looked. Atlantis was expected to be the next great Disney epic and the media and audience lapped the hype up only to be disappointed by the end result. Following Atlantis enthusiast Milo Thatch (voiced by Michael J. Fox) who embarks on a mission to find the lost kingdom, Atlantis is visually stunning and boasts some of Disney’s finest animation. What this film brings in style, it lacks in substance with a script that doesn’t feel finished. We’re presented with an array of one-dimensional characters but the real star of the show is Atlantis’ Princess Kida who is fascinated by the outsiders and wants to form a relationship with the outside world. It’s a shame that Disney hasn’t followed on her legacy in the past few years as she is overlooked in the Disney Princess canon constantly. This is a film that I thoroughly enjoy watching as there are numerous scenes that I hugely appreciate such as the Leviathan attack on the submarine, the scene where Kida is taken over by the protective crystal and the climatic battle in the volcano where Milo faces off the corrupt soldiers. It’s a film that (like 1985’s The Black Cauldron) deserved better writing and fleshed out characters but ultimately falls flat and has become forgotten with time.

42) Lilo & Stitch (2002)

One of the most loved modern Disney films about a young Hawaiian girl who befriends an alien on the run from his creator, Lilo & Stitch is a heartwarming film about differences and the struggle to fit in. Lilo is a quirky little girl whose hobbies include taking pictures of sunburnt tourists and playing Elvis Presley songs full blast. She is badly bullied by those in her dance class and unknowingly acts out, causing problems for her older sister, Nani who is also her guardian. When social services start to look into taking Lilo away, Nani thinks it’d be good for Lilo to get a pet dog to keep her preoccupied. Enter Experiment 626, the runaway alien who finds himself in the dog kennel. Lilo is immediately taken by his physical differences and ability to speak that she immediately adopts him, names him Stitch and shows him around the island. There’s a reason that this film has become among the most iconic and recognisable of modern Disney. Its message about the importance of family is one that immediately resonates with the audience. The scene in which Nani sings “Aloha Oe” to Lilo as she comes to terms with the prospect that Lilo will be taken away is one of the most heartbreaking and, because of this, daring scenes that Disney have put to screen. This aspect of loss makes the payoff even better when Stitch recites Lilo’s motto that “ohana means family” to Nani. The film is one that has touched hearts around the globe and Stitch is among the most iconic Disney characters of the modern era.

43) Treasure Planet (2002)

A project that had been pushed back for ten years, Treasure Planet finally saw its release in 2002. Featuring an all-star cast that includes Joseph Gordon-Levitt and Emma Thompson and an extortionate budget ($140 million!), this futuristic retelling of Robert Louis Stevenson’s Treasure Island about a young man who comes in possession of a highly-sought treasure map and sets off with a group of pirates to seek it has been subject to countless adaptations throughout the year. Never has this story been told in space where aliens take up most of the characters and the audience is taken across the galaxy in search of an entire planet that is filled with treasure. Utilising computer animation more so than previous films, Treasure Planet attempts to hurl Disney into a new era. Sadly, like Atlantis before it, the result is hugely underwhelming and we’re left with another forgettable entry in the Disney catalogue. I think the script is strong, following the premise of its source material but the style feels inconsistent to me. Visually, it is quite overwhelming as there is a lot going on. It’s a world inhabited by humans, aliens, traditional structures and futuristic architecture. It feels like a mesh of the past and the future which comes across disjointed as there isn’t a middle-ground. 

44) Brother Bear (2003)

Made on a more modest budget of $46 million, Brother Bear follows Kenai, a young tribesman who is transformed into a bear after recklessly hunting down and killing a bear in the mountains of the spirits. Joined by young cub, Koda, Kenai must find his way back to the mountain in order to be turned back. The film is definitely a middling effort and feels rushed in execution. My favourite aspect of the film is the great soundtrack that includes songs by Phil Collins and the mesmerising track “Transformation” sang by the Bulgarian Women’s Choir. The scene in which Kenai is transformed is beautifully done and it’s a shame that the rest of the film doesn’t follow that standard. It’s an enjoyable watch but doesn’t hold its own against the greater works by Disney. It’s a shame that it wastes such a talented cast that includes Joaquin Phoenix as Kenai and Rick Moranis making a rare return to voice work as one half of a randomly included moose duo. It feels that the tone is imbalanced throughout as there is a serious undertone that is constantly overthrown by characters such as the moose. Their humour doesn’t fit in well and it makes the overall experience jarring.

