#but by musical/disney/kids movie standards ITS SO GOOD the music is stuck in my head to this DAY

[animatedminds]

Pixar’s Soul: Review and Reaction

The first sentence I’ve always used to describe Pete Docter and Pixar’s Soul since watching it has nothing to do with the plot. It’s instead is a starstruck comment about the music: the movie begins with a cover of a Duke Ellington classic - Mercer Ellington’s “Things Ain’t What they Used to Be.” It ends with a jazz rendition of a classic from several decades later - but still quite a bit in our past - Curtis Mayfield’s soul classic “It’s Alright.” On a personal level, this would say way more about Soul that most other descriptions of it might to get me to watch it - were I not the kind of person who was absolutely intent on watching the movie day one regardless. Though I am myself a few generations after either of those artists were around, their music has been a part of my life since I was a kid and are essential on any playlist in my opinion. Curtis Mayfield’s music, especially, deserves all the love in the world, and hearing by surprise someone cover his work in a Disney movie made my entire day - and it would have, even if the film weren’t the meaningful ride it is.

But before we get into all that, lets also look at those songs. “Things Aren’t What They Used To Be” is played a la a teacher and a higher school band class: the students are learning and a bit difficult to listen to, while the music-loving teacher cringes at the front. But the choice of song tells us a lot. It’s a jazz standard: which means when it comes to jazz, it’s one of the essentials - a tune every band learns to play, and every jazz fan has heard before. The teacher is a jazzman - you can probably guess who - and the whole time he’s listening to the song you can hear him wanting to sit down and make it sound as perfectly as he hears it in his head. Remember that analogy. Heck, when you watch or rewatch the movie, remember the mindset Joe - because that’s who that teacher is, Joe Gardner, is in for that whole teaching scene in the first place: and remember how important the desire to make things perfect is to the greater story the movie is trying to tell.

“Things Aren’t The Way They Used To Be,” indeed. By the end, you have to wonder: isn’t that the point? Now the second song. “It’s All Right” is a smooth number for dancing to - not frenetic and wild dancing, but more a slow jam sort of vibe. BUt it’s the lyrics that are the most befitting the themes of the movie. Like several of Curtis Mayfield’s tunes “It’s All Right” is an ear worm of an R&B number that’s actually about being a peace with yourself. “You’ve got soul” - ha, I get it - “and everybody knows, that it’s all right.” Or, to quote instead my favorite verse of the song (I did say Mayfield was one of my favorites): “when you wake up early in the morning feeling sad like so many of us do, hum a little soul, make life your goal, and surely something’s gonna come to you.” This is before the spoilery part of the review, but they could not have picked a better song for the movie’s themes if they wrote it themselves.

Soul, after all, is ultimately a movie about how the things we do, the things we love, even the things that define us and should make us feel good in and of themselves, can become a shackle that prevents us from feeling the things that we adopt them to feel. Dreams - especially dreams deferred - can consume us rather than uplift us, and sometimes in pursuing them we may forget to live, and forget that others are living in this world and dreaming alongside us.

This, as you might be able to tell from the way I’ve described it, is a movie with a very strong, and most importantly very well related message that - as we’ve come to expect from Pixar’s output at this point - touches us in our jaded adult hearts. As a creative person with lofty dreams who has almost literally been where the protagonist is in this film - and as many in my generation also have gone through - it definitely feels like a film that was directed straight at the generation that first watched Toy Story as kids decades ago, and now feel somewhat unfulfilled as adults going into the world. Same as Inside Out (a movie specifically designed to make adults cry, in my opinion), the SparkShorts and arguably Onward (I definitely related to Bailey, some). So much like my review of Jingle Jangle, you have something of an idea where this review is going to go before the jump, but that’s okay. This movie did have ups and downs, but its just the kind of up Pixar is good at: they know they’re audience, and especially did for this gem. By the end, it can definitely make you feel as though you too can make it through, as long as you have a little Soul. However, it is not just the message, but the nuances and skill in which they relate that message (and they do come close to making decisions that could have ruined it, at times), which means it’s very difficult for me to put why this movie works into a review without SPOILERS. If you want to avoid SPOILERS, don’t hop over the pic and instead treat the above as your non-SPOILER review.

Soul is the story of one Joe Gardner, played by Jamie Foxx a brilliant early middle-aged pianist with lifelong dreams of becoming a jazz musician, who we first meet teaching part time band at a local high school. The inciting incident is an interesting choice: Joe gets a major offer - he can come on as a full time teacher, making his occupation a career! But Joe believes very much in the adage that “those who cannot do, teach” - in the sense that he wants to do. He cannot accept the position - over the advice of his mother - because that would mean giving up on his dream of being out there playing music for a living: a dream that has consumed him his entire life but which has given him nothing in return. Until now. While agonizing over the decision to take the position, Joe's life then gets a big twist: a former student of his, remembering him fondly years after they knew each other, has a hook for him to join the band of a famous jazz singer and saxophonist - played by Angela Basset (side note, here: jazz has long had a reputation for being something of a boys club, especially for certain instruments, and the choice to have the lead saxophonist and famous idol whose band Joe wants to join be a woman is a great choice that my entire jazz-loving and living family took note of). Joe is instantly elated - he rushes over and naturally aces the audition for the part in the band, and so is on cloud nine...

Until he dies. That’s when the plot really starts. Joe falls down a manhole like an astronomer in an aesop fable, and is now stuck on the slow escalator to The Great Beyond. Naturally, he’s not for that and tries to escape - pursued by overeager spiritual soul-accountant Terry - ending up in the Great Before instead, and leaving his body in a still-living coma (the implications that coma patients in general are people who are choosing not to die when they’re “supposed” to is something I’m sure the writers didn’t intend, so I’ll let it slide). There, Joe is pressganged into mentoring a pre-prepared soul for birth, helping them find their Spark for life - which Joe interprets as the one true purpose and dream they are meant to fulfill. Once he gets them their Spark, he will be able to steal a badge his mentee earns as fully fledged souls and . Luckily for his intended very morally suspect intent on spiritual larceny, he ends up with Soul #22 - and that’s #22 out of hundreds of billions - a soul who has simply never found a Spark despite having been in the Great Before for thousands of years. #22 doesn’t want to live, so she agrees to give him her patch when they’re done. But no mentor before has been able to inspire her (well, technically #22 is genderless, as she demonstrates in the story at Joe’s request, but she is voiced by Tina Fey), so how can Joe? When that proves to be too hard indeed, #22 instead decides to help Joe get back - mostly because she’s intrigued at why anyone would want to cling to life so badly - with the help of some mystics who astral project while in the Zone: where everyone goes when they’re fully immersed in what they do. This almost works, but at the last second everything goes awry: #22 gets mixed up with Joe when he returns, and so he doesn’t quite get back the way he wants to...

That’s enough plot summary for now. That’s all just the set-up anyway, for the choices in writing and concept that I’m about to talk about. As you might have been able to tell from that ominous last note, the middle chunk of Soul - almost right up until the climax, in fact - is actually a body-swap movie, a la Freaky Friday. #22 ends up in Joe’s body, so he has to get her to do the things he needs to get ready for his gig and get through the day while they wait for the mystic to bring a way to set everything right. And did I mention he’s in the body of a cat? Having been following the movie, this wasn’t entirely a surprise, but it was still not something I was entirely ready for coming in. I tend to shy away from that kind of story on a personal level, as body-swap narratives are nearly predominantly based on cringe moments and awkward misconceptions - and that sort of thing usually tends to make me want to leave the scene in question and get a cup of water until after the awkwardness passes. However, this isn’t really part of the review in the sense that I perceive that the movie being in that genre is a flaw - because ultimately that’s just an aspect of my personal taste. Rather, I use it to show just how strong a movie Soul was and how well its narrative choices resonated with its themes that ultimately while it did indeed partake in your typical body-swap narrative cringe moments - “look, the [redacted] in Joe’s body just ran into his boss / mom!” / “look, the [redacted] is having a bizarre conversation with Joe’s friends!” / etc - those moments actually add to the narrative rather than take you out of it. Joe as “friends,” as exemplified by the barber he goes to to get his hair ready for the gig when it inevitably gets ruined in a bout of hijinks (the barber being that extremely well-designed bearded character the internet went wild over). He goes to that barber all the time, talks with him constantly, and believes he knows him well. But it turns out that Joe’s so wrapped up in his wants and desires that he’s never even asked him about his life - he just assumed that the barber was like him, born to do that one thing he was good at. It takes #22′s innocent, slightly off-kilter and occasional philosophical questions about what the heck all this “life” stuff is about for Joe to learn that this person in his life didn’t even want to be where he ended up initially, he ended up there because that’s the way his life turned, but he loves it because it’s life and he appreciates the world he’s come to create around himself. Likewise, he runs into his mom, but while Joe has come to expect his mother to be dismissive of him and his dreams, it takes an accident with #22 for him to realize that he’s been so caught up in his desires and her in her preconceptions that neither of them have ever had a real talk about their relationship, nor given a chance to grow in each other’s eyes. You might notice a trend. One of Joe’s students - a brilliant trombonist - comes to tell him she’s quitting band, but she doesn’t really. She’s just insecure because the other students make fun of her. Joe knows this already - it’s become commonplace to him - so the doesn’t feel the need to do anything about it and instead focuses on his own needs. But #22 decides to talk to her on a whim, and this push and pull of insecurity but joy in what one is good at fascinates her, while it bores Joe. While - like any other New Yorker - public transit is a chore to Joe, the melting pot of people and music draws #22 in: best evidenced by the moment where Joe and #22 meet another great musician playing for tips in the subway. Joe, despite being capable of relating as a musician, just walks past him after appreciating the sound for a sec, while #22, entranced by the things people do, leaves something for him. The world is drab and lacking in vibrancy from Joe’s point of view, as evidenced by the very accurate grimy look of the high school he work at - but from #22′s seemingly jaded eyes seeing it for the first time, it’s full of wonder.

