Disney Classics - Tumblr Posts
DUMBO (Dir: Ben Sharpsteen, 1941).
Walt Disney’s 4th animated feature is the story of the circus elephant born with oversized ears who uses his disadvantage to his advantage when he discovers his ears enable him to fly.
At 64 minutes it is one of the shortest Disney movies but is a masterclass in storytelling. Not a second of screen time is wasted; in fact its tight narrative and snappy pace make it an advocate for shorter movies!
It is also the most emotionally moving Disney feature. Many a tear has formed in audiences eyes as Dumbo is separated from his mother and ostracised by the other elephants. It is a credit to writers Joe Grant and Dick Huemer that the emotion never descends into false sentiment and there is also much humour to offset the heartache.
The animation too is exemplary, as one incredible animation set piece follows another. Highlights include the shadowy roustabout sequence, the tragicomic disastrous pachyderm pyramid, Dumbo’s inaugural flight and best of all the surrealist Pink Elephants On Parade. The character animation, opting for a more ‘cartoony’ look than in previous features, is also among the studios best as are the beautiful watercolour backgrounds against which the action takes place.
Add to this a fantastic score by Frank Churchill and Oliver Wallace, including the tender Baby Mine and the clever wordplay of When I See An Elephant Fly, and a powerful message of acceptance and the result is one of the greatest movies, animated or otherwise, of all time. In my opinion only rivalled for greatness by Walt Disney’s Pinocchio (B Sharpsteen & Hamilton Luske, 1940). Dumbo is unarguably a masterpiece and a work of art.
For more reviews of vintage Disney classics check out my blog JINGLE BONES MOVIE TIME at the link below!
ALADDIN (Dir: Guy Ritchie, 2019).
Disney raids its back catalogue once again for their latest remake of an animated classic. Released in 1992, Aladdin (Ron Clements and John Musker) is one of the Disney Studios most critically acclaimed and commercially successful movies. With an excellent musical score, groundbreaking animation and a magnificent performance by Robin Williams as The Genie, it is also a difficult act to follow, not least for Will Smith stepping into the winklepickers of Williams.
This version of the Arabian Nights story of the boy who finds a magic lamp and the genie within who will grant him three wishes sticks close to Disney’s previous telling, although adding a further 40 minutes to its runtime. Surprisingly these extra minutes do not feel superfluous. Jasmine and Jafar both gain a little deeper character development and the Genie gets a love interest. Alan Menken, Howard Ashman and Tim Rice’s song score remains mostly intact with the addition of a new number, ‘Speechless’, co-written by Menken with songwriting duo Pasek and Paul.
Brit Guy Richie seemed an unlikely choice of director but acquits himself admirably with his first family friendly musical fantasy. As do the cast; Mena Massoud as Aladdin and Naomi Scott as Jasmine make attractive leads and Smith is reassuringly great as Genie. Thankfully, Disney cast actors who can also sing and the soundtrack is mercifully free of the auto-tuning that has plagued previous features.
What Aladdin lacks in originality it makes up for in spectacle. This is a very good looking movie with lavish song and dance numbers, exciting action sequences and top line special effects. Does it supplant the beloved animated version? Of course not. But it does hold up as a visually stunning, tuneful, wholly entertaining 130 minutes. While perhaps not as essential as its animated predecessor it is still a lot of fun and well worth a watch.
Visit my blog JINGLE BONES MOVIE TIME for more movie reviews! Link below.
LADY AND THE TRAMP (Dir: Clyde Geronimi, Wilfred Jackson & Hamilton Luske, 1955).
The first half of the 1950s was a fairly prolific time for Disney animation. Although production of shorts was dwindling, 1955’s Lady and the Tramp was the fourth feature film released that decade.
The movie draws upon Walt Disney’s love of turn of the century small town America (Disneyland’s loving recreation of the era, Main Street USA, opened the same year) and after Dumbo (Ben Sharpsteen, 1941) is the only other Walt-era animated movie to feature an (almost) contemporary US setting.
The tale of pampered Cocker Spaniel Lady (voiced by Disney regular Barbara Luddy) and street mutt Tramp (Larry Roberts) who fall in love over a plate of spaghetti is a fairly conventional one. However, the novel use of canine protagonists, witty dialogue and inventive scenes, such as the famed pasta-fuelled kiss, lift the familiar story above the mundane.
The artists’ extensive research of real life dogs neatly captures the movement and personality of our furry friends, displaying the most realistic animation in a Disney movie since Bambi (David Hand, 1942).
