Tag Archives: Disney

Enchanted (2007)

30 Wednesday Jul 2014

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 (Best sung to Giselle’s “Happy Working Song”)
 
Pretty girl Giselle is just swell and is animated all day long;
Woodland creatures help her sing a song.
She expects her prince to come and be her new love;
When he does, they sing of true love,
Since there’s nothing wrong.
 
Then an evil witch, Edward’s stepmother, has a diabolic plan,
To evict Giselle because she can.
So she sends the princess down a well descending
Where there is no happy ending
And no perfect man.
 
In the callous streets of New York, poor Giselle is both afraid and lost,
Till one Robert finds his path has crossed
With this somewhat crazy fairy tale freethinker,
Who’s a tailor, not a drinker,
And cleans at no cost.
 
When he hears the news, Edward hunts for his darling on a hero’s trip,
With her talking chipmunk sidekick Pip,
But they stick out like a sore thumb in the city,
Searching for his dearest pretty,
Like he’s lost his grip.
 
As he tries to help out Giselle, Robert’s reeled in by her fresh appeal,
And his girlfriend Nancy has to deal.
Yet Giselle assists him with romance and crooning,
But she ends up nearly swooning
When love grows more real.
 
Edward soon arrives, but Giselle is no longer visibly naïve,
And she’s hesitant to up and leave.
So Edward and she try dating to get closer,
But it’s Robert who’ll engross her
At a ball that eve.
 
But the evil queen shows herself since her henchman hasn’t done too well
In his efforts to dispatch Giselle.
So she employs tactics you may have seen elsewhere
And scares everybody else there
With a fearsome spell.
 
Once the queen is stopped and destroyed when a hero steps up to the plate,
Robert and Giselle conclude their date.
It is clear that they both share a love enchanted,
But Edward’s not emptyhanded,
For his loves won’t often wait.
 
Robert and his young daughter have Giselle,
Settled in this world into which she fell,
Merrily,
Happy ever after, verily,
Now that everyone has found their perfect mate.
___________________
 

Before The Princess and the Frog revisited the princess genre (with iffy results), Disney created Enchanted, a modern mish-mashing of classic fairy tales and contemporary cynicism. The animated beginning could easily have been a rejected idea from the Disney Renaissance, but the overtly saccharine telling is clearly meant to be a contrast for the rest of the film. Once Giselle actually gets to New York and its live-action acrimony, the real humor starts flowing from the disparity between her naiveté and our world’s unfriendliness.

While Edward is certainly not the perfect prince of Disney’s early films, Enchanted succeeds in its combination of opposites by being both realistic and idealistic. Based on Giselle’s first encounters with New Yorkers, she would be justified in considering it the least nice place on earth, but later on, as she explains to Robert the importance of affection, all of Central Park turns into a completely willing musical cast. This serves to accentuate how innocence and idealism can bring out the best in people, even when the world can seem so hostile at times. At the same time, Giselle’s introduction to the joys of the real world convince her these are preferable to the unsubstantial romance she had known before with Edward. That point, of course, doesn’t apply to everyone since Nancy, apparently fed up with the pitfalls of “real” relationships, obviously preferred the love-at-first-sight kind of courtship.

This is the film that hoisted Amy Adams to stardom, at least for me, and continues to be the role in which I always envision her, one of innocence. Her voice, face, and acting all lend themselves to her upright damsel persona. Roles that have allowed for this image, such as in Doubt or Night at the Museum 2, play to her strengths, while films where she attempts to act the “bad girl,” such as the recent American Hustle, just don’t seem to fit her. Patrick Dempsey took a break from Grey’s Anatomy to play single father Robert, who may be a pessimist but has obvious appeal for Nancy and Giselle. James Marsden portrays Prince Edward as an entertaining buffoon, but I do wish he had more to contribute to the plot. Susan Sarandon and Timothy Spall look like they’re enjoying their hammy villainous roles as Queen Narissa and bumbling servant Nathaniel. Lastly, I had no idea who Broadway star Idina Menzel (Nancy) was at the time, but after hearing her in Frozen, it’s a shame she didn’t get a chance to sing in this film: her one song with Marsden was cut.

The choreography and songs, written by winning duo Alan Menken and Stephen Schwartz, are outstanding, a welcome return to the good old days of both Disney excellence and classic musicals. The show-stopping “That’s How You Know” is particularly awesome, but the fact that all three of its Oscar-nominated songs lost (not unlike the previous year’s Dreamgirls) is a crying shame.

The film isn’t all good, of course. Certain scenes toward the end vacillate between an homage and a ripoff of Disney classics, and some scenes involving Pip the chipmunk, such as his defecation and Nathaniel’s cruelty toward him, were unnecessary. Still, Enchanted brings Disney’s animation to life in a fresh and funny way that my family watches whenever it’s on TV. It’s enchanting.

Best line: (a child-stressed mother, played by Judy Kuhn from Pocahontas, when she sees “Prince Charming” Edward) “You’re too late.”

 
Artistry: 6
Characters/Actors: 8
Entertainment: 8
Visual Effects: 9
Originality: 6
Watchability: 9
 
TOTAL: 46 out of 60
 

Next: #162 – Rain Man

© 2014 S. G. Liput

166 Followers and Counting

 

Wreck-It Ralph (2012)

24 Thursday Jul 2014

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In Litwak’s Arcade, the games delight,
A quarter for a race or fight,
But kids and Litwak do not know
Where all game characters then go
When everyone is gone at night.
 
The characters treat every game
As just a job that earns them fame,
But Wreck-It Ralph wants to defy
His role as damaging bad guy
And thirty years of mud and shame.
 