This actually creates an interesting character contrast on top of the one we already know: Joe is the idealist, and #22 is the cynic... right? Well, it turns out Joe doesn’t have much of an appreciation for the world around him - not intentionally, but still to a very strong degree - whereas #22 simply hasn’t had the chance to experience life yet and thus never knew what it was that made people want to be part of it. Life itself becomes her Spark, though neither of them realize it at the time. Lets just get the aesop out of the way now. Your dream is not your life: that’s what Soul wants to say. Things that compel you as a person may consume you, even embitter you, and prevent you from seeing the world around you for what it is. But that doesn’t make dreams a bad thing: people everywhere find that Spark from the dreams to keep moving forward - it’s just that it shouldn’t preclude living, nor should living preclude your dreams. Life is a delicate balance, and man is this movie serving up some complicated life lessons here. I immediately took this as a far more mature take on the message The Princess and the Frog stumbled somewhat through years ago (man, I’m turning out to be pretty hard on that movie in this blog). My biggest issue with PATF is that it tells us that Tiana should be less intent on her dream and find love instead, but doesn’t show us. It’s just characters chiding her for not settling down until the plot ultimately pushes a man in front of her and she realizes she should’ve been finding one all along. That’s a very harsh way of putting it, but it condenses what I’m trying to say: ultimately PATF pushes Tiana to realizations she doesn’t seem to need, whereas Soul has a similar message about life and does so by focusing on character development, about how the protagonist doesn’t have as firm a handle on his life as he thought, and thus brings us a take on the lesson that’s far less cut and dry.

If you’re a fan of The Incredibles, the comparison to Mr. Incredible is fairly easy. Joe, though well meaning and decent overall, is a very self-centered person who happens to be so for very sympathetic and relatable reasons. He just wants to do the thing he feels he was born to. He'll do anything to get back to life and do that thing, even for a single night. He’s consumed by this desire so much that he's oblivious to the people around him, unable to connect to the people he loves, and unable to find joy in anything but his dream. And man, as a young writer who knows in their heart of hearts they can do great things and feels pain at the idea of not doing so, that hits different let me tell you.

The lessons Joe learns from #22 even stick. It turns out that part of what caused Joe’s dream to fail all those time was because of that lack of connection with life. He never presented himself in a way that got people to take notice of him, he never pushed for that position he wanted even though people said no, he never made himself and his life so vibrant that he glowed in the eyes of others (and again, that hits different). That’s maybe the most simplistic message of the bunch, but as a person in the creative field it’s true that sometimes being the smartest person in the room isn’t enough: it’s making himself shine that ultimately clinches Joe the gig even after he almost lost it thanks to the day’s shenanigans.

But in the end, it doesn’t feel like he thought he would.

Remember when I said there are parts where the movie comes perilously close to kiboshing its message? That moment is one, it’s the one. Not that that moment is bad - far from it, it’s the best moment in the entire movie (and you can fight me on that if you want to). It’s because it’s the crossroads, the pin, the core of the entire film: depending on the choice they made after that point, that moment could have either been the best moment in the entire movie, or the moment that toppled everything.

The realization of Joe’s dream doesn’t feel like the explosion of confetti and catharsis that he expected. It was just another moment of his life, a great one, but it’s still just part of his life. So what does Joe do? Does he panic? Does he keep going until it feels good? Does he - as he would in a lesser movie trying to give a cookie cutter aesop - immediately quit and realize he should’ve been teaching all along? No, he does none of those things. He absorbs the moment. He realizes that at the end of the dream you’re still just living life, and that you have to appreciate that. Joe isn’t wrong for pursuit of his dream. He’s not wrong for believing that hopes and dreams make life so much more worthwhile. He’s wrong in thinking that those dreams are all that define us, and that their realization is all that makes people themselves worthwhile at all.

And in the end - though I may be getting a bit too referential for this - the unexamined life is just so much less fulfilling than the alternative.

And all that a message and a half! It hits different. It’s mature as all heck. It’s something people my age (especially in my generation), twice my age, half my age never learn. It’s a callsign that sometimes Pixar is still make movies for the people who were kids way back when Toy Story was released, and are now insecure adults wondering why the world isn’t as wonderful as they saw on the screen. It’s brilliant. I said before that Joe interprets the “Spark” to be one’s purpose in life. The one thing that makes them who they are, that they are on the planet to do. He is wrong, absolutely and utterly. And in that misconception, when #22 finally does get their Spark just from being on Earth and seeing what its life, he accuses them of leeching self-actualization over his own personal ambitions, fully believing that they didn’t find a “purpose" on her own, but just copied his. But the Spark, as it turns out, is just the joy of living, the thing that makes people want to live. It can come from a dream, or just from watching the beauty of the sun set over a leaf drifting in the wind. Only in understanding this can Joe finally understand what he’s been missing in life, only then can he reconcile with #22 and help her finally be born, only then can he walk into the world and know how he’s going to live it.

We never find out what Joe decides, whether he goes back to teaching, or continues with the band. The choice is open to him, but we never find out which one he takes - another choice that keeps the aesop from falling apart. The point of all of that wasn’t that Joe has to do one thing or another to be happy, it was that Joe needs to be happy and secure in himself before he chooses what his life should be. Either of those could make him happy. Neither of those could. But now he’s in a much better place to see it, and do what he can.

We also never find out what #22 is like when she (or he, etc) is born. The two of them never meet past the point where #22 goes to Earth. Their time together has passed, and #22′s life is now their own. And that’s a great choice either. I’ve seen the occasional person feel that the choice made in this paragraph or noted in the previous one made the story confusing, but they’re ultimately what make the story what it is. The answer isn’t the necessity of resolution, its the reaffirmation of the journey. It reminds me somewhat of Wreck-It Ralph (an example of the main Disney Studio delivering a complex aesop, rather Pixar delivering them all), where being a villain wasn’t Ralph’s problem - it was that he wasn’t happy doing the thing he loved. You have to live, from living you will learn, and from learning you will do. The sheer incredible execution of this message (as you may have guessed, it’s a fairly difficult one to relay adequately in a film narrative, and the movie goes non-traditional in conclusion to maintain it) would have made this film a recommend for me even if it wasn't also beautifully animated, very well acted, funny (there’s a Knicks joke that floored me), heartwarming and relatable. But it’s also all of those things, so I have to recommend it twice as much. It is, regrettably, another movie with a black lead where the lead spends most of it transfigured into a form that’s not a black person (a soul, and then a cat), and I’ve already seen some grumbling that instead for much of it a character explicitly coded as a white woman is in his body instead, but I perceive that as an issue that’s endemic to the industry than a fault in this movie specifically. Everyone does that, but this is the only movie I’ve seen where doing that is an essential part of how the narrative develops the characters (Joe has to not be himself in order to understand his life from an outside perspective, a la Scrooge as a ghost watching his own history), and so I don’t scorn the movie for it. I, however, would very much like Hollywood to start doing that less, and - hey - as a prospective writer that’s one of those things I plan to do my part to combat. This movie, however, gets a pass in my book in ways that the general usage of this concept does not. In short, you should see it. If you get the chance to see it right now, you should take it to feel good at the end of this incredibly insane year. If you don’t want to have to sign up for Disney+ to see it now, I get you and understand, but if you get a chance to see it later do not pass it up. It’s one of the few movies I’ve watched that are an instant buy when it becomes available on digital - and the last time a movie did that for me was BlacKKKlansman. Whatever you choose to do, do it well. Keep the spirit alive, always keep searching for the real you - because it’s not always easy to find, but it’s worth looking for - and always remember that you could always have a little soul.

