Tag: short film

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Festival Review

Cardiff Animation Festival 2026 – Roundup

We’ve finally reached the end of my Cardiff Animation Festival 2026 coverage and I want to begin by saying a huge huge thank you to Lauren and the team for hosting yet another amazing and successful festival and allowing me to cover press.

As an avid animation fan, I am always amazed by the skill and craftsmanship that goes into making a film and CAF did not disappoint. It was great to speak with some of the filmmakers and talk to them about their processes and inspiration.

The final slot of the festival is the awards show and, this year, it was hosted by film critic, Ali Plumb, who did a wonderful job of MC’ing and engaging with the audience.

In this roundup, I’ve listed the winners from the Festival’s award show and will conclude with my top 3 films from the festival.

Ali Plumb hosting the awards show

CAF 2026 Award Winners

Here are the winners from the CAF 2026 awards show:

Best Micro Short

Boglach directed by Sarah Benson

Young Jury Award

Lost Marble – The Shortcut directed by Laura Quinn Geyer

Best Student Short

Foreign Bodies directed by Lysander Wong

Student Special Mention

Pear Garden
directed by Shadab Shayegan

Best Short Film

And Granny Would Dance directed by Maryam Mohajer

Special Mention

A Night at the Rest Area directed by Saki Muramoto

Audience Award

The Undying Pain of Existence directed by Oscar Jacobson

CAF’s adorable mascot, Dotty, and the the beautiful puppet from Chloe Herbert’s Aster.

Small Pics CAF 2026 Picks

Top Pick

Boglach directed by Sarah Benson

Special Mentions

PASALUBONG! directed by Sophia Uy

Pear Garden directed by Shadab Shayegan

That concludes my CAF 2026 write ups. What a fantastic year filled with talented filmmakers from all over the globe.

Well done to the team at CAF for another successful year!

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Festival Review

Cardiff Animation Festival 2026 – Part III

It’s finally here! The third segment of my CAF 2026 reviews. A lot of these films demanded reflection as there were concurrent themes of change, identity, and acceptance.

Before diving in, I just want to mention that it has been an absolute privilege to be able to review and discuss talented filmmakers from all over the world.

Here is the final group of review write ups:

Shorts 2: Pause

This collection of shorts celebrate the peaceful moments in life. Featuring playful characters and plenty of whimsy, this selection boasted some of the strongest offerings of the weekend.

Sarah Benson’s Boglach is a charming micro-short that follows a small community that creates clouds, which in turn generates rain and helps the land flourish. The design of the people is reminiscent of Ponyo and its environmental discussions did remind me of Studio Ghibli because of this. Benson achieves a fully realised world within a couple of minutes which is an incredible achievement and it is for this reason that this was my highlight from this selection.

I also enjoyed The Sycamore by Jared D. Weiss which is a fable about two friends who seek shade from the titular tree. Based on “The Travellers and the Plane Tree” by Aesop, The Sycamore tells the story from the point of view of the tree and gives metaphorical voice to nature and its frustrations with mankind.

Boglach – Sarah Benson

Small Pics highlights:

  • Boglach directed by Sarah Benson (Ireland)
  • The Sycamore directed by Jared D. Weiss (USA)

Shorts 3: Rewind

As the name suggests, these films are about turning back the clock and reflecting on memories past. Whether that is looking at generational trauma or personal growth, these are shorts that showcases the lessons and tribulations in life.

My personal favourite from this batch was Polliwog which follows a prepubescent girl who is struggling with the sudden changes in her body. During a school trip, she encounters a polliwog and relates to the changes it is going through. The warm colour palette and vivid shapes ensure that the shared experience is perfectly conveyed.

While Polliwog presents change from an individual’s perspective, Memoria Colectiva explores the devastating affects of the Peruvian Armed Conflict in the Ayacucho region of Peru and the toll it took on the community, especially the women. It is one of the longer shorts of the festival and it’s easy to understand why. Film is one of the best mediums to share and educate on major events and the directness of the storytelling and the way documentary elemts are combined with animation gives us a look into a regime that took a lot away from the Ayacucho communities but also showcased the women’s courage and resilience.

Polliwog – Julia Skala

Small Pics highlights:

  • Polliwog directed by Julia Skala (Germany)
  • Memoria Colectiva directed by Cristina Colmenares and Manuel-Antonio Monteagudo (Colombia, France, Peru)

Family Shorts

The last set of shorts I watched was the Family Shorts. As the name suggests, these are films that have been made with younger audiences in mind. Don’t be fooled, however, as these films may be family-friendly, but that doesn’t mean that they shy away from difficult topics. A lot of the films dealt with isolation, identity and finding your place in the world. There was plenty of whimsy and bright colour palettes scored with an undertone of these deeper themes.

My highlight from this bunch was Marion Jamault’s Filante, a predominantly silent film (save for the singing of some sparkly mermaids) that follows a young girl who has lost her pet rat and befriends a bat during her quest to find him. The textures in this film are stunning, especially when Jamault makes use of the sparkling elements and the colour palette is vivid and dreamy, immersing the audience from the first frame.

Another strong offering in this selection was Chloe Herbert’s, Aster. This is a stunning stopmotion that features some of the most intricate puppet design I’ve seen. The film follows an ethereal being that shifts and changes shape, manipulating the space around it. What Herbert achieves is incredible, especially the scenes in which the being becomes a dragon. I was mesmerised and moved by the originality and fearlessness on display.