Good guys, like Fix-It Felix, seem
To boast the highest self-esteem.
Ralph needs a hero’s medal now
To win some happiness somehow,
Despite how others scorn his dream.
 
He leaves his game to earn respect;
When gamers come, there’s nothing wrecked.
Their jobs and home are now in danger,
But Ralph’s off to someplace stranger,
Bent on medals to collect.
 
In Hero’s Duty, thus Ralph tries
To stay alive and win his prize,
But killer Cy-Bugs plague his route,
And one of them, alas, gets out.
It sneaks away and grows in size.
 
Their crash site is in Sugar Rush,
A racing game that’s sweet and plush.
Ralph’s medal’s taken when he meets
The brat Vanellope von Schweetz,
A hated glitch who’s kept hush-hush.
 
She purchases her right to race,
But Ralph arrives to trash the place.
When he sees how she’s shunned apart,
He helps her build her own go-cart,
But King Kandy stays on her case.
 
King Kandy sows doubt in Ralph’s mind
On whether he should be inclined
To help her win or if he should
Prevent the girl for her own good.
He breaks her heart by being kind.
 
Ralph goes back home, unsatisfied,
But learns the sneaky King had lied.
Ralph helps Vanellope come back
And race at last, but bugs attack!
King Kandy shows his evil side.
 
Vanellope can’t leave the game
Since she’s a glitch; the King’s to blame.
So Ralph attempts a sacrifice
To save the insects at a price
And wipes them out with cola flame.
 
He’s saved and is content to see
Success come to Vanellope.
Embracing duties he once hated,
Ralph’s at last appreciated,
The good “bad guy” he’s meant to be.
___________________
 

Wreck-It Ralph is an oddity among Disney movies, not a fairy tale or a traditional love story, but rather an original hero quest that creates an astonishingly detailed environment to rival the world-building prowess of Pixar. My VC considers it fluff, and at first glance a film about video game characters may seem to be just that, but Wreck-It Ralph greatly exceeded my expectations with its imaginative plot and abundant eye candy (pun intended).

In many ways, Wreck-It Ralph is an example of potential pitfalls done right. It brilliantly combines real video game characters from Pac-Man, Q*Bert, Street Fighter, Sonic the Hedgehog, Tapper, Altered Beast, and many more, similar to how Who Framed Roger Rabbit? mingled classic cartoon characters from various studios into something totally unique. Unlike the more adult-leaning Roger Rabbit, which I appreciate more than I like, Wreck-It Ralph allows these characters their cameos for the hard-core gamers to scrutinize, while making them mere accessories to the main plot of original characters, all while maintaining a (mostly) family-friendly tone.

In addition, the unsatisfying, out-of-nowhere reveal of Prince Hans in Frozen was handled so much better in this earlier film. King Kandy is already treacherous from the start; we just don’t know the extent of his villainy. The big reveal was clearly set up but still came as a surprise to me because the filmmakers deftly toyed with the possibility that the King, rather than Vanellope, was just misunderstood. The writers knew what they were doing. There are even some insightful remarks, such as Vanellope’s despised glitch being analogous to a birth defect and Ralph questioning why video games have become so violent of late.

All this doesn’t even mention the stunning animation, the astounding amount of world-building, and how the filmmakers utilized their own rules to ingenious effect. From the limitations and advantages of glitches to the behaviors of the Cy-Bugs, the imagination just keeps flowing. There’s also a plethora of sweet-themed puns in the world of Sugar Rush, a candy kingdom reminiscent of that in Adventure Time.

Plus, there’s some excellent voice work from John C. Reilly as the conflicted Ralph, Sarah Silverman as the bratty but lovable Vanellope, Jack McBrayer as the goody two-shoes Fix-It Felix, Jane Lynch as the intense Sgt. Calhoun of Hero’s Duty, and Alan Tudyk as the duplicitous King Kandy. Again, my VC doesn’t like how Ralph’s “villainy” is seen as good, but his villainhood is depicted as just a job and clearly not true evil. Thus, his position as both protagonist and “bad guy” is must less subversive than, say, The Nightmare before Christmas or Wicked. If anything, his realization that filling his necessary role is better than selfishly seeking his own glory makes the film even more unique.

Wreck-It Ralph may not have quite the same character development as other Disney films, but it’s an inventive thrill ride with a jam-packed plot that begs for repeated viewing. It also boasts not one, not two, but three songs worthy of my End Credits Song Hall of Fame, the “Sugar Rush” and “Wreck-It, Wreck-It Ralph” theme songs and Owl City’s utterly catchy “When Can I See You Again?” Many of the video game references probably flew over my head, but whether you’re a gaming fan or not, this film is just plain fun.

Best line: (Sgt. Calhoun, after seeing Felix’s fixing hammer at work) “Your face is still red; you might want to hit it with your hammer again.”

 
Artistry: 6
Characters/Actors: 7
Entertainment: 9
Visual Effects: 9
Originality: 9
Watchability: 9
Other (I like other films better): -3
 
TOTAL: 46 out of 60
 

Next: #168 – Cars

© 2014 S. G. Liput

160 Followers and Counting

 

Pocahontas (1995)

22 Tuesday Jul 2014

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(Can be sung to “Colors of the Wind”)
 
A voyage starts in 1600s England
To journey to the New World for its gold,
But John Smith only searches for adventure
And knows that there’s one waiting to unfold.
 
This New World boasts the lovely Pocahontas,
The daughter of the reigning Indian chief.
He offers sober Kokoum for marriage,
But the maiden seeks a spirit for relief.
 