45) Home on the Range (2004)

By far one of the worst films ever to come out of the Disney studio, Home on the Range follows a group of cows who attempt to capture a cattle rustler called Alameda Slim. I enjoyed this film on release but sadly I don’t enjoy it at all watching it now. It’s forgetful and doesn’t have the same amount of Disney charm as the other instalments. The plot is weak and generic and the characters are bland. Featuring voice work by Judi Dench, Jennifer Tilly and Randy Quaid among others, Home on the Range falls into the trap of style over substance and suffers tremendously for it. Continuing the trend for middling efforts and released among a fleet of direct-to-video sequels and prequels, Home on the Range doesn’t stand out for its mundane effort. Sadly, there is a reason why Home on the Range is always forgotten and eschewed in Disney marketing and merchandise. There isn’t anything in the film that is marketable or memorable for the audience.

It’s mad to think that there are only two more posts left in this series until we’re up to date. The next post sees Disney delve into computer animation with Chicken Little (2005) and Meet the Robinsons (2007) and enter a new era of Disney masterpieces with The Princess and the Frog (2009) and Tangled (2010)

Here is my ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Beauty and the Beast (1991)

4) Sleeping Beauty (1959)

5) Bambi (1942)

6) The Many Adventures of Winnie the Pooh (1977)

7) The Lion King (1994)

8) Mulan (1998)

9) The Little Mermaid (1989)

10) Alice in Wonderland (1951)

11) Aladdin (1992)

12) The Aristocats (1971)

13) One Hundred and One Dalmatians (1961)

14) The Emperor’s New Groove (2000)

15) The Hunchback of Notre Dame (1996)

16) Lilo & Stitch (2002)

17) Peter Pan (1953)

18) The Three Caballeros (1945)

19) Pinocchio (1940)

20) Pocahontas (1995)

21) Tarzan (1999)

22) Dumbo (1941)

23) Hercules (1997)

24) The Black Cauldron (1985)

25) Atlantis: the Lost Empire (2001)

26) The Great Mouse Detective (1986)

27) Treasure Planet (2002)

28) Brother Bear (2003)

29) The Jungle Book (1967)

30) The Sword in the Stone (1963)

31) Cinderella (1950)

32) The Rescuers (1977)

33) Robin Hood (1973)

34) Oliver & Company (1988)

35) Lady and the Tramp (1955)

36) The Fox and the Hound (1981)

37) Fun and Fancy Free (1947)

38) The Adventures of Ichabod and Mr. Toad (1949)

39) Saludos Amigos (1943)

40) Melody Time (1948)

41) Fantasia 2000 (2000)

42) The Rescuers Down Under (1990)

43) Make Mine Music (1946)

44) Home on the Range (2004)

45) Dinosaur (2000)

 

What do you think of the list? Do you think I’ve been too harsh on these entries? Let me know in the comments below!

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Child’s Play Ranking

The Child’s Play franchise is among the first horrors that I watched and introduced me to the world of horror films alongside the Final Destination films. Featuring a demonic doll called Chucky who is possessed by the spirit of murderer Charles Lee Ray (Brad Dourif) in all but the last films (the 2019 has a different set-up altogether), we see Chucky’s murderous attempts to become human again and what he will do in order to get there.

Created and directed by Don Mancini, the Child’s Play franchise are films that Mancini and Dourif are clearly passionate about. Even at their worst, the films are still entertaining and fun to watch. With the new remake/reboot out in cinemas featuring a new cast and production team and await\ning the 2020 TV show from Mancini with Brad Dourif back as the iconic voice of Chucky, I thought it would be a good idea to review and rank all of the released films from best to worst (including the 2019 film).