Filante – Marion Jamault

Small Pics highlights:

  • Filante directed by Marion Jamault (France)
  • Aster directed by Chloe Hebert (UK)

That concludes my film reviews, but I’ll be posting a final roundup which includes the CAF Award winners, plus my overall personal picks, so stay tuned!

Please go and seek the films out if they pique your interest and remember to celebrate and push independent filmmakers, especially in the animation space!

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Festival Review

Cardiff Animation Festival 2026 – Part II

It’s time to dive back into the fun of Cardiff Animation Festival and talk about the next bunch of films from Shorts 1 and Shorts 8. I had the opportunity to meet and speak to many of the filmmakers and enjoyed learning about their creative processes and what influenced their decision-making when making the films.

Attending CAF is always exciting because there’s always something going on. From screenings to workshops to exhibitions, there is something for everyone to enjoy and learn from.

Model of Nessie, star of Loch Ness 1303 – Joshua Chawner

Here’s a roundup of Cardiff Animation Festival Part II:

Shorts 1: Play

These films find the extraordinary in everyday life, showcasing the strength of imagination in storytelling. Some provide classic tales with a twist, while others find joy in the simple things.

Wuthering Hearts by Laura Jayne Hodkin was a hilarious retelling of Wuthering Heights through an emo lens and nostalgic references, particularly the aesthetic and work of My Chemical Romance.

The first film shown in this selection, Huayi Yu’s Family Dinner, is about imagination and finding fun in observations. Yu plays with shapes and proportions which goes along brilliantly with the young boy’s observations. For example, we watch him recount his achievement riding his bike up a huge hill which turns out was just a little bump. Playing with perspectives this way means you never know what to expect, even when faced with the seemingly mundane tasks.

Loch Ness 1303 by Joshua Chawner is an epic of Lego proportions. This stop-motion is a masterclass in utilising Lego animation in a way that plays on scale. We are immediately immersed in the eponymous year as Chawner’s mythical retelling blends classic Hollywood tropes (insert Wilhelm scream here) and contemporary humour.

Family Dinner – Huayi Yu

Small Pics highlights:

  • Family Dinner directed by Huayi Yu (USA)
  • Loch Ness 1303 directed by Joshua Chawner (UK)

Shorts 8: Welsh Works

As the name of this selection suggests, these films are a celebration of Welsh identity and culture. Some films did this by incorporating Cymraeg (Welsh language) fully or partially into their pieces, while others took inspiration from folklore, culture, and current issues.

Paper Trees by Paddy Merrigan draws inspiration from the Welsh tradition of storytelling. Creating his own new folktale, Paper Trees is a fable about taking from the land to make art and the consequences for doing so. Merrigan’s choice to tell this story through silhouette animation brings a timeless quality reminiscent of Lotte Reiniger, while the environmental issues discussed cement the film in the present day.

The standouts for me where Tommy Howlett’s All Hail the Duck King, a chaotic glimpse into searching for artistic greatness and finding joy in what you create as you establish your artistic identity. Crayon style colour palette and abstract line-work combines with non-stop music and movement resulting in a film that has fun with the medium.

Another highlight was Eleri Edwards’ Crybaby, a symbolic tale about a young woman diagnosed with autism as an adult. She reflects on her life as a child and teen and struggles that come with not understanding why certain events happen. The use of space and shadow is beautifully done to encapsulate the overwhelming emotions the protagonist is faced with as she grapples with her diagnosis.

All Hail the Duck King – Tommy Howlett

Small Pics highlights:

  • All Hail the Duck King directed by Tommy Howlett (Wales)
  • Crybaby directed by Eleri Edwards (Wales)

What I have noticed about films across all categories is that a good chunk of them delve into what it means to be an artist and finding your identity through your craft.

Others explore the struggles of being a working artist in an increasingly detached and problematic world, using animation as a means to provide hope and optimism.

Cardiff Animation Festival has been an amazing platform for aspiring and professional filmmakers alike and it’s been great having the opportunity to watch all these films.

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Festival Review

Cardiff Animation Festival 2026 – Part I

It’s been a while since I have attended a film festival and the lovely folks at Cardiff Animation Festival let me stretch the old critic legs and enjoy a weekend full of brilliant and quirky films made by students and professionals alike.

As ever, CAF was excellent from beginning to end. I saw a lot of familiar faces and met lots of talented filmmakers. It was truly a privilege to watch the result of months of hard work and passion, so it’s only fair I celebrate the work by spreading it out across several posts rather than a single long posts.

Here is Part I of my Cardiff Animation Festival coverage:

Shorts 5: Home

There we 13 films in this category with each bringing their own visual style and perspective on the theme. Interpretations of home ranged from a personal residence to a whole community or country, exploring themes including homesickness, hoarding, and how our home shapes our identity.

We were treated to beautifully abstract works in Homesickness which boasts vivid oil pastels to full narrative stories such as the wonderful stop-motion piece, Two Black Boys in Paradise, is a visual poem exploring two young men’s journey to self-acceptance.

For me, the standouts were Sophia Uy’s PASALUBONG! and Qianhui Yu’s Statue in the Garden. PASALUBONG! explores the friendship of two Filipino children in an airport mall before one of them moves to the USA. In Statue in the Garden, a young woman finds a statue of a dog in the garden of her new home and discovers its history.

PASALUBONG! directed by Sophia Uy
PASALUBONG! – Sophia Uy

Small Pics highlights:

  • PASALUBONG! directed by Sophia Uy
  • Statue in the Garden directed by Qianhui Yu

Shorts 6: Shuffle

Shuffle had 10 films which were all about bringing the unexpected and experimenting with the medium. Thematically, these films are abstract.

