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Summer Ghost (2021)

I was fortunate enough to cover this year’s Cardiff Animation Festival and was able to watch an array of films (over 100 in fact!). One of the highlights was loundraw’s debut, Summer Ghost which has a non-traditional running time of 40 minutes meaning that it can be considered either a long short film or a short feature film depending on your point of view. The film follows three struggling teenagers Tomoya (Chiaki Kobayashi), Aoi (Miyuri Shimabukuro), and Ryō (Nobunaga Shimazaki) and their investigation into a local urban legend called the Summer Ghost, a young girl who was rumoured to have killed herself who can be summoned when lighting a firework at an abandoned airfield. When they come face to face with Ayane (Rina Kawaei), the Summer Ghost, the group tries to figure out the truth about Ayane’s death, so she can find peace and move on.

The film marks loundraw’s directorial debut and is based on a script by author Hirotaka Adachi who incorporates many elements seen throughout his bibliography. The first thing that you notice about Summer Ghost is how strong the style of the film is. It’s clear from the beginning that loundraw has a distinct style, while the writing isn’t afraid to venture into mature topics such as mental health, specifically struggles with depression and suicide. Due to the film’s 40-minute running time, there are some characters who are given more characterisation over others as loundraw has more interest in Tomoya and Ayane. This isn’t to say that we aren’t given insight into Aoi and Ryō’s characters at all as we learn about their individual struggles, but there is more emphasis placed on the friendship between the protagonists and their times spent together. The plot of Summer Ghost is fairly straightforward and linear, but isn’t afraid to blur the lines between reality and the supernatural, allowing the audience to escape within the magic of the film’s world.

The film consists of four major characters so finding the right actors to voice them was crucial, especially since Summer Ghost delves into darker themes. In particular, the voice acting provided by Chiaki Kobayashi as protagonist, Tomoya and Rina Kawaei as the titular ghost, Ayane are extremely strong with the latter proving herself to be the perfect choice for Ayane. They manage to bring life to their characters and perfectly put across the complex emotions that these characters feel through the duration of the film. The scenes in which Tomoya and Ayane spend time together without the others feels extremely intimate and secret with Kobayashi and Kawaei conveying great chemistry for the characters, so the audience believes that they have an organic and natural friendship, despite the short amount of time that we see them spending together.

The soundtrack composed by Akira Kosemura, Itoko Toma, Guiano, and Hideya Kojima perfectly conveys the fantastical elements of the plot as it incorporates whimsy, especially in the scenes when we are first introduced to Ayane and when Tomoya first flies. The composers treat Summer Ghost as though it were a feature with his score as he allows the tracks to become loud and powerful, bringing forth the characters’ feelings during the unspoken moments. There is a contrast between the tracks that accompany scenes that take place in the “real world” and those that accompany supernatural scenes as the former seem to feel more standard and repetitive as though to exaggerate the repetitive nature of everyday routines, while the supernatural tracks are more unpredictable and whimsical in their sound. Despite having four different composers working on the film, the soundtrack works well when put together as it shows the complexities and differences between the characters and their individual perspectives.

Summer Ghost may have a non-traditional running time of 40 minutes that teeters between short film and feature film length. However, this doesn’t take away from Adachi’s beautiful script and the vivid visuals as loundraw makes use of every single second. Whether loundraw decides to revisit the world of Summer Ghost for a feature-length project in the future or decides to leave the project as is, it’s clear that he has a firm place in the future of anime and is a voice and visionary to watch out for as his studio, Flat Studio begins to develop even more projects.

You can read my write-up on Cardiff Animation Festival here.

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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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London Film Festival 2020: Roundup

With London Film Festival concluding today and all of my reviews done and dusted, I thought I would write this post to roundup my experience. Being my first film festival, I was so excited to be apart of something I have been a fan of for years. Looking at the lineup, it seemed that there were four major films: Steve McQueen’s Mangrove, Chloe Zhao’s Nomadland, Pete Docter’s Soul and Francis Lee’s Ammonite and I was determined to see at least two of these. Luckily I was able to see Mangrove and Ammonite on the screenings but sadly wasn’t successful in the ballot to see Nomadland and I don’t live in London to see Soul. However, I was thrilled with all the films I watched. I decided that my target was to watch 10 films and make them as varied as I could. In total, I watched 12 films and this includes documentaries, shorts, animation, drama, horror, foreign language, etc. There wasn’t one film that disappointed me and many standouts that I hope go on to receive award recognition and open new doors to create more films.