[liskantope]

Some brief (and sometimes not-so-brief) reactions to major Disney films 1937-1967

Around a month ago I made a temporary switch from Netflix to Disney+ with the goal of watching all major Disney movies in order, roughly paced so that one year of Disney film-making equals one day of real life. I should clarify here that by “major Disney movies” I mean mostly just all the animated ones plus a few hybrid live-action/animated ones, and a few of the most popular live-action ones (at least the ones I remember having a song considered good enough to feature on one of the Disney Sing-Along videos, a staple of my video-watching as a kid growing up in the 90′s). I would have been interested to see Song of the South, which I’ve never seen in its entirety, but it’s not included on Disney+ for fairly obvious reasons. As I get further into modern Disney, I’ll probably skip over most of the sequels and other features I strongly expect not to like (with the exception of Belle’s Magical World, which is said to be so legendarily bad that I just have to see what the fuss is about).

This time range of three decades happens to include more or less exactly those Disney productions that Walt Disney himself took a major role in (he died shortly before the final version of Jungle Book was finished). I’d like to do this again in another month, when I will have gotten up through the late 90′s, but honestly this post wound up way longer than I was imagining and took several more hours than I expected (or could really afford), so I’m not promising myself or anyone else that.

Looking at Wikipedia’s list of Disney productions, I’m a little taken aback at what a low percentage of these are animated features, which to me form the backbone of that company’s legacy; visually scanning the list makes the line of animated films look shorter than I had always imagined, but really what this is showing is that Disney produced far more live-action movies than I ever knew about, including (and perhaps especially!) in its early days. Right now I’m continuing on through the 70′s films, but this set of mini-reviews represents the first month of watching and three decades of Disney magic.

Snow White and the Seven Dwarfs, 1937

This is the full-length feature that began them all and which had the burden of defying contemporary skepticism that a full-length animated feature could be taken seriously at all. We are already far beyond the earliest days of animation and have progressed lightyears beyond the quality of “Steamboat Willie”; throughout the film I marveled at the sophistication of the animation with a newfound appreciation of how groundbreaking a lot of the sequences must have been.

I know I watched this at least a couple of times in childhood and I think once when I was a bit older, but even that was long ago.

Snow White is based on one of the simpler classic fairy tales, and the writers had to come up with ways to flesh out this very short story enough to occupy well over an hour. This was done not by exploring the character of Snow White or the Queen or even filling in extra plot details (the fate of the hunter is never addressed) but by spending a lot of time on the dwarfs. The detail spent on individuating them took a lot of work from the animators, but I think their efforts paid off. I can’t say the same about the attention paid to Snow White or the Queen (pretty much the only remaining characters). Snow White has an almost entirely flat personality, with no sense of curiosity or concern whatsoever about the Queen’s designs to have her killed, just having literally only one goal in mind: to marry this Prince who she’d only seen for about two minutes and run away from out of shyness. (This is of course a trend we’ll see with Disney princesses for a long time.) The Queen similarly only has the goal of being “the fairest in the land”. Something about the particular harshness of her voice strikes me as The Quintessential 1930′s Female Villain Voice (“I’ll crush their bones!”), whatever that means -- maybe I got my idea of what this should be from the movie Snow White in the first place.

I still think “Heigh Ho” (which I’ve known well since early childhood) is an excellent song in its utter simplicity, especially when complimented with the “Dig Dig Dig” song (which I did not remember at all until a few years ago when a Tumblr mutual posted the excerpt containing it!). I’m not enormously fond of “One Day My Prince Will Come”, although I did enjoy playing it on the violin at a couple of gigs with one of my musician friends back during grad school -- I was convinced then, and up until watching Snow White just now, that it belonged to Cinderella.

Pinocchio, 1940

This was a favorite movie of mine in earlier childhood; we owned the VHS and I watched it a lot. As a child, I had no sense of one Disney movie coming from a much earlier time than another one; it was only much more recently in life that I understood that Pinocchio really comes from all the way back eight decades ago. Pinocchio taught me the meaning of “conscience” (both in the dictionary sense and in a deeper sense), and it shaped my notion of what fairies may look like -- for instance, my mental picture of the Tooth Fairy, back when I believed in her, was inspired by the Blue Fairy in Pinocchio.

It’s amazing just how much the quality of Disney animated features improved from the first one to this one, the second. It helps that both the story and the characters are far more complex than those of Snow White. The plot from the original book (which I’ve read in Italian and English) was more complex still, of course. There is one gaping hole where it’s never explained how Gepetto somehow found himself in the belly of a whale (I don’t remember whether or how this is explained in the book), but I’ll forgive that.

It’s interesting to see the 1940′s caricature of “bad (early teenage?) boy” shown in the animation and voice of Lampwick. Phantom Strider talks about the turning-into-donkeys scene as a notoriously dark scene for adults who didn’t find it as terrifying when they were children -- count me in as one of those adults! It’s especially terrifying to see the whole mass of boys-turned-donkeys being treated as slaves in the hellhole known as Pleasure Island and realizing that this is never going to be resolved in the movie -- it’s rather unusual in Disney stories for some great evil to be left unresolved with no recompense even for the chief villain. In fact, Pinocchio is pretty much the only Disney story I can think of where the worst villain doesn’t meet some kind of dire fate. Really, the range of Pinocchio’s view is much narrower: it’s just the coming-of-age story of one puppet in his quest for Real Boyhood. (And yes, I still giggle at how intricutely Jordan Peterson analyzes particular scenes from the movie to support his beliefs about neo-Marxism or whatever.)

Disney+ heads many of the descriptions of the older movies with “This program is presented as originally created. It may contain outdated cultural depictions.” I’m a little surprised they don’t do this with Pinocchio, given what appears to me a rather derogatory depiction of Gypsies.

“When You Wish Upon a Star” has become a timeless hit, for good reason. And I still find “Hi Diddle Dee Dee” extremely catchy.

Fantasia, 1940

I saw this one multiple times growing up (for earlier viewings, I was not allowed to see the final number “Night on Bald Mountain”). My mom, for her part, saw this in theaters at the age of around 4 (even though it originally came out long before she was born) and thought for years afterwards that there was no such film in real life and her memory of seeing it had been just a pleasant dream.

I have nothing much more to say about this one except that, representing a very different approach from most animated films, Disney or otherwise, 1940′s or otherwise, it succeeded exquisitely. The “Sorcerer’s Apprentice” number was particularly perfection; it was as though the composer originally had every motion of the story in mind when writing the music. At the same time, having the main character appear in the form of Mickey Mouse in some way seems to cheapen the effect.

The Reluctant Dragon, 1941

I watched this for the first time, not having known it existed. There isn’t really much to say. All that stuck in my mind was one of the shorts, “Baby Weem” (amusing in a disturbing way), and the longer segment which gives the movie its title (also amusing, in a different kind of disturbing way). It was especially interesting to see a 1940′s cartoon portrayal of a very effeminate man, or should I say, male dragon.

Dumbo, 1941

I saw this maybe two or three times growing up, and not in very early childhood. It was never one of my favorites. Later on, I learned that it was done very low-budget to make up for major financial losses in the Disney franchise. This definitely shows in the animation. However, if there’s one thing I can say in praise of Dumbo, it’s that it’s incredibly daring in its simplicity, not only to have such elegantly simple animation but in having a mute title character (instead the main “talker” in the film is the title character’s best friend, who had much more of a New York accent than I’d remembered).

In some ways I find this film incredibly cold and dark by Disney standards, for reasons I can’t entirely explain, and I remember feeling this way even on earlier watchings when I was much younger. The stark cruelty of the humans running the circus, as well as the elephants other than Dumbo and his mother, just really gets to me. (I vividly mis-remembered one of the lines I found most memorable in childhood as “From now on, Dumbo is no longer one of us.” The actual line is, “From now on, [Dumbo] is no longer an elephant”, which in a way, is even more chilling.) In this regard, there was no need to make a modern, woker remake of Dumbo containing an explicit anti-animal-exploitation message -- the 1941 version conveys this message loud and clear. Now that I’m writing this, I suppose it could be argued that this is another instance of what I described under “Pinocchio” of leaving a major evil unresolved in a Disney film. And apart from that, while the ending for Dumbo is meant to be a very happy one, as an adult I find it incredibly naive: Dumbo is now super internationally famous for his extraordinary gift and is entering the life of a child celebrity, and it’s just going to be smooth sailing from now on? I hate to say it, Dumbo, but your troubles are only just beginning. (I was glad to see Dumbo reunited with his mother in the last scene, however, which I hadn’t remembered happening at all.)