Without further ado, let’s begin:

Child’s Play (1988)

The franchise began in the late eighties in a decade that saw the creation of some of the most iconic slasher villains such as Freddie Kruegar and Jason Voorhees. Andy Barclay is a young boy gifted a Good Guy doll called Chucky for his sixth birthday. Murders suddenly begin occurring around Andy and his mum with Andy insisting that not only is his doll alive but he is possessed with the soul of a killer and is committing the murders. The audience views this film from the perspective of the adults as we don’t actually see Chucky come to life until halfway through the film when Andy’s mum threatens to burn the doll. The franchise has come to be ridiculed for its over the top humour but the first installment is actually underrated. The script is fantastic and well paced with Brad Dourif’s performance being the clear standout. He manages to makes Chucky truly terrifying without veering it into ridiculous territory.

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Child’s Play 2 (1990)

The first sequel to the original takes place soon after where we left off with Andy’s mum being placed in a psychiatric ward and Andy is now in foster care with Joanne and Phil along with fellow foster child, Kyle, a rebellious teen who sneaks out on dates and smokes. Chucky is remade at the Good Guy factory but escapes in a quest to find Andy so he can “hide the soul” become human again. It’s a strong sequel that follows the exact same precedent as the original but that’s not always a bad thing. Brad Dourif provides a charismatic performance as ever as the evil doll and Alex Vincent delivers another great performance. The film contains some of my favourite highlights of the entire franchise such as the school scene in which Andy’s overly strict teacher meets her demise at the hands of a ruler. It also features the word “microchip” being used as an insult which I think is absolutely fantastic.

Child’s Play 3 (1991)

Fast forward right years in time and 16 year-old sent to military school after he struggles to find a suitable foster home. Replacing Alex Vincent as Andy is Justin Whalin who does a good job with what he’s given. The story isn’t as strong as its predecessors due to its attempts to tone down the humour and increase the violence, earning the franchise its first 18 rated certificate. When there is humour, it doesn’t quite land as the film takes itself too seriously to be tongue in cheek like the previous installments. This isn’t to say it’s a terrible film, there are some highlight scenes in there. One example is when the students play a huge game of paintball to practice their shooting skills and Chucky has replaced the paint with live bullets unknown to the students or officers. It also features one of the best endings in the entire franchise, taking place in a haunted house ride at a travelling carnival.

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Bride of Chucky (1998)

After the negative reception to the third film, the writers decided to put an emphasis on the humour that audiences had come to love about Chucky. Introducing Jennifer Tilly to the franchise as Tiffany, Chucky’s lover when he was human, who is obsessed with the stories relating to the Chucky doll. She manages to get ahold of the doll and fixes him back up, giving him what will be his recognisable scars. Imprisoning Chucky when he comes back to life, Tiffany is killed and turned into a doll and the two aim to find a pair of humans to transfer their souls into. Watching this film after the first three is a shock because tonally, it is so different but it is an entertaining film that isn’t afraid to parody itself (cue all the slasher horror references at the start of the film). It’s definitely on the weaker end of the franchise but I do find it enjoyable to watch and it is a different kind of horror than what we are used to seeing.

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Seed of Chucky (2004)

Despite the mixed reviews for Bride of Chucky, Mancini decided to push the envelope further when creating the following film, Seed of Chucky. Following the offspring of Tiffany and Chucky, Glen/Glenda travels to Hollywood to visit the set of a film based on his/her parents. It’s less violent and more camp, taking inspiration from the flamboyant horror B movies like Glen/Glenda. It’s become a modern cult film among fans and is undoubtedly the worst film in the franchise but it is fun to watch because it is so ridiculous. It also features cameos from the likes of S Club 7’s Hannah Spearritt with Billy Boyd providing the voice for Glen/Glenda. It’s a film that pokes too much fun at itself and becomes a product that goes beyond satire. It’s good fun for the audience to watch but in a “so bad it’s good” way.