There are films that explore the nuances of everyday life to those that deal with external crises. Ostrich and How to Build a Sand Castle are fast-paced vibrant pieces that explore identity and finding one’s voice in a very personal way, while De Imperio is an intense glimpse into imperialism and the struggles to fight against it.

My highlights in this selection were Shadab Shayegan’s Pear Garden in which a six-year-old girl visits her grandma following the latter’s mastectomy. Not fully understanding the situation, the little girl chases grandma’s shadow at night to try and get her breasts back. One of my favourite shorts of the entire festival, the animation was stunning and had a childlike quality and perspective. Shayegan’s use of mismatched colours and shapes that seem out of place convey the confusion and plight faced by the child.

Ovary-Acting is a comical stop-motion film following a young woman who is frustrated with people pressuring her to have baby. When she unexpectedly gives birth to her reproductive organs in the bathroom, the two talk through societal expectations through a brilliant musical number.

Pear Garden directed by Shadab Shayegan
Pear Garden – Shadab Shayegan

Small Pics highlights:

  • Pear Garden directed by Shadab Shayegan
  • Ovary-Acting directed by Ida Melum

Different Voices Short Films

Different Voices is an ongoing program developed by Biggerhouse Film that provides neurodiverse filmmakers the opportunity to create and present their work. Before the screening, we got to hear from some of these wonderful filmmakers and the selection was incredibly strong.

Fawn by Molly Mayhew follows the eponymous character returning to her childhood home and dealing with the trauma she experienced growing up at the hands of her parents. We see adult Fawn encounter her child self and come to terms with what has happened, literally and figuratively confronting the trauma and comforting her inner child.

Marco Luke Drago’s The Man, the Moth, the Legend is a mockumentary following American folklore legend, Mothman, and his life in Point Pleasant, West Virginia. In two minutes, we see watch Mothman recount his life as an outcast and the unexpected celebrity he became later.

Fawn directed by Molly Mayhew
Fawn – Molly Mayhew

Small Pics highlights:

  • Fawn directed by Molly Mayhew
  • The Man, the Moth, the Legend directed by Marco Luke Drago

The subsequent parts will follow in the coming days, so stayed tuned. I’m going to be stretching and celebrating this as long as possible because the festival is such a major platform for many of these artists and filmmakers and I had such a blast.

And remember: support independent filmmakers and artists!

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Review

Affairs of the Art (2022)

Originally published in Wales Arts Review.

Cardiff Animation Festival was founded on a love of short films. This year’s festival showcased over 100 short films from all over the world, giving voice to emerging and veteran filmmakers. Falling into the latter category is Joanna Quinn, a seasoned animator who has brought her much-loved character Beryl back in her latest short film, Affairs of the Art.

The story follows Beryl as she discusses her life and the obsessive nature she and her family have when it comes to certain hobbies, with fascinations ranging from art to pet taxidermy. With big heart and bravura, it’s no surprise that Affairs of the Art has taken the world by storm, winning not only a slew of awards (including the Audience Award at the Cardiff Animation Festival), but also receiving a BAFTA and Academy Award nomination.

Directed by Joanna Quinn and written by Les Mills, Affairs of the Art is the latest film to star Quinn’s signature character Beryl since 2006’s Dreams and Desires – Family Ties. The film only spans 16 minutes, but in this short amount of time we come to understand Beryl’s obsessive nature and that of her family, (especially in relation to her older sister, Beverly, whose early fascination with death grows into a successful pet taxidermy business). The film flits between Beryl in the present day and her childhood in the 1960’s, giving the audience an insight into Beryl that we haven’t seen before. One particularly standout scene sees Beverly having a childhood dream of meeting Lenin in a bizarre sequence that brings us into the chaos of Beverly’s mindset. 

Menna Trussler returns as the voice of Beryl and showcases her brilliant timing, bringing out Beryl’s nuances. The scenes in which Beryl grows increasingly frustrated are where Trussler really shines, her voice encapsulating restraint and regret. One of the piece’s funniest moments comes when Beryl is standing at the bus stop and reflects on where her life has led her and what she wants to be. The delivery of the lines here is not only pitch-perfect in timing but evocative in reaching those feelings of sincere dread and worry.

A small supporting cast is featured, with Brendan Charleston taking on the voices of all the male characters in the film from Beryl’s ever-confused husband, Ifor, to her precision-obsessed son, Colin, right through to Lenin in the aforementioned dream sequence. Quinn proves herself multi-talented, providing the voice of Beverly, confidently moving through the nuances of both the childhood segments into scenes of life as an adult.

One of the most stunning segments of animation documents Beverly’s plastic surgery transformation following a career as a successful taxidermist in California. Not only is it a scene steeped in drama – the moment naturally contrasting the respective sisters’ lives – but it’s also beautifully rendered, the transformation portrayed in fluid and vivid detail.

Of course, the whole short also benefits from its score which is composed by Benjamin Talbott. Talbott has a knack for creating piercing intensity, especially in the scenes involving Beverly and her various experiments. Due to the quick pace of the film, the score is – on the whole – understated and simple, but does exactly what its meant to in complimenting, rather than overpowering, the intricate visuals of the beautiful animation.

Affairs of the Art not only boasts a sharp script filled with a potent blend of humour and shock, it also offers authentic rumination on the nature and dynamics of family life. Viewing the short at CAF, it was impossible not to get swept up in the electric atmosphere induced at each individual viewing. Having now been able to watch the film a total of three times over the course of the weekend, it’s safe to say that this is a rich and triumphant piece of animation which deserves its accolades and only offers more and more on repeated viewings.