“Look Out For Mr. Stork” is a skillfully-written song I’d completely forgotten about for two decades or so but remember knowing well when I was young. I still think “When I See an Elephant Fly” is a fantastic song, especially with all its reprises at the end -- I’d had some bits of it confused in my memory but had kept the main chorus with me over all the years. Now it’s widely decried as racist, or at least the characters who sing it are decried as racist caricatures. For whatever my opinion is worth, I’m inclined to disagree with this, in particular on the grounds that the crows seem to be the most intelligent, witty, and self-possessed characters in the movie. I’m also pretty sure I heard critical things about it over the years which are false. For one thing, not all of the crows are played by white actors -- only the lead crow is, while the rest of the voices are members of a black musical group called the Hall Johnson Choir. Also, I’m not clear that the lead crow was actually named Jim Crow by the time the movie came out (no name is given in the movie itself). Now an earlier, much more forgettable song featuring black men singing about how they like to work all day and they throw their pay away... yeah that seems awfully racist.

Bambi, 1942

I have surprisingly little to say about this one -- it’s just very distinct from other Disney films of the time, in its story’s lack of magical elements, its characters all being animals and animated in to realistically model animals’ movements, its lack of musical numbers, and its plot reaching the same level of simplicity as that of Snow White. Not to mention actually having a benevolent character die, which I don’t think had been done up to that point. I remember watching this a couple of times as a kid; I was never terribly eager to watch it again and I feel the same way now, despite having majestic beauty that I can really appreciate.

The Adventures of Ichabod and Mr. Toad, 1949

This is the first of Disney’s animated features that I never had seen before. What a strange movie, or should I say, two smaller, unrelated movies rolled into one. I liked Mr. Toad’s half better than Ichabod’s half, or at least I found it more entertaining. I was brought up with the book The Wind in the Willows and recall seeing a non-Disney animated rendition of it (which was better and somewhat more thorough than this half-movie-length rendition). I was kind of excited when the “The Merrily Song” started because it unlocked a song from my early-childhood memory that I’d forgotten about for more than twenty years but knew from one of the Disney Sing-Along videos. I still think it’s a not half bad song, especially with the harmony.

The Ichabod story was not at all what I expected, not being familiar with the original book version (I had always assumed that Ichabod must be the name of a villain). I found it completely boring until the final horror sequence. As a child I would have found the courtship part even more boring (at least now I can muse on how man-woman courtship dynamics were shown in the late 40′s), and I would have found the horror part at the end very scary (in fact, maybe this is the reason my parents never showed the movie to me). It is a little shocking in being the only Disney story I’ve seen so far with a decidedly unhappy ending.

Cinderella, 1950

This one I only ever saw once or twice as a child. This is not counting a very vivid memory I have from around age 6 or 7 when I was watching a part of it over at another family’s house and their child, who was almost my age and nonverbal autistic, rewound and repeated the same 2-minute sequence involving the mice for probably about an hour (I was impressed because I at the time didn’t know how to work the controls of a video player).

I suppose this could be considered the second in the main trifecta of the most conservative fairy tale princess stories that Disney did in the earlier part of its history. I think one can argue that Cinderella has the strongest and most fleshed-out character out of those three princesses. I like the spirited internal strength she reveals in her very first scene. That said, like the other earlier princesses, she seems to have one singular goal in life, and that is to find her true love, not, say, to escape her abusive stepmother and stepsisters.

My reaction to this movie is overall positive. The mice were fun (I also like how their voices seemed a lot more like how mice “should” talk than in most other Disney cartoons); the dynamic between Cinderella and her evil relatives, and the dynamic between the stepmother and stepsisters themselves, was shown in a rounded way; and the fairy godmother is a great character despite having only one scene. The character of the king is pretty odd (very selfish yet his main dream is of getting to play with his future grandchildren) while not especially memorable or well fleshed out. There are certainly some great classic songs in this one -- not the most stellar that Disney has ever produced, but solid.

Alice in Wonderland, 1951

I was curious about what I would think of this one, since we owned the video of this at my home growing up and I watched it many times during childhood but as I got older I fell in love with the original Lewis Carroll books which, together, I often consider my favorite work of written fiction ever. I had not seen the Disney film Alice in Wonderland for around two decades, although I made the mistake of catching parts of more modern, live-action adaptations of the story more recently. I wondered what I would make of the old animated Disney adaptation after getting to know the books so well.

There is simply no way that any movie can recreate the true flavor of the books, but Disney’s Alice in Wonderland does a fine job of creating the general nonsensical, sometimes bewildering dream atmosphere, and, perhaps more importantly, capturing the essence of Alice’s personality. I give a lot of credit to Katherine Beaumont for this -- she has the major girl’s role in the next movie on this list as well, but she especially shines as Alice. Two other very distinctive voices, Ed Wynn as the Mad Hatter and Sterling Holloway as the Cheshire Cat, also add a lot to the cast of characters.

While mixing around some of the scenes of the original book Alice in Wonderland, with some scenes of Alice Through the Looking Glass inserted, the progression of the plot is a long, dreamlike sequence of strange situations with only a few common threads, true to the original first book (Looking Glass had a little, but only a little, more structure). In the movie, everything breaks down at the end with many of the previous scenes and characters swirling together and Alice frantically trying to wake herself up. One could object that this is not how the dream ends in the book Alice in Wonderland, but there is a similar sort of breakdown at the end of the dream in Looking Glass and it feels very real somehow, as in my experience this is sometimes how vivid dreams disintegrate.

Oh, and did you know that Alice in Wonderland has a greater number of songs in it than any other Disney film? There are nearly 25 that made it into the film, even if lasting just for seconds, with a around 10 more written for the film that didn’t make it.

So, does the Disney film do a good job of conveying one of my favorite books of all time, within the confines of being a children’s animated film? I would say yes. For reasons I described above, and from the fact that it manages to avoid working in a moral lesson for Alice, or depicting Alice as a young adult, or manufacturing an affair between Alice and the Hatter (ugh), like some film adaptations, I would say that this classic Disney version is the best Alice in Wonderland adaptation that I know of.

Peter Pan, 1953

Although I never knew this one super well, this movie has a special place in my heart from the way the flying sequence enchanted me in early childhood. I have to differ with the YouTuber Phantom Strider when he dismisses the 40′s/50′s-style song “You Can Fly” as just not doing it for him, because that song along with the animation of the characters’ journey to Neverland had a major hand in shaping my early-childhood sense of magic and wonder and yearning. I distinctly remembering a time, around age 6, when I just didn’t see much point in watching other Disney movies, or movies at all, which didn’t have flying in them, because what could possibly top the sheer joy and freedom of feeling able to swim through the air? I’ve had hardly any exposure to Superman, and so the kind of bodily flight I imagined in fantasy or performed in dreams was almost entirely shaped by Peter Pan. (At the same time, the crocodile in Peter Pan influenced my nightmares at the same age.)

I only ever saw this one a few times, but I distinctly remember the most recent of them being when I was a teenager, perhaps even an older teenager, and I remember thinking at the time that it was a pretty darn solid Disney movie. I still think the same now, while granting that some aspects of the movie seem a little antiquated and certain sequences with the Native Americans are quite cringe-worthy from the point of view of modern sensibilities. Only a couple years ago, when visiting my parents’ house, I finally took down the book Peter Pan from the shelf and decided to give it a read and found it a beautiful although slightly strange and offbeat story. In particular, I was shocked at how nasty and vengeful Tinker Bell was (particularly in trying to get Wendy killed), when I had remembered her as sweet and naive in the movie. It turns out I was wrong about the movie -- Tinker Bell tries to get Wendy killed there also! -- but somehow the tone is moderated well enough that in this version I never really feel horrified at her behavior, nor do I feel disturbed at the situation of the Lost Boys in the way the book made me view them. The song of the lone pirate who sings about how a pirate’s life is short, right before Captain Hook fires his gun and we hear a dropping sound followed by a splash, is one of the more masterful executions of dark humor that I’ve seen in Disney animation for children.

While most of the songs in Peter Pan, considered as songs on their own, are pretty good, I think the best one is the one whose lyrics didn’t make it into the film: “Never Smile at a Crocodile”.

Lady and the Tramp, 1955

Despite being more obscure than most of the old Disney animated classics, I used to know this one quite well since we had it in our home. I’ve always considered The Great Mouse Detective as the most underrated Disney film of all time, but I think it has serious competition here. Lady and the Tramp is an absolute gem. While not quite as Disney-fantasy-ish with its lack of magic and other fairy tale elements, in my opinion Lady and the Tramp is, in most ways, superior to everything else on this list save Mary Poppins. Beautiful animation which shows Lady and most of the other animals moving realistically in a way we haven’t seen since Bambi*. Everything visually and conceptually framed from the dogs’ points of view. Great voice acting. Consistently solid dialog without a single line too much or missing. A story evoking the dynamic between humans and pets, class inequality, and deep questions about the place of each of us in society and choices between a stable existence among loved ones and striking out to seize life by the horns. Our first female lead who stands on her own two four feet and whose sole goal isn’t to get kissed by her true love (one could argue that Alice was the earlier exception, but she is a little girl whereas Lady is actually a romantic female lead). When Lady is approached by her two best (male) friends in a very awkward (perhaps especially from a modern sensibility) but sweet scene where they offer to be her partner, Lady makes it clear that she doesn’t want or need a husband just for the sake of having a husband to make babies with -- her standing up for her own wants in this way doesn’t in the least turn into a Moral Stand that dominates the movie. Excellent music all the way through.