Curse of Chucky (2013)

Nearly a decade on from the last film and Mancini decides to give the franchise a complete do-over. Mancini takes away the humour and brings in a new backstory. Nica (played Fiona Dourif, Brad Dourif’s daughter) is a paraplegic who has recently moved into a decrepit house with her mother. One day, Nica receives a Good Guy in the post. As ever, the doll is alive and sets on killing every person in the house bringing some extremely gory results. The film is fantastic as a standalone but also as an installment and is a welcome return to the franchise that audiences loved from the beginning. It features one of the most intense dinner scenes in any film I have seen. I think that releasing it as straight-to-DVD was a smart move as the film pleasantly surprised audiences as there weren’t high expectations for it. Much like the original 1988 film, Curse is a slow burner and we don’t see Chucky in action until later on in the film.

Cult of Chucky (2017)

Following on from the critical success of Curse of Chucky, Cult of Chucky follows Nica who has been committed to a psych ward where she is recovering. Using the same solution as the original films, Chucky tries to “hide the soul” in Nica’s body. Both Dourifs give knockout performances. The standout scenes in this film are the ones where they are able to bounce off each other. This film was made on a tiny budget compared to the other installments but it doesn’t feel like it. Like Curse, Cult is filmed primarily in one location meaning that more money can be used on the special effects. It’s a film that never lets the audience relax. There are few breathing moments as Chucky casts down terror on the patients in the ward. It’s a claustrophobic film that has you feeling trapped like the patients.

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Child’s Play (2019)

Bringing in an entirely new team for this remake/reboot was always going to be interesting to watch. The first to be made without Don Mancini’s input, 2019’s Child’s Play puts the 1988 film into a 21st century context. You can read my full review for the new installment here.

So that’s 31 years of horror in one post! It’s amazing to see how the plots change with the times and how these films strive to follow trends that are seen in horrors specifically in the context of their release beginning with the slashers of the 80s, the comedies of the late 90s/early 00s and the darker, gorier inclusions in the 2010s.

Here is the ranking:

1) Child’s Play (1988)

2) Child’s Play 2 (1990)

3) Curse of Chucky (2013)

4) Cult of Chucky (2014)

5) Child’s Play (2019)

6) Child’s Play 3 (1991)

7) Bride of Chucky (1998)

8) Seed of Chucky (2004)

What did you think? What is your favourite Child’s Play film? Let me know in the comments below!

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Child’s Play (2019)

This was a bittersweet film to watch. As an avid fan of the Child’s Play franchise, it’s been interesting to see how it has evolved over the years from the generic horror slasher in the first three films to experimental (and not always successful) horror comedy in the next two films to a reboot of two films starring Brad Dourif’s daughter, Fiona Dourif, as a paraplegic who’s life is torn to shreds in extra gory installments. Now forward to 2019 and we see Orion Pictures going ahead with a reboot unapproved by the film’s creator, Don Mancini, which further caused Brad Dourif to drop out from the iconic role to star in Mancini’s upcoming Child’s Play TV show. Instead we are given Mark Hamill as the voice of Chucky which was always going to be a great choice as Hamill is a fantastic voice actor (the Joker in the Batman TV series and Sunsnatcher in Brigsby Bear are personal highlights).

Giving the film a clean slate and a new backstory, this 2019 reboot brings Chucky into the 21st century. When a Vietnamese factiry worker is cruelly given the boot, he programs the Buddi doll he is building to have no inhibitions and no violence indiciators, meaning that the doll will be capable of anything. This doll finds it way into the life of Andy (Gabriel Bateman), a teenager who has just moved into a new city with his mum (played by Aubrey Plaza). The name is changed from Good Guy to Buddi (with a wifi signal above the i) and the doll can connect wirelessly to other devices in the house such a televisions, music players and the lights. There is a way to track the doll itself through an app on a phone. This remake could have easily been illogical and cheesy but the updates feel relevant for the time period with Andy, even referring to the older model he is gifted with as a “little kid’s toy”.

There is a lot to like about this film. An interesting aspect that makes it stand out is that Chucky genuinely wants to make Andy happy but he goes about this in a violent manner and misinterprets what Andy wants. On scene in particular that stands out is when Chucky observes as Andy and his new friends watch The Texas Chainsaw Massacre 2. The teens laugh as the characters in the film are killed and torn to shreds, making Chucky believe that Andy wants this to happen in real life and tries to kill one of his friends. The film spends its first act building the characters of Andy and Chucky and the killing spree that follows doesn’t feel forced.