The path for her is hidden and uncertain,
But then the ship appears against the sky.
As greedy Ratcliffe starts his people digging,
Smith departs to scout the countryside nearby.
 
The Indian and Englishman make contact,
And neither’s like the other thought they’d be.
He tells her of his homeland, and the maiden
Shows the sailor things he’d never tried to see.
 
A skirmish sows distrust in both the factions,
And both believe the worst of their new foe.
They will not hear John Smith or Pocahontas,
But both unite, and love begins to grow.
 
When Kokoum decides to tail the couple,
His jealous rage just gets the warrior shot.
The tribe imprisons Smith to his friends’ horror
And plans to execute the man they’ve caught.
 
Since Ratcliffe thinks the foe is hoarding treasure,
And they think whites are savages as well,
Both sides prepare for battle at the sunrise,
Till Pocahontas chooses to rebel.
 
She saves the life of Smith at the last second
And turns her father’s warring mind to peace.
These “savages” are better than they’d reckoned,
And both sides (save for Ratcliffe) choose to cease.
 
Though Smith is saved, he still is sadly wounded,
So he departs for home to convalesce.
He bids goodbye to lovely Pocahontas,
Who will be with him forever nonetheless.
____________________
 

Don’t worry; I won’t exhaust the Disney Renaissance this low on the list, but like Mulan, Pocahontas is just not quite as absolutely stellar as the rest of those ‘90s classics. It still is a marvelous film, beautifully animated and drawing inspiration not from fairy tales or legends but from real American history. It bothers me a little that Disney rewrote history in adding much to the story of Pocahontas and John Smith while leaving out other elements, such as the Indian maiden’s conversion to Christianity. Still, it’s laudable that the filmmakers endeavored to bring history to family audiences in such an entertaining package, even if only some main events are retained from the true account (the saving of Smith’s life, his changed injury and return to England).

Mel Gibson makes John Smith quite the dreamboat, and David Ogden Stiers proves he can play a greedy Englishman with the same panache as he can a clock. As far as cute animal sidekicks go, Meeko the raccoon and Flit the hummingbird are two of the funniest and lend the otherwise serious tale some lighthearted comic relief.

One thing I’ve noticed after repeated viewings is that Pocahontas more than any other recent Disney film depends on its music for its success. All of the other Disney classics have memorable standout sequences independent of their music (the wildebeest stampede, the Cave of Wonders, Shan-Yu’s mountain charge, etc.), while Pocahontas doesn’t. Take away Alan Menken’s soundtrack, and you’ve got the familiar “noble savage” and “follow your heart” clichés and a romance that’s a tad rushed and a much less entertaining story.

Luckily, though, we do have Menken’s songs, and they are perfect. From the history-laced “The Virginia Company” to the exhilarating “Just around the Riverbend,” his music continues to amaze. Stephen Schwartz’s lyrics are also fantastic and eminently satisfying to me as a poet. “Colors of the Wind” is especially classic and earned an Academy Award for Best Song. Ratcliffe’s songs are also great, particularly the Broadway-quality “Mine, Mine, Mine.” Despite accusations of racist lyrics, I also love “Savages” and can step away enough to see that the hatred is that of the characters and not the filmmakers. I actually think the way that both sides accuse the other of being “savages” is the most nuanced element of the whole film.

Pocahontas may have turned a platonic historical account into a Romeo-and-Juliet story of warring factions, but its soundtrack makes it yet another Disney classic. I wonder if they’ll ever tackle another historical drama again.

Best line: (Powhatan, at the end) “My daughter speaks with the wisdom beyond her years. We’ve all come here with anger in our hearts, but she comes with courage and understanding. From this day forward, if there is to be more killing, it will not start with me.”

 
Artistry: 6
Characters/Actors: 6
Entertainment: 8
Visual Effects: 9
Originality: 5
Watchability: 9
Other (music): +2
 
TOTAL: 45 out of 60
 

Next: #170 – Foul Play

© 2014 S. G. Liput

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Mulan (1998)

19 Saturday Jul 2014

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(Best sung to the tune of “A Girl Worth Fighting For”)
 
When the Huns invade and China is in peril
From the dark Shan-Yu who’s merciless and feral,
The threat’s appraised; an army’s raised
And every man must serve,
But a lone girl reports and proves her nerve.
 
Though Fa Mulan is quite the awkward beauty,
She won’t let her father lose his life for duty.
She impersonates the manly traits
And gallops off to war,
Hoping to save the man she’s fighting for.
 
Her ancestors send out a guarding spirit,
But who she gets is frankly nowhere near it:
The small Mushu, a dragon who
Just wants his honored shelf
And has arrived to help her prove herself.
 
The Captain Shang is tough on all the rookies
And teaches things unknown in fortune cookies.
He trains them hard as China’s guard,
And when he’s satisfied,
Mushu ensures they’ll fight to turn the tide.
 
While marching through a mountain pass while singing,
The army sees the death the Huns are bringing.
They are ambushed and nearly pushed
Right off the mountainside,
But by Mulan the victory’s supplied.
 
An avalanche destroys the Huns while riding,
But Shang soon learns the truth that Mulan’s hiding.
The laws apply, and she must die,
But Shang won’t kill Mulan.
They leave her there, her family honor gone.
 
She sees Shan-Yu and others are still living
And warns her friends, but Shang is not forgiving.
The Huns attack and plan payback
Upon the Emperor.
When Mulan calls him, Shang then follows her.
 
With female charm, they fight into the palace
And save the Emperor from Shan-Yu’s malice.
Up on the roof, the fiend goes POOF
When Mushu’s rockets shoot,
And fireworks eliminate the brute.
 