The first animated feature produced in the new widescreen CinemaScope format, this provided some problems for the artists. With less opportunities for character close-ups and the need to fill otherwise empty space with scenery, the Disney artists created a beautifully detailed, idealised recreation of late Victorian era America. Viewed entirely from a dog’s perspective, the elegant backgrounds and superior character animation combine to make Lady and the Tramp one of Walt Disney’s most visually attractive feature films.
Equally a treat for the ears are a handful of songs co-written by Peggy Lee and Sonny Burke. Lee adds her considerable vocal talent to showstoppers He’s a Tramp and The Siamese Cat Song in one of the greatest Disney musical scores.
Lady and the Tramp is a warm-hearted, intelligent romance with first rate animation, vocal performances and music; a lovely and lovingly crafted jaunt into America’s (idealised) past.
Read the full-length version of this review on my blog JINGLE BONES MOVIE TIME! Link below.
DUMBO (Dir: Tim Burton, 2019).
Being of the opinion that Walt Disney’s Dumbo (Ben Sharpsteen, 1941) is one of the greatest movies ever made, I was not entirely thrilled at the prospect of a remake, in spite of my admiration for director Tim Burton. But, ever the open-minded film enthusiast, I watched it anyways!
Dumbo is, of course, the story of the circus elephant born with oversized ears who silences his naysayers when his ears provide him with the ability of flight.
The first half of Burton’s movie roughly follows the original, while the second half continues Dumbo’s story after the events of the first movie, chronicling his tenure as the star attraction of an early amusement park and a daring rescue attempt of his imprisoned mother.
Predictably it is the first half which suffers most in comparison with the original. While the original movie runs little more than an hour, its basic story is retold here in about 40 minutes. The result of which is the narrative beats all fall a little off the mark. For example, Dumbo’s ability to fly is established within the first 20 minutes of the movie, rather than at the climax. The introduction of an antagonist who is swiftly dispensed with roughly halfway through is also slightly jarring.
Absent are the crows and Timothy Mouse, replaced by elephant wrangler Colin Farrell and his children Nico Parker and Finley Hobbins. The relationship between Dumbo and his only friend Timothy is sorely missed and as a result the emotional core of the movie seems sadly lacking. The tragic-comic original contains both moments of great joy and great sadness, while this Dumbo is content to coast along without reaching such emotional depths.
That said, being a Burton production it looks fabulous and has an appealing cast including a neat turn from Danny DeVito as the circus ringmaster. The Climactic rescue attempt does have some genuine moments of excitement.
By all means watch and enjoy Tim Burton’s Dumbo, especially it’s superior second half. Just don’t expect it to soar to the same thrilling heights as Walt Disney’s masterful original.
Read a longer, more in-depth version of this review on my blog: jinglebonesmovietime.blogspot.com
LADY AND THE TRAMP II: SCAMP’S ADVENTURE (Dir: Darrell Rooney, 2001).
46 years after Walt Disney’s original Lady and the Tramp (Clyde Geronimi, Wilfred Jackson & Hamilton Luske, 1955) comes this belated straight-to-video sequel.
Lady and Tramp’s only son Scamp rebels at life on a leash, runs away from home and hooks up with a gang of tough junkyard dogs. Clashing with gang leader Buster and falling for fetching young pup Angel, Scamp eventually must choose between his family or freedom.
Produced by Walt Disney Television Animation (lately DisneyToon Studios) on a much smaller budget than a Walt Disney Animation Studios feature, resulting in a markedly less polished production than that of its sister studio. The character animation is flat and cartoony, replacing the original movie’s studied realism. The backgrounds, likewise, lack the depth and detail of the first movie, while a homage to Lady and the Tramp’s famous spaghetti sequence and a train dodge scenario lifted from The Aristocats (Wolfgang Reitherman, 1970) are a reminder of how superior those movies are.
Among the cast you may recognise the familiar voices of Disney’s own little mermaid Ariel Jodi Benson as Lady and Hollywood legend Mickey Rooney as Scamp’s pal Sparky. While certainly perfunctory, none of the voice actors make much of an impression. Some serviceable but forgettable songs punctuate the soundtrack, none coming close to Peggy Lee and Sonny Burke’s majestic originals. Here lies the problem with Lady and the Tramp II; it is simply weaker than the first movie in all departments.