I’d be interested to see if they make a sequel from this one because it was enjoyable to watch and was a good combination of horror and comedy. Hamill’s performance was brilliant as ever and Aubrey Plaza is great in her role as Karen. Karen is clearly broken by the situation of having to move and poor financial circumstance but she tries to keep it together for sake of her son. Plaza isn’t in the film as much as I would have liked but maybe they’ll cast her in a sequel.

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Toy Story 4 (2019)

I won’t give away too much of the specific plot away in my review but the basic storyline is new owner Bonnie creates a toy out of trash, Forky, who becomes her favourite toy but he longs to be back with the trash. When the family take a road trip, Forky jumps out the window to become trash meaning Woody has to go collect him and bring him back to Bonnie. The film is then set in a quaint little town that has a travelling carnival visiting and Pixar makes use of this inclusion with aplomb. Pixar studio always said that they would only go ahead with Toy Story 4 if the story was necessary. When they announced that the film was in production (and despite the high quality of each Toy Story film), I couldn’t help doubting whether a fourth installment really was necessary since the third one rounded the franchise off nicely. I am glad to say that there was no need to be in doubt at all. I think that the UK marketing team for Pixar did a brilliant job of not actually giving away too much of the plot which made the film all the more enjoyable to watch and also surprising.

It goes without saying that Tom Hanks and Tim Allen do a fantastic job in their iconic roles as Woody and Buzz, respectively but there are also a great array of new characters that are brought into the fold. My favourite character is the aforementioned Forky. Everything about this little guy is hilarious from how he looks to his physicality to the way he talks and socialises with other toys. He is a fantastic little addition to the Toy Story family and honestly it’s been hilarious seeing how many toys Disney have made of him for extortinate prices despite the fact that his character was literally made from items from a bin. Other characters introduced in this film include Bunny and Ducky, voiced by comedy duo Jordan Peele and Keegan-Michael Key who are also great additions. They are adorable plush teddies who have been waiting three years to be won at the carnival fair. The last toy inclusion to mention is Duke Kaboom, a Canadian action figure voiced by Keanu Reeves. He is a hilarious and sensitive character who speaks passionately about his past owner, Rijon, who got rid of him. We also see the reintroduction of an old toy in this film. Bringing back Bo Peep who has been given a makeover into a strong heroine is a long cry away from her shy, lovestruck self in the first two Toy Story films and has been the cause of complaint to some but rest assured it is done fantastically and subtly to the point where it makes sense with her own storyline. It’s also great for Pixar to show the contextual progression where female characters don’t have to be passive love interests. Bo Peep does a lot of the rescuing in this film and it’s treated no differently to when male characters take action.

It’s easy to imagine that with the addition of so many characters that they don’t have their chance for character growth but the writers have done a great job with balancing this out. Forky and Bo Peep are given the most space for character growth since their stories are central to the plot whereas Ducky, Bunny and Duke are used as comic relief so only their backstories are given. Knowing the importance of the toys in the specific film means that the audience isn’t crammed with too many plotlines that they can’t keep up with. With their being so many new and different characters, it does mean that all of Bonnie’s toys (with the exception of Woody, Buzz and arguably Jessie) may as well have not been brought on the road trip. When Bonnie loses Forky, she doesn’t care that she has numerous other (non-trash made) toys in the RV. They’re just there in the background for the whole film. They didn’t even need to bring in a replacement for Mr. Potatohead as they recycled old lines said by Don Rickles in previous films. This isn’t a bad thing necessarily but it does mean that their importance has been faded out in this (supposedly) final installment. There were many scenes that I enjoyed in this film but if I had to pick one, I would say when Woody and Forky are having their heart to heart after Forky jumps out the RV. Woody tries to make Forky understand the importance of his role as a toy which means Forky has the realisation that he is “Bonnie’s trash”. It’s one of those heart-warming scenes injected with humour which have become synonymous with the Toy Story franchise. Also, any scene with Duke Kaboom in because he is absolutely hilarious and his backstory was heartbreaking to watch.