With China saved and Shan-Yu now a goner,
The Emperor grants Fa Mulan much honor.
Back home they ride with newfound pride,
And Dad and Shang agree
This lovely girl is just as she should be.
______________________
 

Ignoring the earlier-reviewed Hercules, here begins the Disney Renaissance on my list in earnest. Mulan was yet another feather in the cap of Disney’s animation department, with memorable characters, enjoyable music, and impressive animation. Inspired by the ancient Chinese poem Hua Mulan, who fought in the army in her father’s stead, the animation style emulates aspects of Chinese art, much like Hercules reflected Greek art. The filmmakers also pioneered some CGI elements to produce huge crowd scenes, such as the amazing mountain charge of the Huns.

Of the voice cast, Ming Na Wen as Mulan and Eddie Murphy as Mushu are the standouts, and James Hong and Harvey Fierstein also lend their distinctive voices to the film. (I still think of Donkey from Shrek when I hear Murphy’s voice, even though Mulan came first.) The songs are not as plentiful as in other Disney films, but they’re still outstanding. “Reflection” is beautiful (and helped start Christina Aguilera’s career), and “I’ll Make a Man Out of You” is just perfect, ranking among the best of Disney’s musical numbers.

Though the film wasn’t as successful in China, Mulan is a marvelous Disney classic that exceeds the silliness of Kung Fu Panda. With a strong female role model and humor and fun to spare, Mulan may not be my favorite of the Disney Renaissance, but it easily surpasses most of today’s animated films.

Best line: (Mushu, after roasting the Huns’ falcon) “Now, that’s what I call Mongolian barbeque.”

 
Artistry: 6
Characters/Actors: 7
Entertainment: 8
Visual Effects: 9
Originality: 7
Watchability: 8
 
TOTAL: 45 out of 60
 

Next: #173 – Rudy

© 2014 S. G. Liput

158 Followers and Counting

 

Frozen (2013)

06 Sunday Jul 2014

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The kingdom of Arendelle has two princesses,
Elsa and Anna. The former distresses
Her parents with powers she cannot control,
Which conjure up ice from the depths of her soul.
When Elsa hurts Anna, they visit a troll.
 
The lead troll heals Anna but fools with her mind
To leave memories of ice powers behind.
The monarchs shut Elsa up, locking each door
And don’t give her access to sis anymore,
While Anna’s confused why things aren’t as before.
 
The two girls grow up, and the king and queen die,
Leaving Elsa alone to conceal her cold lie.
The day when Queen Elsa is due to be crowned,
A whole flood of royals and guests is inbound.
Unlike Elsa, Anna is thrilled they’re around.
 
When she meets Prince Hans, it is love at first sight.
No, literally, they seek marriage that night,
But Elsa is skeptical and won’t permit
A marriage so rushed; Anna’s flustered a bit.
In front of a crowd, she makes Elsa lose it.
 
Her powers revealed, Elsa heads for the hills,
Building castles and singing a song that gives chills.
The people are fearful for snow’s falling fast…
In summer and who knows how long it will last?
So Anna rides off through the wintry blast.
 
She meets smelly Kristoff, a man who sells ice.
He becomes Anna’s guide, though she has to ask twice.
Encountering wolves and a living snowman
Named Olaf, who craves summer days and a tan,
They head up the mount with not much of a plan.
 
When Anna begs Elsa to stop the storm now,
Her sister freaks out, for she doesn’t know how.
By accident, Anna is struck in the heart,
So Elsa, still fearful, makes Anna depart.
In Anna, Kristoff sees a chilly change start.
 
They go to the trolls, who raised Kristoff with pride.
They say Anna’s heart will soon freeze from inside.
She needs some true love, which means Hans (so they think);
She just needs a kiss to come back from the brink,
But Hans then comes out as a liar and fink.
 
Although he brought Elsa back home in a chain,
He wants them both dead so that he can now reign.
Leaving Anna to die, Hans tries killing her sister,
But Anna steps in, knowing Kristoff’s her mister,
And freezes rock solid since nobody kissed her.
 
Her own sacrificial love brings Anna back
And helps Elsa see love is what she may lack.
This aids her control so that people don’t fear,
And Anna loves Kristoff, who’s rough but sincere.
The doors are now open, and skies are all clear.
____________________
 

Last year’s Frozen was an unforeseen megahit that eventually surpassed Toy Story 3 as the highest grossing animated film, and it just recently dropped out of the global box office top 10. A welcome return to the musical princess genre for which Disney is famous, Frozen perhaps fed the hunger that family audiences had for new but familiar quality. It’s certainly a great fairy tale with gorgeous animation, catchy music, and (mostly) likable characters.

All that being said, I can’t help but point out some issues that detract from it and make its gargantuan success a tad puzzling. The actual storyline is innovative in its inclusion of two princesses, but Anna is a much better realized character than Elsa. I can sympathize with Elsa’s fear of herself, but that’s about it. All the characterization is given to Anna, while Elsa seems pretty directionless. What was she doing in that castle she constructed, just wringing her hands in worry? And the ultimate resolution is too rushed: just “love” and boom, she has perfect control over the powers she spent a lifetime repressing.

I also take issue with the character of Hans. The filmmakers tried so hard to make him seem like a nice guy that his sudden reversal was too out-of-nowhere. I mean, if he wanted to kill Elsa anyway, why didn’t he just let the Duke’s guards shoot her instead of valiantly rescuing her for no reason? I like the story, but I was expecting some different directions. Perhaps Hans could have been left as a good guy and paired with Elsa. I would have preferred that kind of reversal. I liked Anna’s sacrifice at the end, but it did remind me somewhat of the finale of Pokémon: The First Movie. I also thought that Anna may have hidden warming powers to offset Elsa’s, but no. Oh, well, maybe in the sequel.