Overall, what stood out to me was the quality of the writing in the films I watched which was absolutely fantastic. The creativity and originality of the films I watched shows that the industry isn’t failing and there is room for films that push boundaries. From adaptations to original pieces, each film was so distinctive and unique that I was so pleased with how many well-rounded characters there were.

I thought it would be fun to come up with my personal winners from the Festival from the films I watched. As I previously said, there were no disappointments so this will be tricky. I have also added a special Shoutout category because the winner of this gave two brilliant performances and has clearly had a stellar year. I wanted to recognise this with their own special category.

Here are the Smaller Pictures Winners of London Film Festival:

Best Picture – Wolfwalkers

Best Director – Tomm Moore and Ross Stewart for Wolfwalkers

Best Leading Actor – Riz Ahmed for Mogul Mowgli

Best Leading Actress – Tilda Swinton for The Human Voice

Best Supporting Actor – Fazlur Rahman Babu for The Salt in Our Waters (Nonajoler Kabbo)

Best Supporting Actress – Letitia Wright for Mangrove

Best Original Screenplay – Will Collins for Wolfwalkers

Best Adapted Screenplay – Pedro Almodóvar for The Human Voice

Best Documentary Feature – One Man and His Shoes

Best Original Score – Jim Williams for Possessor

Best Song – “Running with the Wolves”, AURORA from Wolfwalkers

Best Cinematography – Stéphane Fontaine for Ammonite

Best Editing – Matthew Hannam for Possessor

Best Production Design – Tomm Moore, Ross Stewart and Maria Pareja for Wolfwalkers

Best Costume Design – Michael O’Connor for Ammonite

Best Hair and Makeup – The Human Voice

Special Shoutout Winner – Sean Bean for Wolfwalkers and Possessor

London Film Festival has given me some amazing memories and been a highlight of my year and a brilliant opportunity that I am so grateful for. I am also so excited to announce that I will be reviewing films from the upcoming Raindance Film Festival at the end of this month so my Festival journey hasn’t ended just yet!

So that’s it for my little awards section and roundup! Which film are you looking forward to seeing the most? Let me know in the comments below!

Just in case you want to read my reviews for the films, I have included them below. I really recommend watching all of them:

Ammonite

Farewell Amor

Herself

The Human Voice

Lovers Rock

Mangrove

Mogul Mowgli

One Man and His Shoes

Possessor

The Salt in Our Waters (Nonajoler Kabbo)

Siberia

Wolfwalkers

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London Film Festival 2020: The Human Voice

One of the projects I was really excited to watch was this half an hour short film written and directed by Pedro Almodóvar based on a play of the same name by Jean Cocteau. Premiering at this year’s Venice Film Festival, I was so excited to see that it was included in the London Film Festival line-up and knew I had to watch it. Starring the incredible Tilda Swinton as a nameless Woman whose mental health diminishes as her partner goes missing for three days. With the exception of a scene near the beginning in which Swinton’s character buys an axe from a hardware store, she is the only character onscreen. Primarily set in her luxurious apartment filled with glamorous clothes and modern art placed everywhere, it would seem that the character has a life worth dreaming but we soon learn that this is a mask for something much darker.

In true Almodóvar style, there is a heavy focus on the setting and a strong visual aesthetic that usually is more telling than the dialogue. The attic apartment the woman lives in is clearly a set within a warehouse. This highlights that like all the luxurious goods she owns that the materials are all fake. What Almodóvar does brilliantly is an analytical breakdown of a character that is shown little by little like a puzzle piece. Even when presenting a short film, it is filled with so much story and character analysis that a lot of features miss out. The script is action based in the first act before becoming dominated by what could be described as a monologue as the Woman talks to her estranged partner but we only hear her side. The way the camera follows the Woman from above and completely exposes the set is a fantastic artistic choice as well. It really plays into that feeling of the Woman being trapped inside a doll’s house and being stuck in her own little world.