In truth, there are worse movies than Lady and the Tramp II. There are probably even worse Disney straight-to-videos sequels. But I honestly do not understand why you would watch this film instead of the masterful original. Lady and the Tramp endures as one of Walt Disney’s greatest animated features. Sadly, this cannot be said about its sequel; a pale imitation of the original and a soulless, artless exercise in exploitation.
A review of the original Lady and the Tramp and a longer, more in-depth review of Lady and the Tramp II can be found on my blog JINGLE BONES MOVIE TIME! Link below.
THE LITTLE MERMAID (Dir: Ron Clements & John Musker, 1989).
Based upon Hans Christian Andersen’s classic tale, The Little Mermaid was Walt Disney Animation’s first fairytale adaptation in three decades. It was their biggest critical and commercial success in years and is credited with starting a renaissance in Disney feature animation.
As I am sure you know, The Little Mermaid is the story of Ariel, the teenage mermaid who trades her voice for a man. Not the most feminist of plots but I don’t think it raised eyebrows back in 1989. Be thankful we are more enlightened now and don’t let it spoil your entertainment. Because The Little Mermaid is very entertaining.
The most cinematic Disney animation to date, thanks to inventive use of ‘camera’ angles; directors Ron Clements and John Musker and the talented Disney artists created a movie which felt simultaneously contemporary and classic Disney. Clichéd as it may sound, there is a sense of magic in The Little Mermaid that had been absent from Disney movies for some time.
As the voice of Ariel, Jodi Benson has the right amount of naive wonder and youthful determination while Pat Carroll’s lends her husky tones to Ursula, one of Disney’s most hissable villains. Comic relief comes in the form of Samuel E Wright as Ariel’s crustacean custodian Sebastian who brings a Caribbean vibe to musical numbers Under the Sea and Kiss the Girl.
Howard Ashman and Alen Menken’s excellent musical score is, arguably, what elevates The Little Mermaid from a good movie to a great one and in the modern Disney era has only ever been matched for greatness by Ashman and Menken’s Beauty and the Beast (Gary Trousdale & Kirk Wise, 1991).
It is unfortunate that in subsequent years the Disney Company chose to market The Little Mermaid, and the ‘princess’ movies in general, almost exclusively to little girls. The appeal of great filmmaking should extend beyond age or gender and The Little Mermaid undoubtedly does; its status as a classic is entirely justified.
Visit my blog JINGLE BONES MOVIE TIME to read a longer more in-depth version of this review and reviews of other Disney classics! Link below.
THE LITTLE MERMAID II: RETURN TO THE SEA (Dir: Jim Kammerud, 2000).
Released 11 years after the original, The Little Mermaid II: Return to the Sea is the first of two sequels to Walt Disney Pictures The Little Mermaid (Ron Clements & John Musker, 1989).
Flipping the events of the first movie, The Little Mermaid II is the story of Melody, the tweenage human daughter of Ariel and Prince Eric. Knowing nothing of her mother’s past and longing to explore the forbidden ocean, Melody strikes a deal with Morgana, the equally villainous sister of sea witch Ursula. With the safety of Melody and the merfolk kingdom of Atlantica at risk, Ariel must ‘return to the Sea’ in a bid to save them.
What drives me to watch a movie like The Little Mermaid II? Let’s say morbid curiosity. Plus the fact that Disney is no longer churning out these straight-to-video cash-ins means I am not supporting their production.
Is it any good? Well, considering its made for the home market origins, this is not a bad looking movie. Produced by Walt Disney Television Animation (latterly DisneyToon Studios), it’s not up to the high standards of a Walt Disney Animation Studios production but it is a step up from usual television fare. Also in its favour is the return of much of the original vocal cast including Jodi Benson as Ariel and Pat Carroll as Morgana.
The returning cast members and the above average visuals suggest that Disney was wary of damaging a popular franchise. However, whatever qualities the movie has are scuppered by some doggedly pedestrian storytelling.
To be fair, I found The Little Mermaid II to be passable entertainment and better than many Disney sequels. Very young viewers, especially those with a penchant for mermaids, should enjoy it. Older children and adults, meanwhile, would do better to stick with the superior original.
Visit my blog JINGLE BONES MOVIE TIME for more reviews of Disney classics and their sequels! Link below.
THE LITTLE MERMAID: ARIEL’S BEGINNING (Dir: Peggy Holmes, 2008).
The third and to date final movie of Disney’s animated Little Mermaid franchise. As its title would suggest Ariel’s Beginning is a prequel to the original The Little Mermaid (Ron Clements & John Musker, 1989).