After the previous two paragraphs, it might sound as if I dislike the film overall, but that’s not true. It’s a flawed tale but one I still very much enjoy viewing. Anna and Kristoff make a good pair, and though I was prepared to be annoyed by Olaf the snowman, I actually liked him more than I’d expected. The CGI animation is absolutely gorgeous, setting a new high for non-Pixar films.

Plus, the music is first-rate, even if it’s not from Alan Menken. The first song about ice is rather forgettable, but “Love Is an Open Door” and “For the First Time in Forever” are both excellent starting numbers. When I first heard the Oscar-winning song “Let It Go” on YouTube, I knew I had to see this movie. It’s Disney’s best song in years, and I’m sure most have seen at least one of the hundreds of parody videos out there for it. My VC also very much liked the “Fixer Upper” song by the trolls, even if they seem like an afterthought as characters.

Frozen may not be up there with Disney’s Renaissance classics of the ‘90s, but it’s not the worst (The Princess and the Frog didn’t make my list). It’s memorable, quality family entertainment. Let’s hope Disney will take the hint and not let the princess genre die.

Best line: (Olaf, singing) “Winter’s a good time to stay in and cuddle / But put me in summer and I’ll be a… [pauses in front of a puddle] …happy snowman!”

 
Artistry: 7
Characters/Actors: 7
Entertainment: 9
Visual Effects: 10
Originality: 6
Watchability: 8
Other (aforementioned issues): -4
 
TOTAL: 43 out of 60
 

Next: #186 – The Way

© 2014 S. G. Liput

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Swiss Family Robinson (1960)

27 Friday Jun 2014

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The Robinson family is wrecked
On some rocks, and the ship’s crew defect.
Their ill-fated cruise
Leaves them much they can use,
Though they’re not sure what to do next.
 
The father and sons Ernst and Fritz
Get all to the shore in one blitz.
On the ship the next day,
They scare pirates away
With only a flag and their wits.
 
Since New Guinea’s off their radar,
The five just made do where they are.
A house like no other
Intimidates Mother,
And she wants a good safety bar.
 
But once the men finish, the tree
Proves a comforting place to sightsee.
The men’s great inventions
Calm her apprehensions,
And they settle down cheerfully.
 
Young Francis collects his own zoo
With ostrich and elephant too,
To join all the pets
That they rescued from threats
On the ship left behind by the crew.
 
To see if they’re all on an isle,
The older sons sail for a while.
They rescue a lad
But can’t save his granddad
From pirates both fearsome and vile.
 
They learn it’s a girl they retrieved,
Dressed up so she won’t be perceived.
Through forest and swamp,
With Roberta they romp,
Till they reach the treehouse, relieved.
 
The pirates will no doubt return,
So they build defenses in turn.
Both Ernst and Fritz vie
For Roberta’s fair eye,
But both of them have much to learn.
 
They all take a break for a race,
But soon pirates swarm the whole place.
They thwart their offenses
With homemade defenses
From high on a mountainous base.
 
With fruit bombs and many a pit
And one with a tiger in it
And logs and big rocks,
The small family blocks
The pirates, who won’t seem to quit.
 
They try climbing up from the back,
Which makes their defense nearly crack.
When a ship then arrives,
It saves all of their lives
By halting the pirate attack.
 
Roberta’s granddad gives advice,
But most of the family think twice.
Roberta and Fritz
Stay together; Ernst splits,
But the rest stay in their paradise.
__________________
 

Swiss Family Robinson was the best non-musical live-action Disney film made during his lifetime (and for some time after). It works well as both a loose adaptation of Johann Wyss’s classic novel and as a stand-alone adventure tale. There are a number of changes from the books, such as the inclusion of a pirate attack, a bigger role for the girl (named Emily in the novel), and the omission of a fourth son named Jack. Even so, the film expands on the amazing ingenuity of the Swiss family, furnishing their treehouse with all kinds of clever inventions. It also includes pirates, a menagerie of exotic animals, and countless other adventure elements to enthrall kids and their parents alike.

For me, the film’s biggest liability is young Kevin Corcoran as Francis, who is annoying in just about every scene he’s in. He’s a brat, who’s so enamored of animals that he ignores his parents’ warnings and common-sense safety, such as when he stupidly gives away their position to bloodthirsty pirates for the sake of two dogs! The other boys are fine, and Tommy Kirk as Ernst reminds me of Wil Wheaton’s Wesley Crusher (in a good way). John Mills projects authority and warmth as the Father, while Dorothy McGuire lends maternal warmth and worry to Mother Robinson.

The final battle with the pirates is one of the great early action sequences, but other moments shine too, such as the silent prayer Mother insists on when they first reach the island. (You wouldn’t see that in a remake nowadays.) Swiss Family Robinson is a marvelous family film that may not be on par with adaptations like Dr. Zhivago or Gone with the Wind, but it’s no less of a classic.

Best line: (Father, upon reaching the beach) “First thing we’ve got to do is to, uh, unload the raft. Then, uh… put up some sort of shelter for the night.”   (Mother) “No. That’s not the first thing.” [She kneels in grateful prayer, and the others follow suit.]