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Robin Robin (2021)

One of the most exciting additions to Netflix this year is Aardman’s latest short, Robin Robin. Following Robin (Bronte Carmichael), a robin who is raised by mice and longs to be a mouse who struggles to fit in with her family and is unable to gather food and complete tasks in the same way that they do. What follows is Robin venturing on a quest to forge her own identity and accept herself as a robin thanks to the friendship she forms with the Magpie (Richard E. Grant) and her terrifying encounter with the Cat (Gillian Anderson). A beautiful little adventure to be enjoyed by all ages, Robin Robin sees Aardman returning with something new and unique in terms of style and story to create a short film that feels timeless and relevant at the same time.

This is the first new Aardman project we have seen in a while and it has been directed and written by some new faces that promise to propel Aardman into a new phase. Robin Robin is directed by Daniel Ojari and Michael Please and co-written by Ojari, Please, and Sam Morrison and the result is a short film that has a completely different aesthetic thanks to its use of felt over clay while still maintaining Aardman’s sense of whimsy and charm that makes it so popular with families across the globe. The character of Robin is that she longs to be a mouse but she soon learns of the positives that come with her differences and the writing lends itself to this message beautifully. We feel Robin’s anguish as she struggles to fit in but her journey of self-discovery and self-acceptance is one that is relatable for everyone, especially in modern times.

Playing Robin is newcomer Bronte Carmichael who is brilliant and charming as she brings the naivety to the role. Robin is an extremely likeable character thanks to her kind nature and we feel sorry for her as she struggles to act like the members of her mouse family. We feel Robin’s confidence grow throughout the film as she begins to accept herself and her differences and this is thanks to Carmichael’s flawless performance as she conveys Robin’s struggles across perfectly. Despite the film’s short running time, Carmichael manages to capture a depth of Robin so that she is a protagonist that we really get to understand and we want her to succeed.

As with most Aardman productions, Robin Robin has its fair share of stars and the first of these is the always brilliant Richard E. Grant as Magpie. When it was first announced that Grant would be part of the cast, it seemed to be the perfect match and this is definitely the case. Magpie loves to collect shiny objects and hide them in his home inside a tree but he isn’t truly happy as he lives his life in fear. Together, Magpie and Robin work together in order to live a life that both of them enjoy and this is achieved when thwarting the Cat’s plan to kill them. Grant really captures Magpie’s longing for something more than hiding inside a tree and although Magpie may seem unlikeable initially, Grant does well to convey that there is something lingering beneath his cold exterior so we know that there is more to his story.

The villain in Robin Robin comes in the form of Cat who is voiced by the impeccable Gillian Anderson. It is established from the beginning that cats are to be feared and when Cat comes into the mix in her first encounter with Robin, it is genuinely terrifying as Robin struggles to fly away and has to use her intuition to escape. Like Grant, Anderson is a perfect choice for the role because of her ability to truly dig deep into the character despite the short running time. Cat may not have the same level of characterisation as Robin or Magpie but Anderson’s performance ensures that Cat’s menacing presence is felt through the latter half of the film.

There are wonderful music numbers dotted throught Robin Robin and this allows us to hear the starry cast really bring their characters to life. The song that Cat sings as she chases after Robin is sinister and calculated which is miles away from Magpie’s song as he shows off his shiny collection of objects to Robin. The songs help to pace the film nicely while also giving us a glimpse into these characters without having to spend a lot of time doing so.

Robin Robin sees Aardman at their best by venturing into new stop motion territory by using felt models that look beautiful that fit perfectly into the Christmassy aesthetic. Combining different styles, Robin Robin is a heartwarming tale that weaves different plot points together perfectly in its climactic scene. Starring newcomers and familiar voices, these characters and the message it brings is a perfect story for those looking for a warm-hearted Christmas treat for all the family.

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

Robin Robin is available to watch on Netflix now!

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The Snowman (1982)

One of the most beautiful animated short films ever made, The Snowman is a silent adaptation of the picture book illustrated by Raymond Briggs. Telling the story of James, a young boy who lives with his parents in the Brighton countryside. After a heavy night of snow, James makes a Snowman and wraps it in a scarf, a hat giving him a face and some buttons. He sneaks downstairs at midnight and sees the Snowman come to life and an adventure begins with James showing the Snowman around the house before the two take flight and soar to the Northern Lights.

Winner of a BAFTA TV award and nominated for the Academy Award for Best Animated Short, The Snowman has become a staple for British TV come Christmas time, commonly shown on Christmas Day alongside other Raymond Briggs adaptations. The Snowman was directed by Dianne Jackson who also worked on the animation as well which is lovely to see. Knowing that the film has been directed by someone who has the passion and knowledge for animation and knows what works and what doesn’t really enhances the love and care that has gone into this film. Despite its short running time of 27 minutes, Jackson successfully conveys the journey and developing friendship between James and the Snowman. After 27 minutes, we have been presented with two fully developed characters and really feel the heart-break that comes at the end.

The animation in the film looks like they have brought the beautiful illustrations from the book to life. Without any words, the audience can immediately capture the wonder and excitement that James is looking for. The character designs are simple yet extremely detailed and the mix of colours is captivating, especially when the Snowman and James visit the Northern Lights. The Snowman is proof that you don’t need the biggest budget and most advanced animation available to create something that is beautiful and timeless. The handdrawn style that The Snowman adapts never feels dated or old and perfectly captures the magic that story contains.