Oh, and this movie was my very first introduction, in early childhood, to the Italian language (”Bella Notte”), which some 25 years later sort became my second language of sorts.

Criticisms? Well, the baby was animated rather stiffly and unnaturally, but that was like half a minute of the movie at most. And there’s the whole segment with the Siamese cats, which produced a great song purely music-wise (fun fact: Peggy Lee provided the voices of the cats) but nowadays comes across as rather racist. I’m not entirely sure how I feel about it, but I will say that I’m sure in the minds of the creators this was no different than having animals of all other nationalities (Scottish, Russian, Mexican) appearing in the film with voices reflecting the respective accents.

*There may be a few exceptions, like Peggy, who seems to be modeled after the musician Peggy Lee and moves like a sexy human woman. The way that human sex appeal is conveyed through the animals’ movements in this movie is quite impressive: my mom confesses to having somewhat of a crush on Tramp growing up and not quite understanding how that could be possible when, well, he’s a dog.

20,000 Leagues Under the Sea, 1954, and Old Yeller, 1957

I don’t want to say about these movies, as they don’t really fall under the category of animated classics. I just want to say that, while I saw each of them once growing up, on seeing them again I recognize each as a great movie in its own adult point of view way that is not necessarily very Disney-ish.

Sleeping Beauty, 1959

I think this was the movie I was watching at the time I decided it would be fun to write a bunch of mini-reviews for Tumblr, as my reactions were changing a lot as I was watching. I went into the movie very curious, because while I only remembered enough of the fairy tale story to know that it was another of the very simple ones, and I remembered the one song as a waltz by Tchaikovsky, and I knew I had seen the movie once (and probably only once) as a kid, I couldn’t remember anywhere near enough to possibly fill a full movie time. What was actually going to happen in this hour-and-a-quarter long film?

I wasn’t watching long before I came up with the description “spectacularly forgettable”, in part to justify why I’d managed to forget practically all of my one previous viewing. The story doesn’t have much substance and feels sillier than even the other fairy tale Disney plots, like even minor twinges of critical thought, even granting the magical rules of the universe, are liable to make the plot topple. There is some filler to flesh out the movie, but (unlike with Snow White’s dwarfs) none of it is as amusing as the creators seemed to think it was. The only characters with actual personality are rather boring -- the capers between the members of royalty and the jester are a bit on the annoying side in my opinion. Maleficent seems to have no motive whatsoever. She actually calls herself something like “the mistress of evil” later in the movie. This is pretty black-and-white even by Disney standards, where the bad guys usually at least want to think that they’re on the right side of things or justified in their aggressive behavior. Aurora (the title character) has the least personality of all the Disney princesses. Literally all I can say to describe her is that she has the Disney Princess Trifecta of characteristics: she has a good singing voice; she is friends with all the “nice” animals; and her only goal in life is to be reunited with her True Love who she met once for all of a few minutes. The reason why I couldn’t remember any songs other than the Tchaikovsky one is that there aren’t any.

The one thing I consciously really enjoyed while watching was the fact that the score throughout was Tchaikovsky; the idea of having one work of classical music as the entire score seems like a bold one for a Disney film. As I was digesting the movie afterwards (and watching the short documentaries supplied on Disney+ helped here!), I came to realize that this classical music backdrop was complimented in quite an interesting way by a fairly unique animation style. I had been disappointed by the animation early in my watching, disliking how a lot of the figures in the beginning castle scene (for instance, various people’s faces), looked very “flat” somehow. But I’ve come to see this as part of a style where everything looks almost like a series of cut-outs superimposed on each other, to incredibly beautiful effect in a lot of the outdoor scenes.

My conclusion? If you watch this the same way you watch most Disney animated movies -- focusing on plot, characterization, action, and meaning of the main story -- it will just be kind of forgettable at best. But if you watch it as more of a purely visual and musical piece of art without trying to make much “sense” out of it (so, more like I would watch a ballet), you may find it uniquely beautiful among Disney classics.

One Hundred and One Dalmations, 1961

Whew -- what a complete and utter contrast from its predecessor! I can hardly imagine a film that’s still distinctively Disney while being more different from Sleeping Beauty in every aspect.

I remember seeing One Hundred and One Dalmatians a handful of times in childhood (when I was around 5 and it had just come out on home video, my mom almost bought it for me but decided to go with Beauty and the Beast instead explaining that it had better music -- I grew up knowing the preview for Dalmatians that showed at the beginning of our Beauty and the Beast VHS than the dalmatians film itself). I remembered a number of scenes very distinctly, including a lot of the Horace and Jasper bickering and Cruella smashing one of their bottles of beer into the fire and knew Lucky’s line after getting stuck behind in the snow almost word for word, while I had entirely forgotten all of the country/farm characters and entire sequences involving them. I had forgotten, but soon remembered, the television scenes including the Kanine Krunchies jingle. (Some years later, I think as an older teenager, I read the original book with some interest.)

Although I wasn’t around in 1961, everything about this movie’s style strikes me as very contemporary -- the animation in particular seems like the current style for 60′s cartoons. Something about the dialog and humor feels that way as well, as though it closely represents a sort of 60′s young-people-in-London culture that I’ve never seen myself (I was struck for instance by Cruella being asked how she’s doing and cheerfully answering, “Miserable dahling as usual, perfectly wretched!”). It was a little strange and offputting to see television so prominently featured in Disney animation from so long ago, and to see such a decrepit bachelor pad (with the accompanying lifestyle and attitudes) as Horace and Jasper’s in a children’s movie. The crazy driving in snow at the end startled my adult sensibilities (as I now have some memorable experiences driving in snow) in a way that didn’t affect me as a child -- scenes like that just didn’t feel like Disney after having just watched all the previous films. All in all, these novel features made the whole movie a wild ride.

I’m bemused by the fact that, despite taking place in London (which I hadn’t remembered -- I thought it took place in America), the only accents which are fully British are those of the villains Cruella de Vil, Horace, and Jasper.

Main criticisms: I found all the stuff with Rolly being characterized by his body shape and only ever thinking about food to be in poor taste (although not surprising for the times). And while “Cruella de Vil” is a great jazz number, the movie has no other music to speak of -- my mom was quite right to choose Beauty and the Beast over it.

(I realized when finishing this review that this is the only one of all the movies in the list that I’d actually enjoy seeing again sometime soon. Not sure what to make of that. Something about it is more interesting than most of the others? Especially the human-centric parts?)

The Sword in the Stone, 1963

I never saw this movie until later childhood or maybe even early teenagerhood, when I quite liked it. On watching it again, I was overall pretty disappointed. This movie has some decent songs and some fun aspects to the story, but a lot of it is kind of weak and forgettable and it’s all just sloppily done.

The story has a clear moral message which is generally pro-education and about reaching one’s full potential, but in my eyes it comes out kind of muddled because the story shows Wart ending up as a legendary king only out of the arbitrary happenstance that that happens to be his divine destiny. Merlin’s motives seem kind of inconsistent as well, with him sometimes seeming to support Wart in his desire to become a squire, then flying off in a rage when Wart chooses squirehood over fulfilling a “greater” destiny, then joyfully returning after Wart pulls the sword from the stone and is now set on the fixed path to being king, even though this involved exactly zero change of attitude on Wart’s part. The message that actually comes across looks more like, “We have to just follow whatever fate has in store for us” than “We must strive to be the best we can be”. And, it arguably even comes across as subtly disrespectful to more mundane lifestyles and career paths.

The animation is not great by the high standard of full-length Disney features (I noted how I especially disliked how tears were shown). Wart’s voice seems to change a lot, sometimes broken and sometimes not yet broken. I found out after watching that this is because the character was played by three different actors, sometimes with more than one of those actors in the same scene! This was purportedly because the voice of the first actor cast for the role started to change, but then why does Wart sometimes sound like his voice has already changed anyway? Sloppiness all around.

Still, some parts of The Sword in the Stone are fun even if none of it is stellar, and it entertained me more when I was younger, so worth watching once, especially if you’re a kid, I guess?