 
Artistry: 5
Characters/Actors: 7
Entertainment: 8
Visual effects: 8
Originality: 7
Watchability: 7
 
TOTAL: 42 out of 60
 

Next: #195 – Gravity

© 2014 S. G. Liput

142 Followers and Counting

 

Peter Pan (1953)

19 Thursday Jun 2014

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(This one is best sung to the tune of “You Can Fly”)
 
Wendy and Michael and John
Like to listen, play, and fawn
Over tales of Peter Pan,
Who won’t grow into a man
But always stay a boy
With his youth as the source of his joy.
 
Their father can’t stand the thought
Of these silly games they’ve got.
Since she is no more a pup,
He insists his girl grow up.
But when parents go out,
Peter and Tinker Bell sneak about.
 
Once Peter’s shadow is caught,
Wendy starts to talk a lot.
When she mentions loving mothers,
Pan wants her for him and others
Back in Neverland
And she won’t have to grow up, as planned.
 
Tinker Bell’s envy is plain,
But her protests are in vain.
With some faith, and trust as well,
And some dust from Tinker Bell,
The kids are soaring high.
They can fly! They can fly! They can fly!
 
Soon they arrive there and—Look!
It’s the pirate Captain Hook,
Who feared throughout the isle,
But he fears a crocodile.
Hook despises Pan,
For the lad once cut off Hook’s left hand.
 
After a couple close calls
From falls and Hook’s cannonballs,
Wendy goes to see mermaids;
John and Michael lead parades,
But soon the boys are caught
By the Indians; happy they’re not.
 
Wendy and Peter behold
Hook’s next evil plan unfold:
He has nabbed the chief’s own daughter,
Placing her in rising water,
But Pan does outsmart
Hook and Smee, and the croc plays its part.
 
After the Lost Boys and Pan
Revel with the Indian clan,
Wendy quickly feels ignored,
But her value is restored
When she decides to sing
Of the joys that a mother can bring.
 
Hook uses Tinker Bell’s spite
Against Wendy to, one night,
Learn of Peter’s whereabouts
And to kidnap all his scouts,
While leaving a surprise
To ensure that his enemy dies.
 
Tinker Bell saves Peter Pan,
Who flies off to stop Hook’s plan.
First, he frees his captured friends,
And the company defends
Against the pirate crew;
Pan and Hook have a duel overdue.
 
Once Pan has bested the crook
And replaced ol’ Captain Hook,
Back to London they’ve a trip
On a flying pirate ship,
And Wendy’s parents see
Being young’s not a bad thing to be.
________________
 

Walt Disney had hoped Peter Pan would be his second animated film after Snow White, but, though he had to wait about fifteen years due to legal issues and World War II, his animation and storytelling had merely improved over that time to make Peter Pan yet another children’s classic (and incidentally Michael Jackson’s favorite film). There are plenty of small details that make it timeless, from Hans Conreid’s distinctive voice as both Hook and Mr. Darling to memorable scenes like the children landing on the face of Big Ben.

Like Pinocchio, I don’t always think of Peter Pan as a musical, but its melodies are certainly distinctive. While “The Second Star to the Right” and “You Can Fly” are the most memorable, little elements of the score are instantly recognizable, including the crocodile’s tick-tocking theme to the low tune heard when the Indians are introduced. It’s true that the portrayal of the Indians in the film is outdated, stereotypical, and potentially offensive, but, for good or bad, the deep-voiced “How!” remains an enduring line from the film.

There are a number of changes from J. M. Barrie’s original stage play, such as deleting the clap-if-you-believe-in-fairies audience participation in favor of a bomb left by Hook and foiled by Tinker Bell. Still, it’s one of the best of Disney’s original lineup. Peter Pan is a nostalgic visit to Neverland that never gets old.

Best line: (Peter Pan; classic as they come) “Second star to the right and straight on till morning.”

 
Artistry: 5
Characters/Actors: 8
Entertainment: 8
Visual Effects: 8
Originality: 6
Watchability: 6
 
TOTAL: 41 out of 60
 

Next: #203 – The Iron Lady

© 2014 S. G. Liput

135 Followers and Counting

 

Phineas and Ferb the Movie: Across the 2nd Dimension (2011)

14 Saturday Jun 2014

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Phineas and stepbrother Ferb are summer’s biggest fans;
They’ve spanned the Tri-State Area with all their clever plans,
From robot selves to giant sharks to rollercoaster rides,
But Mom can never see them, though the duo never hides.
 
Meanwhile, the family’s platypus named Perry sneaks away
To battle Dr. Doofenshmirtz, whose evil fails each day.
These plots can sometimes touch, but until now have never crossed.
When both boys meet ol’ Doof, poor Perry’s secret may be lost.
 
They help him fix his latest scheme, the Other Dimensionator,
Which opens up a portal to a world where Doof’s dictator.
This even more malicious creep exposes Agent P,
And Phineas is shocked that Perry’s lied so rampantly.
 
They flee from both the Doofenshmirtzes, needing help and fast.
They meet their other-dimension selves, both timid by contrast.
To get back home, they seek the aid of those resisting Doof,
Led by their sister Candace, who is hardened and aloof.
 
The Candace from the first dimension also joins the team,
But Perry has been caught, and they must save their monotreme.
Their rescue doesn’t go as planned, and punishment awaits,
But second Candace saves them from their less-than-lucky fates.
 
The first-dimension characters then seize the chance to flee
Through many strange dimensions to their own reality,
But things are not much brighter since the second Doofenshmirtz
Releases robot armies, which nobody else averts.
 
With Agent P’s assistance, his two boys start fighting strong
With the many cool inventions that they’ve built all summer long.
When at last they fight the mastermind, they shut the robots down,
And first-dimension Doofenshmirtz ends up saving the town.
 