The score composed by Peter Blake and performed by the Sinfonia of London is the perfect partner with the film. Usually the music provides the backdrop but in the case of The Snowman, the music works alongside the animation. The Snowman is often categorised as a Symphonic Poem which is when the music dictates the story and vice versa. This kinship between music and film is what makes The Snowman feel like an experience or an event whenever its on. Alongside Blake’s beautiful score, there is also his iconic song “Walking in the Air” which is performed by choir boy, Peter Auty, in the film and then popularised by Aled Jones. The only “spoken” words in the film, the song is from James’ perspective as he embarks on his adventure through the skies with the Snowman.

The Snowman remains one of my favourite shorts and has been since childhood and it’s easy to see why. A beautiful story about love, friendship and grief, it’s a film that packs a punch and lingers after the credits roll. It’s a must watch every year at Christmas in my household and is a firm Christmas favourite that holds strong competition against feature length classics.

What do you think of The Snowman? Let me know in the comments below!

The Snowman is available on 4oD so make sure you have it scheduled to watch on or around Christmas day!

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Disney Animated Classics: Final Ranking

So after months of reviewing and ranking the Disney Animated Classic library, I have finally got my finished list. I thought it would be a bit easier than what it was and found my opinion and outlook changing on a fair few of the films.

If you haven’t read this series then here’s your chance!

Films 1-5

Films 6-10

Films 11-15

Films 16-20

Films 21-25

Films 26-30

Films 31-35

Films 36-40

Films 41-45

Films 46-50

Films 51-57

Here we go with the final ranking from bottom to top:

57) Winnie the Pooh (2011)

56) Chicken Little (2005)

55) Dinosaur (2000)

54) Home on the Range (2004)

53) Meet the Robinsons (2007)

52) Make Mine Music (1946)

51) The Rescuers Down Under (1990)

50) Fantasia 2000 (2000)

49) Melody Time (1948)

48) Saludos Amigos (1948)

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

46) Fun and Fancy Free (1946)

45) The Fox and the Hound (1981)

44) Lady and the Tramp (1955)

43) Oliver & Company (1988)

42) Robin Hood (1973)

41) The Rescuers (1977)

40) Big Hero 6 (2014)

39) Bolt (2008)

38) Ralph Breaks the Internet (2018)

37) Cinderella (1950)

36) The Sword in the Stone (1963)

35) The Jungle Book (1967)

34) Brother Bear (2003)

33) Treasure Planet (2002)

32) Zootopia (2016)

31) Wreck-It Ralph (2012)

30) The Great Mouse Detective (1986)

29) Atlantis: The Lost Empire (2001)

28) The Black Cauldron (1985)

27) Hercules (1997)

26) Dumbo (1941)

25) Frozen (2013)

24) Tarzan (1999)

23) Pocahontas (1995)

22) Pinocchio (1940)

21) The Three Caballeros (1945)

20) Peter Pan (1953)

19) Moana (2016)

18) The Princess and the Frog (2009)

17) Lilo & Stitch (2002)

16) The Hunchback of Notre Dame (1996)

15) The Emperor’s New Groove (2000)

14) One Hundred and One Dalmatians (1961)

13) The Aristocats (1971)

12) Aladdin (1992)

11) Alice in Wonderland (1951)

10) Tangled (2010)

9) The Little Mermaid (1989)

8) Mulan (1998)

7) The Lion King (1994)

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

5) Bambi (1942)

4) Sleeping Beauty (1959)

3) Beauty and the Beast (1991)

2) Fantasia (1940)

1) Snow White and the Seven Dwarfs (1937)

So that’s the full ranking! What do you think? Let me know what Disney films are your favourites in the comments below!

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Disney Animated Classics: Numbers 51-57 Ranking

We finally made it! After months of reviews and rankings, this is the final post before we are all up to date before Frozen II hits cinemas. This series of posts have taken us through not only the history of Disney but also a history of animation as we transition from hand-drawn to computer animation. Going from more traditional fairytale retellings to complex stories about identity and love, Disney continues to better itself as a studio although there is still a long way to go. Much like the animation studio in Burbank, it is held up by its traditions like the statues of the Dwarfs that hold up the building itself. This bunch of films sees Disney poke fun of its past in a bid to expose the mistakes that have been made in its portrayal of serious issues such as gender stereotypes and racism. In doing so, it tends to fall flat at times as the gestures don’t seem sincere and apologetic but it is made with good intentions.

We also see Disney’s most successful film as well as the first Best Animated Feature Oscar winners that aren’t Pixar. Disney seems to have found its footing in a landscape dominated by computer animation by using nostalgic elements such as Disney princesses but making them modern. With Disney being the most powerful studio in the world, they are able to recruit star-studded casts and the best crew such as Lin-Manuel Miranda’s stellar soundtrack for Moana and Idina Menzel and Kristen Bell as the two sisters in Frozen.

Just in case you need a refresher, here are the previous installments:

Films 1-5

Films 6-10

Films 11-15

Films 16-20

Films 21-25

Films 26-30

Films 31-35

Films 36-40

Films 41-45

Films 46-50

This list includes the last hand-drawn feature before Disney announced its dedication to computer animation and also includes some of the most progressive films in Disney’s catalogue. These films clearly have an aim to push strong female characters in them and although it isn’t perfect, it’s a step in that direction. There are areas as I have said previously where Disney need to step up such as including LGBT+ characters and a wider array of cultural backgrounds that don’t fall into stereotypical tropes. The films from Disney aren’t perfect but they are trying to right the wrongs of the past while also reflecting modern politics in a way where they please everyone. I don’t necessarily agree with their philosophy but they are a brand and revenue is one of the most important (if not THE most important) factor in the Disney process. Hopefully, they learned from the straight-to-DVD sequel, prequel fiasco of the early noughties and go back to creating films with heart where the audience is the primary focus rather than their pockets.