Tilde Swinton is always a tour de force in whatever she does and this film is definitely a collaboration between her and Almodóvar. It makes perfect sense that they would work together. Her performance is, as expected, executed to perfection. Her magnetism draws you and you want to understand the character and get to know her. When she receives a call from her estranged partner, she plugs in her wireless earphones to talk to him. We don’t hear anything he says only her response. It is during this increasingly intense conversation that the mask begins to slip and cracks start to show. We understand her actions and why she has bought the axe and attacked the bed with it. The apartment clearly acts like a bird cage that the Woman cannot seem to escape from even though she knows that her relationship has come to an end. As she progresses in her conversation, she finds herself unwilling to dominate control over her partner and finds herself constantly apologising and submitting to his every whim. It is when he appears to hang up at a tender moment that breaks her and she is able to break away from his and regain her control. Although it may seem simple to be in a film by yourself, it is actually the opposite and Swinton knocks out a performance that I would argue is among her best.

The music composed by Alberto Iglesias is breathtaking and elevates the film to that dramatic and cinematic level. As the Woman lingers around the house and ventures to the hardware store, the score is what provides that ambience. The music allows the unspoken words to come through and is ever increasing in tension as the build up to the phone conversation takes place. It really assisted in heightening the drama and expressing the loneliness and mental fragility that the Woman feels.

Despite only being thirty minutes, this has proven to be one of the highlights of the festival for me. Almodóvar can always be relied on to deliver a project that is captivating and thrilling with a hint of horror without actually showing gore. His control as a filmmaker is superb and not everyone could pull off such a complex project in a way that feels so cinematic and artistic. The Human Voice is a reflection not only of what one can do with limited resources but that great cinema can be created with the pandemic restrictions.

The Human Voice is showing at BFI London Film Festival on the 17th October and will be released in the United Kingdom on the 6th November.

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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.

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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.

ralph-breaks-the-internet-princess-tiana-post3

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!

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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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Disney Animated Classics: Numbers 36-40 Ranking

Now we’re on the end of the Disney Renaissance period and this subsequently lead to a dark time in the Disney repertoire as money seemed to become the main motivation for film production rather than the artistry or vision which Disney had wanted to push. It begins with the attempt to better Fantasia with a bigger budget but little imagination in Fatasia 2000 and this rut continues for the next decade so it will be on a couple of blogs.

As always, here are the links to the previous posts in case you need to catch up

Films 1-5

Films 6-10

Films 11-15

Films 16-20

Films 21-25

Films 26-30

Films 31-35

As ever, let’s get on with the reviews for films 36-40:

36) Mulan (1998)

Taking inspiration from the legendary woman who disguised as a male soldier so her disabled father didn’t have to fight in a war, Mulan is a story of courage and strength. In line with the Disney brand, darker themes are outbalanced by lighter entertainment in the form of her animal sidekick, Mushu (voiced superbly by Eddie Murphy). The film is home to my favourite Disney song “Make a Man Out of You” which I always belt out whenever the film is on (and admittedly, even if the film isn’t on). It’s not without its flaws as like its predecessors, Mulan has a tendency to fall into an array of Chinese, Japanese and Korean stereotypes just to name a few. It feels like a mesh of cultures rather than a positive fixation on Chinese culture. This could be why the film wasn’t successful in China. However, for all its faults, there is something about this film that I truly love. Mulan is not a typical Disney princess. She disobeys her father’s orders and is instantly an outsider in her community. She simply does not fit in. It is only when she impersonates a soldier that she finds her true destiny as a hero and saves China from the Hun invasion. Of course the film follows the traditional Disney trope of a love story between her and Captain Shang but this feels secondary to her mission in a way that love stories haven’t taken centre stage in Disney before. Granted that it is far from a perfect feminist portrayal but it is a huge improvement from the other Disney princess offerings that Disney were producing at the time.

37) Tarzan (1999)

Tarzan is the first Disney film I ever saw in the cinema and I remember being swept away on my booster seat by the animation and adventure this film brought. The songs (written by Phil Collins) are absolutely fantastic and the sequences of Tarzan riding through the trees are spectacular. The story of the boy raised by gorillas in the jungle who befriends English travelers, including the ever-so-posh Jane who he falls in love with. The film definitely has its highlights such as the scene in which Turk, Tarzan’s gorilla best friend and company break the goods in the camp the travelers had set up. The antagonist in this film comes in the form of Clayton, a hunter who has arrived with Jane and her father and aims to hunt down the gorillas. The climatic scene is tense and was scary to watch as a child as we watch Clayton’s demise in a fairly gruesome manner. The film does have its share of mild violence and the audience is shown this in the opening scene when Tarzan’s parents are killed by a jaguar. The animation team takes advantage of the details that are allowed in modern animation that wasn’t available when films like The Jungle Book was being made.