The first dimension’s saved, and now the second’s also freed,
And everyone is glad as life and summer can proceed.
Yet Agent P must leave, now that his secret is revealed,
And Phineas and Ferb now wish that he’d remained concealed.
 
In order to still keep their pet, they all somehow agree
To have their memories erased, including Dr. D.
So only Perry can recall how good his two boys are
And how they helped him on the greatest summer day, so far.
_______________________
 

As the placement of this film indicates, I am a huge fan of Disney Channel’s hit cartoon Phineas and Ferb. As I mentioned in my SpongeBob SquarePants review, films based on TV shows are usually a mixed bag, but this one is certainly the best, acting like a culmination of everything the show has excelled at.

First of all, the show itself is downright hilarious, and it thrives most in its running gags, strange little throwaway jokes that get funnier every time they appear, like an easter egg. For instance, in one episode, Buford mentions that a giant robot flamingo is the second biggest flamingo he’s ever seen, and then a while later there’s a whole episode dedicated to the biggest flamingo he had seen. In this TV film, there are a number of details that first-time viewers may not get, such as the giant floating baby heads or the newspaper-reading zebra that calls Candace “Kevin” (boy, that sounds weird), but luckily the film has a nice balance of remaining entertaining to newcomers while catering to longtime fans as well.

As with “Phineas and Ferb’s Quantum Boogaloo,” a very well-thought-out and layered time travel episode, the film tackles the subject of other dimensions with surprising intelligence, reflected even in some minor jokes. What other kids’ film has existentialist trading cards and a line like “Would you like to trade two Sartre for a Nietzsche?” I like how the film and show make the characters more quirky than stupid, like some other cartoons I could mention.

Another reason to love the film is the music. Show creators Dan Povenmire and Jeff “Swampy” Marsh, who voice Doofenshmirtz and Major Monogram respectively, are musical geniuses, as far as I’m concerned. I’m amazed at how they’ve been able to include a song in just about every episode, and while they’re not all perfect, they span every genre, and most blend clever lyrics and rhymes with extremely catchy tunes. The film continues this tradition with songs ranging from ’70s-style falsettos to summer-praising ballads to robot destruction rock. The dimension-spanning “Brand New Reality” is my favorite, but “Summer” and “Robot Riot” are close behind.

The film would have worked well as a grand finale for the entire series, but the show continues the clever reworking of its routine storylines to this day. There was supposed to be a theatrical Phineas and Ferb film coming sometime soon, but, if it never happens, at least there will be this gem of a musical comedy to keep fans like me laughing.

Best line (echoing a repeated line from the show): (Carl the intern, at a touching scene near the end) “Sir, are you crying?” (Major Monogram) “No, I’m sweating through my eyes.”

 
Artistry: 3
Characters/Actors: 7
Entertainment: 8
Visual Effects: 5
Originality: 10
Watchability: 8
 
TOTAL: 41 out of 60
 

Next: #208 – Casablanca

© 2014 S. G. Liput

129 Followers and Counting

 

#220: Pinocchio (1940)

04 Wednesday Jun 2014

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When you wish upon a star,
It can kindle things bizarre.
Like a puppet made of wood
Becoming real.
When Geppetto, cheerful yet,
Made his youthful marionette,
He pronounced his puppet good
And played with zeal.
 
When he wished he had a boy,
To delight in and enjoy,
One Blue Fairy came that night
And filled his wish.
Jiminy Cricket is assigned
So Pinocchio will mind;
He will teach the boy what’s right
And what’s wrong-ish.
 
On his first day out to school,
Young Pinocchio’s a fool;
He’s tricked by a fox and cat
To take the stage.
He performs to quite the crowd,
But to leave is not allowed.
He’ll make his boss rich and fat,
But in a cage.
 
That Blue Fairy, kind and wise,
Comes to him, but he just lies.
Though his nose extends and grows,
She helps him out.
When the puppet’s free to roam,
He is stopped while running home.
Fox and cat again impose
To change his route.
 
He instead wastes time a while,
Acting bad on Pleasure Isle,
But he’s shocked to learn the cause
Of where friends go.
When boys act their worst, alas,
Each becomes a poor jackass.
Though Pinocchio withdraws,
He’s filled with woe.
 
Back at home, Geppetto’s gone;
He is hungry, cold, and wan
Inside Monstro, a great whale
Who causes fright.
In the sea, Pinocchio
Is devoured by Monstro.
Puppet and creator hail
And reunite.
 
Though they both are in a scrape,
That small puppet plans escape.
On Geppetto’s raft, he makes
The beast lose its meal.
On a beach, the group is spilled,
But Pinocchio is killed.
Yet he offered what it takes
To now be real.
_________________
 

Pinocchio is a true classic and is widely considered to be Disney’s greatest masterpiece. You’ll find that not all of Disney’s older films are on my list, notably Snow White and the Seven Dwarfs. Snow White was chosen as the best American animated film by AFI and is lauded by critics today as well as when it was released, but it’s just not my cup of tea. I have no issue with fairy tale movies, the scenes with the dwarves, or the exciting end, but Snow White herself is entirely too bland, the voice acting is often grating, and the film drips sugar. I think it’s gained most of its accolades solely because it was the first full-length animated film.

In contrast, Disney’s next film Pinocchio offers some saccharine moments but is a vast step forward in character development, entertainment, and animation quality. Pinocchio himself has an actual character arc, and the villains he meets are all colorful and frightening in different ways. The beginning is overtly child-centric (which isn’t necessarily a bad thing), but the end is impressively thrilling, and everything that comes between succeeds in confirming to all bad little boys that they should listen to their parents and consciences. Considering this was only the second animated film released, Disney’s animators pulled off some beautiful pictures and amazingly fluid scenes, from the opener with all the cuckoo clocks to Pinocchio’s walk through the underwater world of Monstro.