Without further ado, here are the reviews for films 51-57:

51) Winnie the Pooh (2011)

Marking Disney’s last hand-drawn feature, Winnie the Pooh seems to mark the end of an era as Disney begins to embark on computer-animated films only. I am really sad to say that this film falls flat for me. I just didn’t find it enjoyable in the slightest. The animation is off, the plot is boring and the characters aren’t as lovable. I mean, this is Winnie the Pooh we’re talking about. The characters are loved all around the world but this adaptation mauls the text and tarnishes the franchise. Luckily, we still have The Many Adventures of WInnie the Pooh to enjoy and we can forget about this mess of a film. The animation of the animals isn’t too bad but the design of Christopher Robin and the background looks out of place.

WINNIE-jumbo.jpg

52) Wreck-It Ralph (2012)

Showing that Disney is still capable of producing original material, Wreck-It Ralph follows the titular character (voiced by John C. Reilly) who is the villain of an arcade game wanting to be the good guy for once like “Fix-It Felix”, the insufferable character who defeats Ralph numerous times a day. Ralph is despised by the fellow tenants of the apartment block that he tries to destroy. Sick of the same routine, Ralph escapes to Sugar Rush, another game where players race through lands of candy. There he encounters the tiny Vanellope von Schweet (voiced by Sarah Silverman), a funny and sassy aspiring racer who is also an outcast due to her glitch. Together, they try to become heroes when the arcade’s future is thrown into uncertainty. It’s a film full of nostalgia with its inclusion of iconic game characters such as Pacman and Sonic the Hedgehog but it isn’t held down by this or overwhelmed.

53) Frozen (2013)

The first non-Pixar Disney film to take home the Best Animated Feature Oscar is also the most successful Disney film of all time. Frozen takes its inspiration from “The Snow Queen” by Hans Christian Anderson and follows Princess Anna (voiced by Kristen Bell) who embarks on a quest to find her sister Queen Elsa (voiced by Idina Menzel) when the latter runs away and covers the entire Kingdom of Arendelle in an eternal winter. The film itself is a huge feat for Disney as it features one of the most iconic songs to come out of the Disney catalogue (Oscar winning song, “Let It Go”) as well as some of the most memorable characters in recent years, notably Olaf the sun-loving snowman (voiced by Josh Gad). Frozen is instantly recognisable around the globe and has become a phenomenon and a brand in itself which is hugely impressive for an animated film. Robert Lopez and Kristen Anderson-Lopez’s songwriting feels like the modern equivalent of the iconic songs from Alan Menken and Howard Ashman as they capture the essence of the film from the opening song. It’s not everyday that an animated feature passes the $1 billion mark at the box office but Frozen did it and with two female protagonists at the helm to boot. Who said women don’t make revenue at the box office?

54) Big Hero 6 (2014)

This is the one Disney film that I hadn’t seen before completing this ranking. I have been meaning to watch it but eventually I forgot and never got around to it. Following teenage Hero, a ridiculously intelligent robot enthusiast who has graduate high school early and doesn’t know what to do with his time, we see his budding friendship with Baymax, a robot made by his late brother. Big Hero 6 isn’t a bad film by any means but just as I had suspected, it just isn’t my cup of tea. I completely appreciate the height though as the animation is among Disney’s best in the modern age. Based on a Marvel comic that is based in a fictional city that combines San Francisco and Tokyo, the film appears to take aspects of Japanese culture such as using the language on shop signs and using Japanese characters names in an English-speaking white American setting. I think it is more of a tribute to Japanese anime than maliciously appropriating but it feels as though Big Hero 6 is more of a “trendy” film due the popularity of anime than a sincere offering. The animation style takes inspiration from anime but the style is more Disney’s version of anime. As I say, I don’t think the film is bad but I feel like it could have been more.

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55) Zootopia (2016)

I have marked this down as Zootopia on the ranking as that was the original title although in the UK, this was released as Zootropolis. Set in a universe populated by animals where predators rule the roost and prey are subject to less dangerous careers such as farming. The film follows Judy Hopps (voiced by Ginnifer Goodwin), a rabbit who succeeds in becoming a police officer but is subject to parking duty because she is a rabbit. After numerous predators go missing, Judy eagerly volunteers to find them to prove herself and teams up with con-artist Nick Wilde (voiced by Jason Bateman), a fox who Judy blackmails into assisting her. The film is a clever depiction of racism in American as well as an accurate portrayal of gender politicals and the corruption of authority. Despite the obscure metaphor, the message of equality is easy enough for children to grasp and this is what makes the film more than simple entertainment.

56) Moana (2016)

The latest inclusion of a Disney princess sees us travel to the Polynesian island of Motunui where Moana is destined to become the Chief of her village but she longs to venture out to sea. What follows is a road trip style film where she has to retrieve the Heart of Te Fiti to stop her island suffering from famine. Teaming up with shapeshifting demigod, Maui, Moana must sail across the seas encountering monsters and finding herself along the way. The plot for the film is simple and the structure is reflective of a road-trip movie but elevates this film and makes it special is the soundtrack. Written by Pulitzer Prize winning songwriter Lin-Manuel Miranda, the songs are beautiful and clever, incorporating the language and music style of Polynesian culture naturally. I don’t think the film would be as successful as it is without the soundtrack as the songs really show the character development as Moana grows from a fearful girl wanting to explore to an adventurer who wants to continue her ancestor’s tradition. The animation is stunning and it is by far my favourite inclusion on this list.

