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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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The Tale of the Princess Kaguya (2013)

My favourite animation of the past decade hands down belongs to Isao Takahata’s swansong which is a retelling of the Japanese folktale “The Tale of the Bamboo Cutter”. It follows a man who finds a small girl in the centre of a bamboo shoot, he picks her up and she turns into a baby and then quickly grows into a young woman in the blink of an eye. Known as Takenoko (which translates as “Little Bamboo”), the family live a life filled with finery. Takenoko is given the title Princess Kaguya and soon begins the quest to find her a husband. The only problem is that Kaguya does not want a husband. She enjoys her freedom and finds the concept of regality to be horrifyingly restrictive. The film underperformed at the box office but the critical response is overwhelmingly positive with five stars across the board. It’s a shame that this film hasn’t received the mass audience that Spirited Away did because it is such an intricate look into traditional Japanese culture whilst merging in the pressures of being a woman in a man’s world and living up to societal expectations. Its portrayal of depression is one of the most realistic and resonating in film for me, particularly the scene in which Kaguya flees the party and sheds her many kimonos. The significance of this scene cannot be discussed enough. Kaguya is dismissing the life that her parents have decided for her. Her parents are not bad people but they have confused their own wishes with their daughter’s and this is what ultimately tears the family apart. The film was released just after Hayao Miyazaki’s The Wind Rises in a double bill that hasn’t been seen since the 1988 releases for My Neighbor Totoro and Grave of the Fireflies. Just as those films are completely different in subject matter and style, the same could be said of The Wind Rises and The Tale of the Princess Kaguya.

The animation style in this film is what makes it instantly stand out in the Ghibli catalogue. Taking clear inspiration from traditional paint and ink, it veers away from your typical Ghibli and Takahata aesthetic but the result is a beautiful use of technique and colour. It feels as though the film is a fairy-tale jumping from the pages of a book. The pastel colour scheme contrasts beautifully with the strong black strokes. This truly is art in animation and a testament to Takahata’s ability to push the envelope. The film in its entirety is beautiful but the now iconic cherry blossom scene is one of the most wonderful sequences in any film. Kaguya runs and plays as the cherry blossoms fall and the result is a scene of joy and freedom. The mix of deep black outlines filled in with delicate hues of pink are simplistic but resonate the lightness and happiness that the character is feeling. The use of colour is so important in this film as it evokes both material and figurative richness. Contrast the colours of nature as Takenoko ventures in the forests as a child which excites her with the scene in which she is gifted numerous kimonos that are made of unnatural colours in rich jewel tones. Takenoko is taken aback by the gift and loves playing with the material in a scene which is just as beautiful as the cherry blossom scene.

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The character of Princess Kaguya herself is deeply complex and despite her origin as a being from the Moon, is one of the most human characters brought to film. Her journey from bamboo spirit to fully fledged Princess is turbulent and challenging. Content with the humble lifestyle her Earth parents lived before inflicting delusions of grandeur upon her, Takenoko refutes the lifestyle expected of a lady in high society. She is trapped within the walls of her mansion within the city and longs for the wilderness and freedom it brings. The character is not without her flaws. She purposefully manipulates five potential suitors to cross oceans and collect tokens for her affection. She does this knowing that she doesn’t care for any of them and knowing that it isn’t possible to gain these mythical gifts. When falling into her depression, we feel for her because she doesn’t want to let her parents down and appreciates everything they have done while at the same time sacrificing her own happiness. Ultimately, she has to ask herself if her parents happiness is worth exchanging for her own and asks for the Moon to reclaim her. Kaguya is a character who knows what she wants and this progressive outlook does not fit in within a society that has a place for her.

In an unusual move for Takahata, he recruited Joe Hisaishi to compose the music for this film. Hisaishi is known for his frequent collaborations with Miyazaki and had only just delivered a stellar score for The Wind Rises. It’s a credit to Hisaishi that he worked on these scores at the same time and yet both soundtracks have their own style and identity. The score for The Tale of the Princess Kaguya deeply lies in Japanese tradition, utilising traditional instruments such as the Koto which the titular character has a natural affinity for and whimsical woodwind that really brings you into the era and setting. Hisaishi has his own distinct sound as I have discussed in previous posts but this one feels totally unique in its approach. It feels softer and more ingrained in its tradition and heritage than other soundtracks. This could be because despite its fantastical elements, it is a film that is openly set in an ancient Japanese setting.

There are many scenes which stand out in this film for me and I have discussed a few of them in this post but the one that will remain the most heartbreaking is Kaguya’s return to the Moon. It’s a poignant sequence and one that will have you crying. When the procession of beings from the Moon come to collect Kaguya, the love that she has for her parents and vice versa flows through. It’s hard to believe that a children’s film can have such a sad ending but this is Ghibli and they are not afraid to delve into darker themes. Erased of her memories on Earth, Kaguya looks back at her parents and sees their love and smiles. This smile is bittersweet because she recognises the love that they have without understanding who the love is for and what it meant to them.

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The Tale of the Princess Kaguya is tied with Castle in the Sky for first place as my favourite Studio Ghibli film. It’s unlike any film you have ever seen and unlike any film you probably will see in the future. It’s a glorious achievement and worthy of being Takahata’s final film. The love and care that went into this film is so evident. I truly believe that the love for this film will grow in the coming years and it will become just as admired as some of the other popular Ghibli films in the catalogue such as My Neighbor Totoro and Spirited Away. It’s a film that is not an easy watch but it is so captivating and rewarding.

What do you think of The Tale of the Princess Kaguya? Let me know in the comments below!