Following the death of his wife Queen Athena, King Triton bans all music from Atlantica. Ariel and pals set about showing him the error of his ways and returning music and happiness to the kingdom. Yes, the plot really is that silly.
The Little Mermaid: Ariel’s Beginning was to be the last of Disney's animated made for video sequels, a line of movies that began 14 years earlier with Aladdin follow-up The Return of Jafar (Toby Shelton, Tad Stones & Alan Zaslove, 1994). Yet while these movies brought in the big bucks, their lower quality animation and storytelling had a detrimental effect on the public perception of Disney animation, possibly contributing to the disappointing box office returns of the studio’s product in the early 2000s.
Considering its made for video origins, Ariel’s Beginning is a visually pleasing film. Unfortunately the quality does not to extend to the storytelling which is decidedly puerile and aimed squarely at the youngest of mermaid obsessives. The movie also suffers, as do many prequels, from the fact that we know the story’s outcome before it has begun.
Returning as the voice of Ariel is Jodi Benson. While her performance is undoubtedly the movie’s highlight it is a shame that no-one thought to write her any decent new songs. The movie as a whole suffers from an overall lack of original tunes, ironic considering its subject. Sadly, the few that are included are instantly forgettable.
With its impressive visuals and its abysmal storytelling The Little Mermaid: Ariel’s Beginning showcases the best and worst of DisneyToon Studios output simultaneously. I personally found it a chore to watch. The most undemanding of very young mermaid fans may disagree.
A longer version of this review is available to read on my blog jinglebonesmovietime.blogspot.com
THE BLACK CAULDRON (Dir: Ted Berman & Richard Rich, 1985).
Walt Disney Pictures' The Black Cauldron is an ambitious animated fantasy based upon Lloyd Alexander's The Chronicles of Prydain, an acclaimed series of novels with a medieval setting.
With dreams of becoming a great warrior, assistant pig keeper Taran embarks on a quest to rescue his missing porcine ward, Hen Wen. The evil Horned King kidnaps the pig to use her oracular powers to secure a magical black cauldron in order to resurrect a skeletal army. Joining him are Eilonwy (Disney's forgotten princess), minstrel Fflewddur Fflam and the eternally hungry Gurgi, a furry creature of undisclosed origin. The gang must locate the cauldron and destroy it before it falls into the Horned King's hands.
The Black Cauldron had a famously troubled production and was subject to editing by a new studio regime who found it too dark for family audiences.
As might be expected from a film based on a five volume series of books, the movie suffers from an episodic, rambling narrative. The detrimental effect of editing is felt most in the sequence in which the Horned King unleashes his army of skeletal deathless warriors; it is all too brief and feels anti-climatic. The overall pacing of The Black Cauldron feels slightly off, languid at time.
However, those lucky enough to see this on original release in all its 70mm glory were treated to the most visually stunning of all Disney movies in years. The looser, sketchier art which chracterised Disney features of the 1960s and 70s is replaced by a fuller, bolder animation style, recalling the Disney product of earlier decades. The extensive use of the multi-plane camera and effects animation, particularly effective use of light and shadow, giving the film a rich texture and lavish quality.
The Black Cauldron is fresh, experimental and edgy while retaining an old-school Disney feel. Its arresting visuals alone make it worthy of far more recognition than it receives; an underrated movie from an overlooked period in Disney history and one that I believe is long overdue for reassessment.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Black Cauldron! Link below.
ONE HUNDRED AND ONE DALMATIANS (Dir: Wolfgang Reitherman, Hamilton S Luske & Clyde Geronimi, 1961).
Walt Disney's classic animated feature based upon Dodie Smith's novel The Hundred and One Dalmatians.
One Hundred and One Dalmatians tells the story of dalmatians Pongo (Rod Taylor) and Perdita (Cate Bauer), whose 15 puppies are stolen by the evil Cruella de Vil (Betty Lou Gerson). With the help of cohorts Horace and Jasper, Cruella intends to turn these and 84 additional pups into spotty dog skin coats. Utilising the ingenious Twilight Bark dog social network, Pongo and Perdita track their offspring to Cruella's abandoned Hell Hall country estate and embark on a daring rescue.
With it's impressionist background art and loose, stylistic approach to character design ...Dalmatians was Disney's most stylish and contemporary animation to date. Nearly sixty years after release it's highly graphic Mid-century modern stylings are as fresh and appealing as ever. In fact it's difficult to recall any other animated feature with such a dramatic and arresting visual style. In particular, praise must be given to beautiful rendering of early 1960s London; effortlessly capturing the spirit and atmosphere of the city and it's surrounding countryside.