57) Ralph Breaks the Internet (2018)

The second Disney sequel to be included on the Animated Classics list, Ralph Breaks the Internet is the eagerly awaited follow-up to 2012’s Wreck-It Ralph. The arcade’s popularity is waning and Vanellope is growing bored with the same racetracks everyday. She wants more and longs to venture to the internet where free-riding games are all the rage. When a player accidentally breaks the steering wheel for the machine after fighting Vanellope for control, Ralph and Vanellope must find $27,000 for a new wheel to purchase before the machine is closed down. They venture into the internet to find the money. The film is even more bonkers than the first and really captures how random the internet really is. The studio even goes as far as to incorporate the dark web by making it sleezy and the creatures that reside there are truly disgusting and disturbing. Unlike The Rescuers Down Under, this is a sequel that feels fresh and familiar at the same time.

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So that’s it! That’s all the reviews for every Animated Classic so far. It’s been a lot of fun but really challenging having to decide where they all slot because every film is so different (except for The Rescuers and The Rescuers Down Under which is the same film set in different countries). Needless to say, I am very excited to see where Disney goes as we enter a new decade and I hope that they also go back to including hand-drawn animation as well. It’d be nice to see their animations explored in all styles.

Here is my final 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) Tangled (2010)

11) Alice in Wonderland (1951)

12) Aladdin (1992)

13) The Aristocats (1971)

14) One Hundred and One Dalmatians (1961)

15) The Emperor’s New Groove (2000)

16) The Hunchback of Notre Dame (1996)

17) Lilo & Stitch (2002)

18) The Princess and the Frog (2009)

19) Moana (2016)

20) Peter Pan (1953)

21) The Three Caballeros (1945)

22) Pinocchio (1940)

23) Pocahontas (1995)

24) Tarzan (1999)

25) Frozen (2013)

26) Dumbo (1941)

27) Hercules (1997)

28) The Black Cauldron (1985)

29) Atlantis: the Lost Empire (2001)

30) The Great Mouse Detective (1986)

31) Wreck-It Ralph (2012)

32) Zootopia (2016)

33) Treasure Planet (2002)

34) Brother Bear (2003)

35) The Jungle Book (1967)

36) The Sword in the Stone (1963)

37) Cinderella (1950)

38) Ralph Breaks the Internet (2018)

39) Bolt (2008)

40) Big Hero 6 (2014)

41) The Rescuers (1977)

42) Robin Hood (1973)

43) Oliver & Company (1988)

44) Lady and the Tramp (1955)

45) The Fox and the Hound (1981)

46) Fun and Fancy Free (1947)

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

48) Saludos Amigos (1943)

49) Melody Time (1948)

50) Fantasia 2000 (2000)

51) The Rescuers Down Under (1990)

52) Make Mine Music (1946)

53) Meet the Robinsons (2007)

54) Home on the Range (2004)

55) Dinosaur (2000)

56) Chicken Little (2005)

57) Winnie the Pooh (2011)

I am aware that the final rankings may seem shocking and the new films such as Frozen may seem really low on the list, but consider that the ones at the tops are classics that have been with me through childhood, I think they have done really well. The films at the top have proven to be classics that have stood the test of time for decades and still resonate with audiences today whereas the newer films need that chance to breathe.

I am excited to see where Disney go in the future and I am hoping Frozen II continues to push Disney in the right direction as it has done so far with its feminist outlook.

What do you think of my final ranking? What would be your top choice? Let me know in the comments below!

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Disney Animated Classics: Numbers 46-50 Ranking

This post has been a long one coming as I have been slow reviewing and uploading this series of posts but we are almost there. This is the penultimate post before we are completely up to date just in time for the upcoming release of the much-hyped Frozen II. After featuring Disney during its slump, we see the last of it here and begin to move forward into the era of today known as the Revival. I can’t believe we’re almost at the end but some of the films in this list, I have watched countless times.

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

Films 41-45

With the introduction of the new era, we begin to see Disney pushing itself into the 21st century and reflecting the politics and society of today. With that in mind we begin to see a reintroduction to new Disney princesses who are more diverse and independent, inclusion of characters of different races and backgrounds. Disney has a long way to go with this as we eagerly await the first openly LGBT+ character in an animated film from them whereas other animation studios such as Laika have been more inclusive and fearless. However, the films in this list show Disney starting to go in the right direction.

Here’s the reviews for films 46-50:

46) Chicken Little (2005)

This film was everywhere on its release and marked a start for Disney beginning to incorporate computer animation more in its repertoire. The result, however, was extremely disappointing. Chicken Little sees Zach Braff as the titular character who convinces his town that the sky is falling and becomes a laughing stock. What the townspeople don’t know is that it is actually true and the town is on the brink of an alien invasion. The story itself is sweet but what lets it down is the animation, poor character development and overly tortured dialogue. The film reeks of noughties trends and tries so hard to be relevant that it becomes cringy to watch. The character of Chicken Little isn’t particularly well-rounded as he spends most of the film falling over or not communicating properly with other characters, mainly his father. Unlike Pixar, the animation doesn’t feel as modern as it should be (Pixar released The Incredibles in 2004 for comparison) and it seems that the plot is disjointed and isn’t pulled off as they imagined. The film did well commercially but not critically and I think that the team did take this on board. There’s a reason that we don’t see or hear of Chicken Little at the Disney Parks and I don’t think it’d even be considered for a reboot at any point. This definitely seems like Disney’s lowest point.