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Spirited Away (2001)

One of the big ones to come out of Studio Ghibli and with good reason, Spirited Away follows protagonist Chihiro who finds herself in the spirit world where her parents have been turned into pigs. Chihiro must work under the ruthless Yubaba in a bathhouse for spirits where she is forced to take care of the visiting spirits, including the mysterious No-Face. With the help of a young boy called Haku, Chihiro navigates her way around the land of spirits and eventually learns more about herself and what she is capable of in order to return to the human world with her parents. This is commonly seen as Miyazaki’s opus as it brought international acclaim the studio hadn’t experienced before as well as a slew of awards such as the Academy Award for Best Animated Feature. The story of identity and place is one that resonated with the critical commercial audiences and has made Spirited Away an instant classic. In true Miyazaki style, the film is enjoyable for all ages and can be watched time and time again and still be just as rewarding. The film has you laughing, crying and grimacing as we encounter various characters and are thrust into the unknown. 

Ten year old Chihiro is forced to move away as her dad starts a new job. Unhappy about the move, we are first introduced to her as she sulks in the car with a bouquet gifted by her classmates. Chihiro is soon forced to think beyond her years to navigate a way out of the spirit world with her parents. She is a character who finds her own strength and relies on herself to figure this out. On entering the Bathhouse, Chihiro is overwhelmed by all of the creatures but is soon tasked with carrying out there needs. The Stink Spirit is the breakthrough moment as Chihiro passes the test and understands what the spirit needs. Anothe protagonist is dragon/river spirit Haku, who initially takes form as a boy Chihiro’s age. Haku immediately sees Chihiro and helps disguise her from other spirits before she is given permission to reside in the spirit world. At the top of the bathhouse lives Yubaba, a witch who runs the facilities. After failing Chihiro off, she strips Chihiro off her name and gives her the identity Sen. Soon enough Chihiro becomes Sen and forgets who she is as she is enveloped in the spirit world. By losing herself, she loses sight of the mission to get home. Yubaba is a character who has no motive to act for or against Chihiro and simply allows Chihiro to work in the bathhouse while she goes on her journey of self-discovery.

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The animation is spectacular is on a level that hasn’t been seen before and not really since (The Tale of the Princess Kaguya being another great example). A beautiful mix of Japanese folklore and fantasy, Spirited Away makes use of the scenery and locations. By setting the film in a fantasy universe, it gives the animation team an unlimited scope in design and allows Miyazaki to create a world from scratch. Not only is Miyazaki creating his own version of the spirit world but it also offering an entirely unique perspective on various aspects of Japanese culture. The whole film is crammed full of amazing sequences but among the most iconic in Ghibli history has to be Chihiro running through the garden paths surrounded by rose bushes is simple yet dreamy. It’s only a short moment but the angles and colours are perfect as Chihiro anticipates seeing her parents.  Other brilliantly crafted scenes include the food feast where Chihiro’s parents are turned into pigs. The satisfying layout of the food contrasts with the disgusting design for both her parents when they’re eating the food and consequently the design of the pigs themselves. The detail of the creases in the skin and the sweat is disgusting but then Ghibli isn’t a studio that glosses over the grotesque.

I can’t review a Ghibli film and not discuss the music. The score from Joe Hisaishi is instantly his most recognisable to date, spanning thousands of covers on YouTube and being a prominent inclusion in his concerts. The soundtrack is nothing less than stunning and totally deserving of its praise. The opening number and the main track associated with the film, “One Summer’s Day”, contains a mix of melancholy and hope. It’s slowness reflects the sadness that Chihiro feels about leaving her old life behind but it’s still uplifting and hopeful at the same time. The piece is soft and pretty and immediately brings you into Chihiro’s world. As soon as we enter the spirit world, the score completely shifts. The peaceful slowness is soon replaced with harsh brass and a quickened pace as Chihiro becomes an outsider in a new place and is forced to hide. Tracks such as “The Dragon Boy” are filled with the grandeur that lives up to Spirited Away’s epic feel. Hisaishi’s score helps to transport the audience into Miyazaki’s universe.

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A film like Spirited Away doesn’t come often with direction and writing that is filled with such love and passion for storytelling. Miyazaki outdid himself with this one and it’s a film that will go down in history. There are an array of supporting characters who all bring significance, even if it’s a small payoff such as Yubaba’s henchmen or her baby. You could watch this film a million times and still find something new. The film opens itself up for interpretation and analysis and has been widely discussed as such. Scenes that I find particularly striking include the attack on Haku as he thrashes into Chihiro’s dorm bloodied and weak and the scene in which Chihiro is sat on the train. The latter is so still and peaceful that it brings a sigh of relief and calm in a film that has brought so much chaos.

Do you love Spirited Away as much as I do? Let me know in the comments below!

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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.

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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!

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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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Toy Story 4 (2019)

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

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

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

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

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

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Pixar Features Ranking: Films 11-15

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

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

Films 1-5

Films 6-10

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

11) Toy Story 3 (2010)

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

12) Cars 2 (2011)

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

13) Brave (2012)

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

14) Monsters University (2013)

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

15) Inside Out (2015)

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

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

Here is my ranking:

1) Up (2009)

2) WALL-E (2008)

3) Toy Story 2 (1999)

4) Inside Out (2015)

5) Ratatouille (2007)

6) Toy Story 3 (2010)

7) Monsters, Inc. (2001)

8) Finding Nemo (2003)

9) The Incredibles (2004)

10) Toy Story (1995)

11) A Bug’s Life (1998)

12) Brave (2012)

13) Monsters University (2013)

14) Cars (2006)

15) Cars 2 (2011)

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

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

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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 !