I don’t usually think of Pinocchio as a musical, but it does have some charming ditties, including “Give a Little Whistle” and the ever-classic “When You Wish upon a Star.” I especially enjoy Pinocchio’s performance of “I’ve Got No Strings,” which predates The Sound of Music’s puppeteering version of “The Lonely Goatherd” by over twenty years. The songs aren’t on the level of Alan Menken or the Sherman brothers, but they’re memorable nonetheless.

Disney put his indelible stamp on the project and certainly “Disney-fied” the material, leaving out some darker elements from Collodi’s book, such as Pinocchio and Lampwick being tormented to death as donkeys or Pinocchio’s killing of a certain talking cricket. Though, there’s still a good amount of smoking, including by children, that wouldn’t fly nowadays. One interesting thing my VC pointed out was the film’s frequent focus on the posterior as the “butt” of several jokes. It’s certainly tame, but I wonder if back then that was perhaps the only way to “push the boundaries,” so to speak. Either way, it’s something I had never noticed before.

For all the praise I’m heaping on this film, it may seem odd that it is as low as it is on my list. It’s an undisputed classic, but I simply enjoy watching other films more. I can applaud a movie for its artistry and trailblazing, but this list is ultimately based on how I like films overall. It probably deserves better, but regardless, I admire Pinocchio as a milestone in animation that is quite watchable and enjoyable.

Best line: (the Blue Fairy) “Now, remember, Pinocchio: be a good boy. And always let your conscience be your guide.”

 
Artistry: 9
Characters/Actors: 9
Entertainment: 6
Visual Effects: 10
Originality: 7
Watchability: 5
Other (I just like other films more): -6
 
TOTAL: 40 out of 60
 

Next: #219 – Journey to the Center of the Earth

© 2014 S. G. Liput

119 Followers and Counting

 

The Brave Little Toaster (1987)

25 Sunday May 2014

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A toaster and radio, lamp and a blanket,
As well as a vacuum called Kirby reside
Alone in a mountainside cottage and spend
Their days cleaning up the old cabin’s inside.
 
They dream of the day when their Master will come,
The boy who would play with their dials and chrome.
One day Toaster says they should go on a trip
To the city and locate their Master’s new home.
 
They load on an office chair, battery-powered,
With Kirby propelling them over the fields.
They run into animals after a song,
As well as a storm and the power it wields.
 
Through dangers they travel until they are nabbed
By Elmo St. Peters, who’ll harvest their parts.
They trigger a jail break with their fellow tools
And head for the city with all of their hearts.
 
They find the apartment the Master calls home,
But he will soon leave for his school’s freshman year.
His other appliances, jealous of them,
Send Toaster and friends to the dump when they’re near.
 
So close to destruction, they nearly lose hope,
But Master’s in search of a handy device.
He finds them but nearly is killed by a crusher,
Till Toaster saves him with a brave sacrifice.
 
Delighted to have his appliances back,
Nostalgia drives him to repair the old tool.
Again with the Master, they cruise off to college
To service their owner while he is at school.
___________________
 

Coming out soon after The Great Mouse Detective, The Brave Little Toaster was another sign that Disney was gradually improving its animation department, leading to the Disney Renaissance a few years later. With touches of The Incredible Journey, it also is a clear forerunner of 1995’s Toy Story and included some filmmakers, such as Joe Ranft, that went on to success at Pixar. The idea of inanimate objects coming to life when left alone, pining for their owner, and ending up in a dump no doubt inspired the first and third Toy Story films, and the appliances’ retaliation against Elmo St. Peters is similar to the toys’ revenge on Sid, who also cruelly takes them apart.

To be honest, parts of the movie are very juvenile, particularly the encounter with the woodland creatures, and the first song is okay but rather saccharine. Yet the film gets progressively darker as it goes, with the appliances cheating death on several occasions. Plus, the climax is unusually intense considering its lighthearted beginning, and it features a traumatic clown scene that may induce coulrophobia in the young.

The animation is passable, but the voice actors do a tremendous job creating their respective characters, particularly Jon Lovitz as the overly talkative Radio and Thurl Ravenscroft as Kirby the vacuum cleaner. (I kept expecting the latter to say “They’re grrrrrreat!”) All the characters are also surprisingly well-developed, each one (aside from Toaster) being unlikable in their own way but proving their worth by providing a valuable service during the trek. Plus, you’ve got to love all the appliance humor.

The best part for me is definitely the songs. As I said, the first song “City of Light” is good for what it is, but the songs get increasingly ambitious, rising above the music in other kiddie films. My VC loves “It’s a B-Movie,” and I most enjoy “Worthless,” an extremely catchy tune with a brief saxophone solo and some very serious subject matter when you get right down to it. (I know both by heart.) “Cutting Edge” is also quite good, though it dates the film with its boasting of what was high-tech back then.

All in all, The Brave Little Toaster is an excellent kids’ movie in which adults can find plenty to enjoy as well. For kids at heart, like me, it’s a true classic.

Best line: (Radio; it comes out of nowhere so it’s funniest with no explanation) “Why, if we were all wiener dogs, our problems would be solved.”

 
Artistry: 5
Characters/Actors: 8
Entertainment: 7
Visual Effects: 5
Originality: 8
Watchability: 6
 
TOTAL: 39 out of 60
 

Next: #228 – Rocky II

© 2014 S. G. Liput

115 Followers and Counting