47) Meet the Robinsons (2007)

This was an interesting film for me to watch as I had only just seen it the once previously. Following orphan Lewis whose inventions prevent him from being adopted, he invents a machine to help him remember his mother’s face. At a science fair to debut this project, he is encountered by Wilbur Robinson, a teenager from the future who tells Lewis that the future is in jeopardy if his machine is stolen. Inspired by Tomorrowland at Disney’s park and using Disney’s philosophy “keep moving forward”, the film has a beautiful story and message but sadly it is overwhelmed by one dimensional characters and a strained first act. On rewatching, I did like the film a lot more than the first time but to me it is on the lower tier of Disney films. This is only because there is an abundance of characters and none of them feel really well-rounded. The animation is also problematic at times although a big improvement on Chicken Little. Scenes such as the incident with his peanut butter and jelly gun looks out of place and doesn’t match the aesthetic of the film.

48) Bolt (2008)

It seems hard to believe that Bolt was released a year after Meet the Robinsons. The animation looks so much more advanced and it feels like Disney going back to its original formula while pushing the studio into the future with the critical success that they had hoped for Chicken Little. Bolt (voiced by John Travolta) is a Hollywood stunt dog with his own TV show with his owner, Penny (voiced by Miley Cyrus). When he is mistakenly shipped to New York, he must team up with Mittens the cat and Rhino the hamster to reunite with Penny in Hollywood. The plot is a simple road movie and Disney goes back to using a big star ensemble to draw in the audiences but it works. It’s a film that shows that Disney are capable of bringing quality and heart to their films and starts to mark their presence in the 21st century in a computer animated dominated landscape. The soundtrack is another highlight for this film with the closing song “I Thought I Lost You” sung by Travolta and Cyrus a nice ending and ridiculously catchy.

49) The Princess and the Frog (2009)

After a few unsuccessful attempts at computer animation, Disney returned to hand-drawn animation for this seemingly classic retelling of The Princess and the Frog. Set in 1920s New Orleans, waitress Tiana kisses Prince Naveen, a talking frog, and is ultimately turned into one herself. Together, Tiana and Naveen have to figure out how to undo the curse before they run out of time and become frogs forever. This film was a significant step in Disney history as it features Disney’s first black princess. Unlike the previous films of the 2000s, the film feels sincere and harks back to the classic fairytales and yet sits nicely in a 21st century landscape. The soundtrack is standout and Facilier is one of the scariest villains in Disney history. The animation also feels traditional with its bright New Orleans carnival colours mixed with the Bayou landscape. It’s a gorgeous film that is a true testament to Disney getting itself back on track. There’s great character development and a nice cast of characters who are also developed, particularly friendly firefly, Ray and the jazz loving alligator, Louis.

50) Tangled (2010)

My favourite film on this particular post, Tangled is a quirky retelling of Rapunzel, a princess with long hair who is locked away in a tower. In this film, Rapunzel (voiced by Mandy Moore) is an anxiety-ridden young woman seeking adventure who, along with her sidekick, chameleon Pascal, heads on a quest to visit the “floating lights” with outlaw Flynn (voiced by Zacahary Levi). The animation is fantastic, the soundtrack is beautiful and the film as a whole knocks it out the park. It’s a shame that this was released the same year as Toy Story 3 which outshadowed every animated film that year. Fortunately, Tangled has succeeded in maintaining a legacy and a loyalty among fans with merchandise constantly updated and appearances by the characters in the parks. I think that “I See the Light” is one of the best songs and scenes in Disney history. Everything about it is perfection and brings what we love about Disney films to the surface. The animation of the lanterns and the accompanying scenes in the kingdom are amazingly detailed and filled with texture. It’s one of the most popular modern DIsney films for a reason and deserves more than one watch.

That’s the end of the penultimate post with one extended post to go for films 51-57. We’re deep into the Revival now and the next post features the first non-Pixar Disney films to win the Best Animated Feature Award at the Oscars showing that they are at the height of their game. The next post sees Disney venture into reboots, sequels and originals that vary in topics such as friendship, love and isolation.

I promise I will try to be quick with uploading the next post so I can be up to date and ready to see where Frozen II will slot into the list.

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) Tangled (2010)

11) Alice in Wonderland (1951)

12) Aladdin (1992)

13) The Aristocats (1971)

14) One Hundred and One Dalmatians (1961)

15) The Emperor’s New Groove (2000)

16) The Hunchback of Notre Dame (1996)

17) Lilo & Stitch (2002)

18) The Princess and the Frog (2009)

19) Peter Pan (1953)

20) The Three Caballeros (1945)

21) Pinocchio (1940)

22) Pocahontas (1995)

23) Tarzan (1999)

24) Dumbo (1941)

25) Hercules (1997)

26) The Black Cauldron (1985)

27) Atlantis: the Lost Empire (2001)

28) The Great Mouse Detective (1986)

29) Treasure Planet (2002)

30) Brother Bear (2003)

31) The Jungle Book (1967)

32) The Sword in the Stone (1963)

33) Cinderella (1950)

34) Bolt (2008)

35) The Rescuers (1977)

36) Robin Hood (1973)

37) Oliver & Company (1988)

38) Lady and the Tramp (1955)

39) The Fox and the Hound (1981)

40) Fun and Fancy Free (1947)

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

42) Saludos Amigos (1943)

43) Melody Time (1948)

44) Fantasia 2000 (2000)

45) The Rescuers Down Under (1990)

46) Make Mine Music (1946)

47) Meet the Robinsons (2007)

48) Home on the Range (2004)

49) Dinosaur (2000)

50) Chicken Little (2005)

What do you think of the list? Let me know in the comments below!