Mary Poppins, 1964

I came into this one far more familiar with it than with most of the other Disney movies, including the ones I watched many times when I was young, so it feels a little strange to try to summarize a similar-length review of it. Mary Poppins is in my book without a doubt one of the top three Disney movies of all time, in some respects the very best, and certainly the masterpiece of Walt Disney himself, the culmination of literally decades of determination on his part to turn Pamela Travers’ children’s works into a movie. (I would feel sorrier for Travers about how strongly Disney twisted her arm to turn her books into a movie whose style was entirely antithetical to hers, if it weren’t for the fact that the Disney version of the story is just way better than her rather weak set of stories. I give Travers ample credit for having created an amazing character in the person of Mary Poppins, but for coming up with good stories, not so much.)

I didn’t see the full movie Mary Poppins until later childhood (although I knew many of the songs) and it quickly became a favorite of mine. I went a gap of a number of years without seeing it before I copied the soundtrack from someone when I was in college, which spurred me to go out and rent it (back when Blockbuster was a thing) and so I managed to reconnect with it at the age of 20. More recently I’ve become somewhat of a Mary Poppins enthusiast -- feeling pretty alone among my generation in this regard, with the possible exception of the theater subculture -- having seen probably most or all of the documentaries there are on its production and learned a ridiculous amount of trivia about it, not to mention knowing the whole soundtrack pretty much in my head.

Mary Poppins seems to be Disney’s longest children’s classic, at 2 hours and 19 minutes. All it lacks, really, is an animal-themed or classic fairy tale atmosphere and a proper villain. But what can you get out this movie? Stellar child acting (especially for that period) and excellent performances all around, apart from some awkward but endearing aspects of Dick Van Dyke’s acting (while his singing and physicality is superb). A complex and multi-layered story combining magic, comedy and a little tragedy, appreciable in equal measure from a child’s level and from an adult’s level. Revolutionary special effects which include the first extended hybrid live-action and animation sequence. Timeless words and phrases which have permanently entered the lexicon. One of my favorite extended musical sequence of all time in any movie (”Step In Time” takes up 8 minutes and change, and I’m glad they didn’t go with the “common sense” measure of cutting this “unnecessarily long” number). The Sherman brothers at their very best, in a musical soundtrack that easily scores in my top two out of all Disney movies (the other one being The Lion King). A beautiful message (among several big messages) about the little things being important (or at least, that’s a very crude summary), exquisitely encapsulated in the most beautiful song of the movie, “Feed the Birds” (this apparently became Walt Disney’s favorite song ever, and I’m pretty close to feeling the same way -- I’m determined that one day when I finally have a piano I’m going to learn to sing it along with the piano). I could go on and on here.

If I try really hard I can come up with the sole nitpick of feeling that maybe the parrot head on the umbrella’s handle shouldn’t only reveal itself as a talking parrot head in only one scene right at the very end -- this should have been shown at least once earlier. Even granting that, this film is still practically perfect in every way.

The Jungle Book, 1967

(Let’s get the Colonel Hath in the room out of the way first: “The Jungle Book” is a terrible title for a movie. You know, when you base a movie on a book you don’t have to give it the same title as the book...)

I saw The Jungle Book several times as a kid and, despite not considering it nearly as good as Mary Poppins, similarly reconnected with it in adulthood (particularly the soundtrack). Only several years ago I found myself thinking of getting hold of a double album of classic Disney songs that I thought I’d heard about but couldn’t seem to find online. It soon occurred to me that mostly what I really wanted was some of the songs of The Jungle Book, so I got that movie’s soundtrack instead. I soon learned for the first time that The Jungle Book’s songs were written by the Sherman Brothers*, precipitating an “Ah, that explains why I remember them as so good!” moment. (“I Wanna Be Like You” seems like the clear winner among the songs.) Of course hearing the soundtrack made me curious about the movie, which I did eventually get hold of several years ago; thus I had seen this film exactly once already since childhood.

It says a lot about the music and the overall technique behind this film that I still look back on it as one of the great classics, considering how weak the story is. In particular, I consider a story arc to be pretty flawed when characters that seem significant and/or memorable come in without really living up to their expected big role: the wolves who raised Mowgli play a crucial role in the beginning before more or less disappearing (and it doesn’t entirely make sense to me why Bagheera, rather than they, is guiding him to the man village), and King Louie (who is a well-formed character that I particularly enjoy watching) really ought to come back into the story later somehow (an alternate, and much more complex, ending had him make a reappearance). The villain Shere Khan is not especially well developed in terms of his character and motives, but I do enjoy his menacingly bass voice. Still, the voice acting, the action, the animation, and the overall setting are all very solid here.

I’ll end with some random observations about the song “That’s What Friends Are For”. I think the likeness of the vultures to the Beatles was mostly lost on me as a kid (along with the recognition that this movie came out in the Beatles’ heyday). More interestingly, even when I was old enough to understand how vultures eat, the fact that every single line of the song is a clever macabre double-entendre went completely over my head. I do think it was a very obvious mistake, by the Obvious Standards of Cinematography, to give Shere Khan the last line of the song and begin that line with the “camera” on him, rather than have his voice come in “off-camera” and Mowgli and the vultures looking thunderstruck before panning to him, but maybe I shouldn’t be pushing for overdone techniques here.

* An exception is “Bare Necessities”, which was written by Terry Gilkyson, the original songwriter Disney received submissions from, who wrote two hauntingly beautiful other numbers which were deemed not Disney-ish enough to be put in the film.

Some general stray observations:

These older Disney films love gags involving alcoholism and drunkenness, a bit of a questionable emphasis given that the audience is children. This trend continues into the 80′s at least, but I don’t think one sees it much in modern Disney movies.

Watching these animated films I often find myself flinching as characters’ heads smash into things or gigantic objects smash over their heads, feeling almost surprised when they come out of it pretty much fine. I guess this a staple element of cartoon action throughout the decades, but I can’t recall a more recent Disney animated film where we see this (guess I’ll soon find out!)

There is a certain style of vocal music, with unified rhythm and lyrics but complex harmony and a capella, which seems to have been immensely popular in the 40′s and 50′s and distinctively appears in practically every single one of the 40′s and 50′s films above (“You Can Fly” is a typical example). I recognize it also from some non-Disney-related old records my parents have that were passed down to them. I’m curious about whether this style has a name.

For years I thought the Sherman Brothers did only the soundtrack for Mary Poppins and Bedknobs and Broomsticks, only discovering they did The Jungle Book songs rather recently as I explained above. It turns out they were involved in most of the major Disney films around that period, including The Sword in the Stone and The Aristocats (although not its best-known number “Everybody Wants to Be a Cat”).

There is a particularly sad instrumental passage, played by the string section starting with a minor-key violin melody going downward and joined by lower string instruments, which I knew well from my Jungle Book soundtrack (partway through “Poor Bear”) but was surprised to hear in desperately sad moments of several of the other movies around that time (including One Hundred and One Dalmatians and Robin Hood, or at least a close variant of this passage with slightly different endings). I have no idea who wrote this or how it came to be reused so many times.

I knew the name Bruce Reitherman as the voice of Mowgli in The Jungle Book, but in watching all of these other features back to back I’ve noticed that there are some other Reithermans in the front credits of quite a few of them.

[sarareynolds]

Random Questions Part 1

1. What is your middle name?

Rose

2. Do you have any nicknames that aren’t derived from your actual name?

My dad calls me bug. Pretty much everyone else calls me Sara. Nik sometimes calls me dove. :) 

3. Do you have any allergies?

Nope. 

4. What is the longest your hair has ever been?

I don't even know I measured it in high school once and it was 22 inches… it's longer now. 

5. How well can you write in cursive?

Not very? My handwriting is the bastard child of standard and. Cursive.

6. Name one item on your bucket list.

I don't have a specific bucket list laid out in my head, I just know I want to soak up what the world has to offer like a greedy little sponge. So I guess travel? 

7. Have you ever been on a blind date?

I have not. 

8. What is the oldest piece of clothing you still wear and how old is it?

I have a black sweatshirt from when I was like 13. It's got holes from bad laundry cycles and just being old af but it's still comfy so I keep it. 

9. How often do you eat out at a fancy restaurant?

Not often, actually. 

10. How grammatically correct are you when you text?

More than most but it's still terrible grammar. 

11. Can you drive stick?

Yes?

12. What foreign country would you most like to visit and why?

Probably, Japan. It just looks like a friggin good time. Pokemon is a legit weakness I have and I would love to play real life Mario Kart. Outside of the Nintendo stuff the food looks amazing and the sites look beautiful. It's so different from everything I know it just seems like it's be an epic trip to have.

13. Nutella or peanut butter?

Both? You cannot have Nutella on everything it's way too sweet but peanut butter is also not really a go-to for me. 

14. At what age did you have your first kiss?

12 or 13?

15. DC or Marvel?

Unaligned? 

16. Have you ever hosted a wild party?

Yes. For better or worse, I have. 

17. Name/author of the last book you read cover to cover. Do you recommend it?

Um… I honestly don't know. I am the queen of starting a book, getting a quarter to half way in and never picking it up again because I moved onto another book. 