Another thing to talk about is how amazing the animation is, in particular Bo Peep. The shine and reflective effect of her porcelein is an incredible development from the first film. It makes her look eerie at times but more delicate as well (she is porcelein after all!). When you look back to how she appeared in the first film, the animation doesn’t compare. I’m not dissing the first film because it achieved so much at the time of its release in regards to animation, but celebrating the achievements made since then and seeing that transformation in the span of 24 years is incredible. Also the textures of the plushes and ventriloquist dummies that appear in this film are equally fantastic.

I think that Toy Story 4 was well worth the wait and seemed like the true ending for the franchise. I think it will go on to win the Best Animated Feature at the Oscars next year (to be honest, it’s rare that a Disney film doesn’t win this) and I think it will date well as a film. I think what makes it work so well is that even though it follows on from the trilogy and the franchise, there is a different feel to it altogether because they’re not Andy’s toys anymore. With a new owner comes new changes and this opened up a door for new storylines and motives.

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Pixar Features Ranking: Films 11-15

This period saw the complete acquisition of Pixar by Disney, giving complete control to the Disney board on what projects should go ahead at Disney. Whereas John Lasseter had stopped sequels and remakes previously, Disney did the opposite at Pixar and wanted to capitalise on the loved characters that Pixar had created. Although with Toy Story 2 they had found success, other franchises were not as lucky and the films were met with lukewarm reviews which was pretty unheard of at Pixar but has sadly become more of the norm now.

If you want to read the other Pixar reviews and ranking you can click the links below:

Films 1-5

Films 6-10

Now without further ado, let’s begin with the reviews and rankings for Pixar films 11-15:

11) Toy Story 3 (2010)

The third segment of Toy Story 3 was built with hype in the months leading up to its release and it certainly didn’t disappoint. Following the toys’ adventure in a daycare centre as Andy heads off to college, Woody, Buzz and co face off against the manipulative Lotso and his henchmen who oppress the “weaker” toys. It’s brilliant and sassy, bringing everything we love about the franchise into an even bigger film. My favourite inclusion is Ken and his dream-house with the scene in which he shows Barbie his vintage clothes collection is clearly so well researched with the materials and textures impeccable as always. The scene where Barbie threatens to rip his clothes has me on edge as we see her ripping each individual thread apart is just as horrific as the now-iconic incinerator scene. Although not quite as good as Toy Story 2 in my opinion (although this is no insult), Toy Story 3 won the franchise its first Best Animated Feature Oscar with ease. Bringing in new toys courtesy of the daycare centre as well as Bonnie’s (the daycare assistant’s daughter) collection which features a Totoro and personal favourite, Mr. Pricklepants, a dramatic hedgehog teddy who loves Shakespearean style acting. Passing the toys onto Bonnie at the end seemed like a fitting ending for the franchise so it is exciting to see how Toy Story 4 will fare and if it will live up to its hype.

12) Cars 2 (2011)

I didn’t go into this film with high hopes because I am not a fan of the franchise and I think that Cars has been the weakest offering in Pixar by a long-shot so I was definitely surprised when they announced a sequel. Pretty much more of the same but with added spies, Lightning McQueen finds himself a love interest in the form of Holley Shiftwell. It’s racing, it’s boring and to be honest Lightning McQueen isn’t an engaging enough character to be the protagonist. I am happy that there is more focus on Mater in this film but he spends most of his screen-time getting berated by McQueen who is so focused on his image and looking cool that it seems the messages he learned from the first film are completely forgotten because of his egotism. I hate to be biased about it but it just doesn’t interest me as a franchise and as much as I try to enjoy these films, I simply struggle to because of how ridiculous the whole concept is.