38) Fantasia 2000 (2000)

Ringing in the new millennium with a revived look at one of Disney’s most iconic films. Fantasia 2000 is bigger than its counterpart boasting a massive budget of $80-85 million; however, when watching the film, it seems that its only goal is to surpass the legacy of the original. It seems to be a film about celebrity and hype rather than heart and substance which the original has in spades. Instead of one narrator who briefly discusses each piece in between segments, there are celebrity introductions such as Quincy Jones and Angela Lansbury and they tend to go on for a while. Fantasia 2000 also features “The Sorcerer’s Apprentice” from the original but the other segments are completely new. Following the original’s concept of, abstract, character driven and plot driven stories, it seems that Fantasia 2000 is a poor copy of its predecessor and feels a bit pointless in creation. This isn’t to say it is bad but much like The Rescuers Down Under, it seems like a rehash of a classic that doesn’t need fixing in the first place.

39) Dinosaur (2000)

Another film that I remember vividly seeing in the cinema and loving to pieces. For the time it was released, the animation was really progressive and looked stunning, particularly the meteor shower scene. Inspired by the evolution segment in Fantasia and following the dinosaurs following the meteor shower and the fight to survive, we follow Aladar and his search for a new home with his lemur friends. Watching it when I was younger was a fun experience. It’s a simple story with basic characters but you can tell the huge budget went on the style rather than substance. This is where the flaws come in watching it as an adult. I’m now at a point where a film has to really be revolutionary in style and look fantastic to make up for basic characters but the animation now looks dated and sadly doesn’t fix the poor writing or character development. It is such a disappointment because I enjoyed it so much as a kid and re-watching the films now, I actually find that I enjoy it the least. The film

40) The Emperor’s New Groove (2000)

A favourite among the millennial audience, The Emperor’s New Groove is the hilarious story of the selfish Emperor Kuzco who is turned into a llama by his advisor, Yzma. He awakes in a village he threatened to knock down for a pool house and together with village chief, Pacha, he has to make his way home and stop Yzma from ruling the kingdom. The kingdom isn’t specifically named but it appears to be a mesh of Aztec and Mayan culture which makes it similar to Mulan in that respect; however, because the era and place isn’t specified, this aspect isn’t made as obvious to the audience in the way that Mulan was. The animation reflects Aztec art with sharp lines and regal colouring, golds and purple decorate the palace in abundance. It’s a bizarre film that sees the sarcasm turned up to a ten and the quirky humour can be off-putting to some but it seems to be a real hit with millennials. I love the writing in this film and how bizarre it is and a big special mention to Eartha Kitt for her amazing voice work as villainess, Yzma. One part evil and another part theatrical, Yzma is one of the most underrated villains in Disney. Accompanied by her sidekick, Kronk, she is even more detached from the public than Kuzco which makes for some comical moments in the film such as when Pacha’s family prank them both.

The list is getting huge now and I’m surprised with myself by where some of these have placed. Not long to go now until we’re up to date with the Disney catalogue with the newest offering, Frozen 2 being released later this year. It’ll be interesting to see where that will place. Now onto the important part of the blog!

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) Peter Pan (1953)

17) The Three Caballeros (1945)

18) Pinocchio (1940)

19) Pocahontas (1995)

20) Tarzan (1999)

21) Dumbo (1941)

22) Hercules (1997)

23) The Black Cauldron (1985)

24) The Great Mouse Detective (1986)

25) The Jungle Book (1967)

26) The Sword in the Stone (1963)

27) Cinderella (1950)

28) The Rescuers (1977)

29) Robin Hood (1973)

30) Oliver & Company (1988)

31) Lady and the Tramp (1955)

32) The Fox and the Hound (1981)

33) Fun and Fancy Free (1947)

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

35) Saludos Amigos (1943)

36) Melody Time (1948)

37) Fantasia 2000 (2000)

38) The Rescuers Down Under (1990)

39) Make Mine Music (1946)

40) Dinosaur (2000)

Tune in for my next post where I will be delving further into the dark period of Disney where we look at films that were critically and commercially panned across the board. These films are not among Disney’s highlights but they soon make way for a new wave of modern masterpieces in the same vein of the Disney Renaissance.

What do you think of the ranking? What would be your number one choice? Let me know in the comments !