18. How many of your Facebook friends do you actually hang with?

I actually dislike Facebook like a lot. Do not use it.

19. Have you ever donated blood?

I have. Once. 

20. From 1-10, how much do you like decorating for holidays?

What holidays? Because generally it's a 1, I don't care, but if we're talking Halloween if I'm given half the chance I will go ham. Christmas gets second place because it's Christmas and it requires decor.

21. Coffee or tea?

Again: unaligned. I tend to have coffee in the morning and tea in the afternoon as a detox/pickup moment. 

22. What is your go-to Starbucks drink?

Venti Cold brew lite ice. Nitro cold brew has been finding its way in more than usual lately. Or a Venti iced tea/refresher. Simple and on ice is the go to for the most part.

23. Last show you binge watched?

Nailed it…. Stranger Things 3 is next.

24. Dogs or cats?

Neutral? I love dogs, they're so lovable but I have no issue with cats, I've found that if you don't care about them, they're pretty much going to leave you alone. If you love them: they don't like you, and if you hate them: they are all up on you. Cat 101 

25. Favorite animated Disney character?

Ariel. 

26. Have you ever cooked a big family meal by yourself?

Hahaha no. Omg that'd be terrible. I'd have to formally apologize to everyone who ate the food. 

27. Favorite winter activity?

Sitting inside by the fireplace curled up in a sweater just watching the flames with a tea. 

If we have to go outdoors, sledding is super fun. 

28. Have you ever butt dialed anyone?

In general, as a woman, I don't have butt pockets large enough to facilitate that problem. I have, however, boob dialed people. Which is worse, I think. 

29. Can you blow a bubble gum bubble?

I can but in general I try to stay away from gum. 

30. How early in the year do you start celebrating Christmas?

I do not do anything until the first of December. I do not like that Halloween goes away and Christmas is everywhere, but more accurately I probably don't really start until the second week of December. 

31. What emoji best describes your life right now?

😍🥰🤯🌎🎶♥️

32. Are you fluent in more than one language?

No, I am not. 

33. What is the longest you’ve ever kept a New Year’s resolution?

Last year I went ⅔ of the year before I gave up. 

34. Have you ever successfully been on a diet?

 Did you gain any of the weight back?

I am constantly in flux when it comes to weight, but in general I keep to my diet pretty well. I don't really keep to one thing and I'm not afraid to have cake if I want to, but trying to keep things balanced is always a goal. 

35. Are any of your grandparents still alive?

Yes, my grandparents on my dad's side are still in Seattle but I never really get to see them. 

36. How good are you at communicating through facial expressions? 

I give everything away with my facial expressions. EVERYTHING. Literally, no poker face on me.

37. Have you ever gotten a commercial jingle stuck in your head?

All the time. As a kid I would sing the jingles like they were the songs on the radio. Now I just do that in my head. Well, mostly.

38. Have you ever left a movie theater before the movie was over?

No, I haven't. 

39. Do you consider rapping singing?

No, rapping is rapping. It's still music but it's not singing. That's not to say a rapper can't sing, because most can and do, it's just different. 

40. Does your home have a fireplace?

It does. 

41. Favorite non-chocolate candy?

Skittles

42. If you could have only one superpower, what would you want and why?

I don't know. :/ Most super power things I can find some way to accomplish with magic. So I guess I technically already have a super power. But if I didn't, maybe fly? 

43. Have you ever locked your keys in your car?

No, I have not as I do not own a car. 

44. Do you listen to any religious music?

Not really. I can appreciate a good gospel song, though, I just don't seek it out. 

45. Do you drink soda? If so, which one is your favorite?

Not really but my go too is Dr. Pepper if I do indulge. 

46. What was your ACT score?

I never took that test. 

47. Rice or quinoa?

Rice.

48. From 1-10, how good of a driver do you consider yourself?

7? I don't drive often but I'm not going to kill anyone doing it. 

49. Do you like horror movies?

I do. 

50. How easily do you cry?

Not easily. It takes a bit to make me cry. 

[cin3ma-girl]

Rodger and Hammerstein’s Cinderella (1997)

Directed by Robert Iscove, staring Brandy Noorwood, Bernadette Peters, Whitney Houston, Whoopi Goldberg, Victor Garber, Jason Alexander, and Paolo Montalban, and released on November 2, 1997 by Walt Disney Television.

It is rather fascinating that every year I have a massive craving to watch this film, yes craving because I will not be satisfied until I watch it lol. I scoured the internet’s streaming services such as Netflix and Amazon Prime but had no luck until I managed to come upon it on Youtube for free, someone was kind enough to upload it (pirating is bad kids). So I sat down on my couch with my bag of chips ready to start watching it.

I always remembered how this was one of my favorite movies that would come on cable and I would watch it with my friends as we swooned over Paolo Montalban (he is so dreamy) and how badly we wished we were Cinderella. When re-watching the movie, I noticed how amazing the acting was except for one person, Brandy. I never noticed how bad she was in this role, I mean everyone in the cast was acting circles around her, but she seemed out of place which I found rather interesting considering she had acted in the TV show Thea for 19 episodes prior to her taking on Cinderella. Her acting felt forced as if she was simply acting out the role rather than taking it on as her own and becoming Cinderella herself, there wasn’t a moment in the movie where I said “That is Cinderella” but rather I would say “That’s Brandy playing Cinderella.”

Montalban had no prior acting experience which I found very difficult to believe because he seems very natural in this role (maybe he knew he was meant for the royal life), but every scene he was in felt as if he had been acting for years. He very much held his own when he was in scenes with Goldberg, Garber, and Alexander.

Another actor that I found myself drawn to was Jason Alexander. Oh my gosh was he amazing, every time he was in a scene he pretty much stole the spotlight. When I think of this movie he is the first one to pop into my head. He encompassed his character and the subtle nuances that set him apart from his other co-stars were what made his character memorable.

For those of you that made it this far into my review, if you haven’t seen the movie, it is a musical lol. The songs were great and catchy, I would say I have at least 2 top favorite songs from here “the Sweetest Sound” and “Do I Love You Because You’re Beautiful” but that isn’t to say the other songs aren’t good, I just can’t help but listen to them on their own.

I do have to say I have two major gripes as a result of this movie. The first would have to be the fact that this movie is a musical play that was produced successfully with an amazing mise-en-scene and camera angles, it makes me upset that there aren’t many more stage plays converted to movies but filmed as a stage play. I’m not counting those NBC live plays because those are...well live... and not that good.

They need to hire a director, get a studio back lot, make some sets for the play as they would for the stage but better quality...come to think of it, this is exactly the 1940′s Hollywood musical Golden Age movies I’m talking about. Well, Hollywood should re-adapt that method again without the actor contracts and not get so crazy to pump out those movies.

I mean can you imagine all the plays that can be made????? The release of Hamilton on Disney+ seems to be going great (admitting I have not seen it yet because there is way too much hype that I know I will hold it to a high standard and will only be disappointed) but based off of what I have seen, it still looks as if it is on a stage being filmed from one angle. With Cinderella, yes it was on a set, but the camera was not limited to one angle. There was camera movement, dolly shots, close-ups, shots that follow the actors as they walked. There wasn’t the sense that the viewer was stuck to a chair looking into this world, instead the viewer became a part of that world as a fly on the wall looking into the lives of these characters. There was a sense of intimacy between the viewer and these characters that can’t be found in Hamilton (assuming) or the NBC filmed live plays. There is no excuse for studios to NOT be filming stage plays in this format. Come on Disney, you filmed it once, why not again?

The other gripe I have as a result of this movie is one of diversity in movies. Granted, now more studios are finding out that the human race doesn’t just consist of white people, this production did an amazing job at its casting. Based on some internet research, the movie had intended to have a black Cinderella and it seems like Brandy was the only one in their minds to play her, I mean they could have picked Aaliyah but okay...

The fact that this movie had “color-blind” casting was amazing because this is what it is like in the real world. There are mixed families, when I question why the prince was Asian when his parents were black and white, my mom said he was probably adopted. Just because you might look different doesn’t mean you aren’t a family. If Disney did this once in 1997, why did it take them 12 years to have another black princess? Shame on you Disney for not pushing black Cinderella when you had already established that she existed. And Shame on Hollywood for taking so long to accept diversity in major roles. Can you imagine the amount of confidence and acceptance children would have gotten if movies were more diverse in the past 30 years? smh.

Mix it up even more Hollywood, I mean you are making fiction films you know. If anyone questions you, just clap back with “it’s just a fucking movie yo” 

If you made it this far into my long review of this movie and haven’t seen it, go on youtube and watch it. It wont cost you anything but 1.5 hours of your time, and since we’re currently in quarantine...what better thing do you have to do than sit down and watch tv, I mean you already cleaned yesterday.