13) Brave (2012)

Now for a film I was really excited to see in the cinema on its release day. Featuring Pixar’s first princess, Merida, Brave looked to be full of spirit as the princess longs for freedom and to fight the tradition of marriage as is expected of her. In the course of her rebellion, she argues with her mum who is then turned into a bear. This film is an odd because aesthetically, it is stunning and captures Medieval Scotland beautifully but the screenplay is imbalanced and poorly paced. The beginning and ending to this film are brilliantly done but the middle portion just doesn’t seem to fit. It feels as though there was so much focus in establishing Merida’s character and how her character will end up rather than establishing her character and the mum’s character and then developing their relationship in the typical Pixar way, with detail and finesse. The middle portion seems poorly planned and forced, making the film drag and bringing an underwhelming feeling to the audience. The general consensus was the same among critics and audiences who responded with mixed reviews although the film did do well at the box office and subsequently won the Best Animated Feature Oscar although this was in (admittedly) an underwhelming year overall.

14) Monsters University (2013)

The first prequel offered by Pixar was a surprising choice. Monsters University, as implied, follows Mike and Sulley in university and shows how they met and how their friendship developed. It feels formulaic in development, the two dislike each other with Sulley the jock type and Mike as a nerd, the two find common ground before using their strengths to win the “Scare Games”. It’s not a terrible film by any means but it is very cliche and feels underwhelming for a Pixar film. Although it received positive reviews, it doesn’t hold a light against Monsters, Inc. because it’s clear that this is a film that Disney has ordered to be made rather than an organic creation. In Sulley and Mike’s fraternity, there are a collection of cliche characters. Although basic, my favourite is Art, the creative hyper artsy type who is bright purple and rolls around super fast and likes shiny things. I’m glad that they chose to create a film set in a different environment in the monster universe because this does make it far removed from the original and therefore the impact of Monsters, Inc. hasn’t be tainted.

15) Inside Out (2015)

After several underwhelming offerings, Pixar appeared to get back into their stride with this masterpiece. The question the creators asked: what if feelings had feelings? The result is a brilliant portrayal of the emotions living inside a teenage girl, Riley after her parents force the family to move to San Francisco from their cosy life in Michigan. As Riley struggles to fit in, her major emotions: Joy, Anger, Disgust, Panic and Sadness also struggle to adjust to the situation. This sees Sadness outcast by Joy and the others which causes an imbalance when Joy and Sadness are accidentally sucked from “headquarters” and into Riley’s mind. Although the plot may appear simple, a teenage girl struggles to fit in, the Emotions’ journey is actually a complex one as they learn that they need each other to thrive in the environment. Joy learns that Riley needs Sadness in order to feel those moments of joy and that this isn’t always a bad thing even if it doesn’t feel nice in the moment. Although the most dense of the Pixar films, it isn’t without its lighter moments which are provided by Anger, Disgust and Panic, who are struggling to run headquarters with Joy. I don’t think Inside Out could have been made 20 years ago as people find it hard to talk about real and complex feelings, especially in a children’s film but now there is a wider awareness on mental health and the importance of this in young children. It is a film that can engage that younger audience, even if they don’t understand everything and as they grow, they will learn to understand it. Also, the inclusion of childhood imaginary friend, Bing Bong shows the importance of the child imagination from a young age as he helps Joy and Sadness find their way back to headquarters. It’s a brilliant film that will have you roaring with laughter one moment and then sobbing the next, making it as emotionally complex and rewarding as the film itself.

This ranking was a little easier because there were a few under-performers in my opinion. I think that Pixar thrives when able to produce original content because Pixar have established themselves as the innovator rather than the follower so it’s a shame that Disney are forcing the same structure on the studio as itself by creating sequels and prequels.

Here is my ranking:

1) Up (2009)

2) WALL-E (2008)

3) Toy Story 2 (1999)

4) Inside Out (2015)

5) Ratatouille (2007)

6) Toy Story 3 (2010)

7) Monsters, Inc. (2001)

8) Finding Nemo (2003)

9) The Incredibles (2004)

10) Toy Story (1995)

11) A Bug’s Life (1998)

12) Brave (2012)

13) Monsters University (2013)

14) Cars (2006)

15) Cars 2 (2011)

The next post will look at the last bunch of offerings that includes even more sequels but also gives a couple of originals so let’s hope this batch fares a little better than this bunch.

What do you think of the ranking now? Is it a surprise? Let me know in the comments below!