Matching the impressive visuals is an exceptionally well realised screenplay by Bill Peet. One Hundred and One Dalmatians is an expertly crafted thriller, tightly plotted and exciting while remaining lighthearted and extremely witty. It is populated by a fantastic cast of characters, not least Cruella de Vil, possibly the greatest of all Disney villains. Clean-cut canine leads Pongo and Perdita are both heroic and charming and audiences will have no trouble identifying with the parental pooches on their daring quest to rescue the stolen pups.
One Hundred and One Dalmatians easily ranks among the greatest of Walt Disney's many significant achievements. Its beautiful visuals, flawless storytelling, top notch vocal work and fantastic music combine to make ...Dalmatians a masterpiece of movie making.
Check out my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of One Hundred and One Dalmatians! Link below.
THE LION KING (Dir: Roger Allers & Rob Minkoff).
The 1990s Disney Animation renaissance continued with The Lion King, their biggest hit (when adjusted for inflation) to date.
The movie tells the story of young lion and future king Simba (voiced by Jonathan Taylor Thomas as a juvenile and Matthew Broderick as an adult). Simba’s father Mufasa (James Earl Jones) is killed by his brother and Simba’s uncle Scar (Jeremy Irons). Scar leads Simba to be believe he is responsible for Mufasa’s death and goes into hiding. Believing Simba has been killed by Hyenas, Scar takes his place as king of the Pride Lands. However, Simba is rescued by comic relief duo meerkat Timon (Nathan Lane) and warthog Pumbaa (Ernie Sabella). When adult Simba learns of his uncle’s despotic machinations he returns to fight Scar, reclaim his crown and restore order to the Pride Lands.
Majestic seems a fitting word for The Lion King. Recalling earlier classic The Jungle Book (Wolfgang Reitherman, 1967) with its animal cast, particularly in the characterisation of Scar, a upper-crust Disney villain in the Sheer Khan mode. The movie feels both fresh, in its break from the fairytale genre, yet classic Disney with its anthropomorphised animal antics.
It is easily one of the Studio’s most visually appealing features of the 1990s. It’s beautiful backgrounds of African landscapes is the match of the superior character animation. This is highlighted particularly in the opening scene as the African animal populous gathers to welcome the newly born Simba to the Pride Lands. So impressed were the Disney execs by this scene, that it was used wholesale as the movie’s trailer. Happily the rest of the film has no problem in living up to this breathtaking beginning.
With outstanding animation, excellent voice work and a handful of hit songs by Tim Rice and Elton John, The Lion King reigns as one of Disney’s greatest post-Walt animated feature films.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Lion King. Link in bio.
POOH’S HEFFALUMP HALLOWEEN MOVIE (Dir: Saul Andrew Blinkoff & Elliot M. Bour, 2005).
A sequel of sorts to Pooh's Heffalump Movie (Frank Nissen, 2005), the feature which introduced the character of Lumpy the Heffalump to the Pooh universe. As with the previous movie, this one was also animated by DisneyToon Studios, the television production arm of Walt Disney Pictures. Unlike Pooh's Heffalump Movie, which enjoyed a theatrical release, Heffalump Halloween was a made for video effort. The movie is comprised of roughly two thirds new material, the remainder being recycled from the television special Boo to You Too! Winnie the Pooh (Rob LaDuca, 1996).
Once again, Pooh is relegated to co-star status in a film which largely revolves around Roo teaching his best friend Lumpy about the Hundred Acre Wood's 'trick or treat' traditions on the young heffalump's first Halloween. During the course of which Roo attempts to 'unscare' Lumpy by telling him of the Halloween which was almost a Hallo-wasn't due to Piglet's fears of the spooky season. Taken from the earlier special, this noticeably different footage presents us with the awkward narrative conceit of Roo narrating a story in which neither he or Kanga appear, as both were inexplicably absent from the episode.
Narrative issues aside, the film is passable entertainment for the very young; the toothless, yet sweet, confection contains no real frights for even the smallest of viewers. Children will undoubtedly find Lumpy adorable and may even enjoy the handful of forgettable songs. The expected messages about braveness and friendship are hammered home without a hint of subtlety.
There are certainly worse kid's movies out there than Pooh's Heffalump Halloween Movie, but there are much better Pooh movies. The youngest and most undemanding Pooh fans will probably be enchanted by this spooky special. Older children and grownups would be much better served by watching Walt Disney's The Many Adventures of Winnie the Pooh (John Lounsbery & Wolfgang Reitherman, 1977), or by reading the original A. A. Milne stories upon which it based.
♪♫ You can learn a lot of things from the flowers For especially in the month of June There's a wealth of happiness and romance All in the golden afternoon ♫♩ ALICE IN WONDERLAND 1951 — dir. Ben Sharpsteen, Clyde Geronimi, Wilfred Jackson, Hamilton Luske
I had a nice week, so I decided to draw princesses from good old Disney.
(Old Disney >>> Now Disney)
I watched Wish recently, and regarding what people had said, it wasn't bad.
It wasn't good either but it wasn't bad it was... meh.
(Might be spoilers but yeah, if you didn't/don't want to watch it my little analysis won't really interest you)
Now as a Disney and animation fan, I must talk about it because I watched it very late and still manage to bear my own opinion even if no one asked for it so here it is yoohoo
Did I laugh ? Yes two are three times (and no joke, I was the only one cause I'm an easy-laughter); did I smile ? Sure; did I find some music interesting ? Kinda; were the colors pretty ? Yes; the animation for a disney ? Err... m'k.
I get people that like it, there are things that are interesting, it... passes the time, you can show it to toddlers, but yeah, I mostly get people that didn't because I was kinda disappointed. If you take one thing apart from the other, it's quite awful, and when you put it all together it's a "hell no", especially because it's supposed to be the 100th Disney classic. I mean, I get the point of foreshadowing old classics, but some were really messed up like- some characters are just carbon copies of old design ? Asha's best friend is Snow white if she was a disabled four-eyed girl, the tired guy looks like the rich guy in Big Hero 6 and Bambi ? Little John ?? Can't you do that any clearer, we're fucking blind here.... I mean, ok I laughed when I heard that but I don't count I'm an easy laughter, wtf was that, like- I couldn't help but look at my brother like "did you see the same shit I just saw ? And you forced me to come and pay for that ?" and I was mostly laughing out of embarrassment because I WAS ALONE GIGGLING TEARS OF WTF-NESS
Some things were cool I guess, like the mirror effects when Magnifico sings I think ? And at the end when he elsa'd his castle to take the star. The Jafar effect wasn't bad either, but because it's Jafar effect and Jafar is a fucking badass, same with Elsa-ying the castle, because this scene in frozen was very cool
I felt bad at first but I must say, the songs are very disappointing. Like I wasn't expecting much, and it sure stuck in the head easily but that doesn't mean it's nice. The ones I appreciated were the song about the wishes (the clip is pretty) and maybe the revolution song (but the clip was urgh and why the hell they look so lifeless ???) I get why people said it was made by AI lol
In terms of character, except the Queen and grandpa, I didn't like any of them. Like usually I can't hate or dislike a Disney character, but here ? None of them was fine to me. Actually, I felt nothing from them. The villain was erh... basic I guess, he could be nice like the woman in The Rescuers but no he was, well basic "I'm perfect they should be grateful but they are not so let's become an asshole !" So yeah. Disappointed. He was a better villain than Hans, tho, maybe because Hans wasn't supposed to be a villain at first and that Magnifico was like Jafar, Evil Queen and Scar had a baby. Also, it seems to me like they didn't have a few or any -like ANY- personality, like- I CALLED THE TREASON OUT THE MOMENT I SAW THE LIFELESS BIG BOY COMON'
Now, I'm coming to people saying all the kids love it and I'm too old for that: no. No, I'm not too old for that, Disney is for everyone. No, not all the kids will love it, kids get easily bored, and this movie isn't very attractive. I bet if I show this to my nieces and nephews and siblings, they wouldn't care less - and they already don't very much care about movies in general when you put one for them. There were at least four kids in the theater and none laughed, or sounded interested, one preferred to play on his daddy's phone ??? well, I know all kids aren't like that, but really, this movie wasn't made to content the kids, it was made to content the fans clearly, that is why the movie isn't good.
Anyways, if you enjoyed it good for you ! The colors are pretty and the technic used is interesting, the chara design of Asha and the Queen are pretty, I can't say anything for the rest, tho, because the bg design is just resuming the old (and new *cough* encanto *cough*) classics anyway, but less good at guess... but really, if you like it, good for you, and say why, so I don't have a bad souvenir of it forever lol
I love this part