Until next time, remember to keep that popcorn commin’

[81scorp]

My top 9 movies of 2019

Originally posted on Deviantart Jan 26, 2020)

Hey kids! Its that time again, when I talk about the movies I`ve seen in the cinema and rank them according to my own personal taste and bias. Why 9? Because I`m not a professional filmcritic who has time to see most of the movies that came out this year and sometimes other duties got in the way. So I only had time to see 9 movies in the cinema. And yes, two of these movies came out 2018, but they didn`t come to cinemas in my country until 2019, so they still belong on this list. M`kay? M`kay.

9: Destroyer (2018) Erin Bell (Nicole Kidman), a former undercover police officer arrives on the scene of a John Doe murder and informs them that she knows the identity of the murderer. The victim is a man from her past.Raw. That`s the simplest way to describe this movie. This is a crime movie, a type of movie genre that has a very broad appeal but it is also very unstylized, it`s the kind of movie that Michael Bay wouldn`t do.I have to admit that the biggest reason I saw this movie was because I wanted to see a film festival movie (I usually don`t go to film festivals.) and because it was highly praised by critics. Probably mostly because Nicole Kidman plays a character very different from the kind of characters she usually plays. She`s not even wearing glamorous make up, that`s when you know that an actress means serious business! Jokes aside, Kidman delivers a good performance. It also had a little twist at the end that took me by surprize. It`s a kind of movie that is easy to praise but hard to recommend. In some places it may be a little to raw for it`s own good, like a scene where Erin does something R rated on a bedridden former criminal in exchange for information. Still a good movie and I`m glad I saw it.

8: Alita: Battle Angel Dyson Ido, a White man with a japanese surname finds a female cyborg warrior in a junkyard with amnesia. Hijinks ensue. I feel bad putting it this low on the list, I wish I could have placed it higher but I also wish that it could have been better. Too many ideas squeezed into a movie not long enough to give these ideas enough room to stretch their legs and develop properly. It feels very sequel begging, is burdened by it`s high ambitions and Christoph Waltz`s character is stuck with a lot of expositional dialogue. On the other hand, Rosa Salazar delivers a good performance and the CGI on Alita is impressive. It takes a risk and commits to what it does and that is admirable. Who knew that you could make a good live-action manga adaptation by not pissing all over the source material? Even if it has some irritating flaws that a competent screenwriter could`ve avoided, I would like to see this get a sequel.Let`s hope that this is not a swansong.

7: Captain Marvel A digitally de-aged Samuel L. Jackson finds a female warrior from space with amnesia. Hijinks ensue. Standard MCU movie quality. It`s not better or worse than the average kind of MCU movie that we`re used to. This one was almost a tie with Alita, it gets a better spot because it has a better structure. It knows how and when to setup future sequels without intruding on the main story. 6: Ralph breaks the internet (2018) Unnecessary and necessary at the same time.Unnecessary in that the first one was such a self contained movie that said all that it could say and there really wasn`t much (if any) material left for a sequel. It felt like a believeable development for Ralph that he, after not having had a real friend for years, would be so possesive of Vanellope. But it feels like he got hit in the head with the dumb-dumb stick for the sake of the plot. His neediness could have started small and subtle in the beginning and then grow bigger and more noticeable as the story progressed. (There`s one scene in the first act that bugs me where Vanellope`s sad and Ralph could have been more empathic.) Necessary in that it has a good message about how friendship doesn`t have to end just because you live further away from each other. The princess scene was still funny even after Disney had shown almost all of it in the trailers. Personally I like this movie. I have a weak spot for movies that gives me the feels and this movie gave that to me in a scene where I felt it was earned. It`s good but not as good as it`s predecessor.

5: Shazam! Funny and silly in the right places and serious when it needs to be. An inellectual property, known for being silly, combined with the style of a director known for making horror movies creates an interesting result. This is how I wish the Superman movies from the 1980`s could have been. It has jokes in it like they did, but it also has heart. Heck, part of me wishes that Man of Steel could have been more like this. Casting Zachary Levi in the title role was a smart move, he knows how to balance comedy and heart. Glad it made money but it could probably have made more if Avengers: Endgame hadn`t come out so soon after it. 4: Missing link Sir Lionel Frost, a struggling investigator of mythical creatures comes in contact with a lone sasquatch who wants to find more of his own kind. Like Alita: Battle Angel I wish that this could have done better at the box office but unlike Alita I don`t wish that this movie was better, because it is already really good.(Maybe not quite as good as Coraline or Kubo and the two strings, but still.) And thats the tragedy of this movie, great quality but seen by very few people. Maybe someone should have started the Missing link challenge.At least it won a Golden globe for best animated feature. That`s always something. 3: Avengers: Endgame Avengers 4, or as I like to call it: Avengers 3 part 2. The impressive juggling act continues, now with time travel! Why not? they`ve had viking gods, shrinking superheroes and talking racoons in space, it was only a matter of time before they got to time travels.This time the impressive juggling act is much less about the number of characters and more about how the movie uses the time travelling to affect the characters and their inner journeys while also escalating the conflict in a way that feels natural. All leading to a satisifying, climactic third act battle. You did good Marvel, you did good.You can rest now Tony. 2: Frozen 2 The first Frozen felt (not unlike Wreck-it Ralph) like a self contained story that didn`t need a sequel. But unlike Ralph breaks the internet I was more welcoming to the idea of a sequel to Frozen. Why? Because when Frozen was made it had a very hectic production and there are traces of that in the finished movie. I felt that it could have been better. Now, the message is great but it`s narrative flow suffered. This time they had more time to make their movie. Personally I like it... a little bit more than the first one. Wouldn`t call it better than the first one but I wouldn`t call it worse either. On one hand it adds more material to a finished, self contained story, like in Ralph breaks the internet. On the other hand it does one thing better than the first Frozen: it saves it`s best part for second last instead of peaking in the first act, and "The next right thing" is a much better eleven o`clock number than "Fixer upper". Like it`s predecessor it`s stronger in the music department than in the story department. And like I`ve mentioned earlier, feels are my Kryptonite and this movie gave me the feels in a scene where it felt earned. And now, drumroll please, my number one pick for 2019 iiis... 1: The Lego movie 2: The second part Unapologetically silly in the best way possible. It really takes advantage of being a movie about toys that you can take apart and rebuild. Yes, it didn´t have that wow factor that the first one had with that twist at the end, but personally I didn`t expect it to be more twistier than the first one or even have a twist at all. At least not a big one.So, why is it so high on this list? 1: Because feels. 2: Because in the sea of jokes, silliness and a song that`s really gonna get stuck inside your head there was one character who added a little extra depth to a film based on a toy. Rex Dangervest, the "Cool guy" who shows up in the story is like a dark reflection of Emmet. He is the image that small boys and insecure, adolescent guys have in their heads of what type of person they should aspire to be. Rex says something about toxic masculinity and superficial maturity. Better than the first one? Debatable. As good as the first one? Maybe but certainly not worse. You can still feel the passion in the finished movie.

Maybe not as impressive as Moana or Coco, finding a clear winner this year was a little trickier than previous years, then again, since I only saw 9 movies this year I most likely missed out on a few gems. Maybe the winner in next years list will be easier to pick. And that`s my list, feel free to disagree.

[nicolekidmanwigfactory]

Do EVERY musical theatre ask

I hate you because I answer in paragraphs but I love you because this will take me forever and I have all night

1. What was the first musical you saw?

I’m having trouble remembering. Not counting animated Disney movies, I guess the Sound of Music for movie musicals and my grade school’s production of Godspell when I was in kindergarten. I had no idea what the show was about I was obsessed with “Bless the Lord.”

2. What musical got you really  into theatre?

In high school, I was an editor of my senior class’ student-written musical parody of the school. At the end of junior year, we’d sketched out the plot and over the summer about 6-7 groups of ten people each wrote their assigned scenes, song parodies, etc. At the start of August, I was chosen, along with one other student, by our director (one of the English teachers) to basically take these collections of scenes and songs and make them into a cohesive, workable show, which included rewriting lines, deleting jokes, etc. We’d meet weekly at the teacher’s house and go over the drafts, consider his input, but the creative control was ultimately ours. 

One of the teachers, who’d been there for more than 25 years and seen every senior production in her time, said the entire show was the second best she’d seen. During awards night, the director told us this show was one of his favorites he’d directed. But working on this show left me obsessed with theatre in general, something I never had much interest in before. I was attracted to musical theatre in particular because I thought the songs selected to be parodied for the show were the weakest part of the show, so I guess I started listening to cast albums to search for songs in an effort to subconsciously fix what I thought to be errors. I did that for prolly the first year after the show.

I told you I answer in paragraphs.

3. Who was your first Broadway crush?

I don’t really get crushes, so I don’t have a first one. When I fall, but I fall hard; it’s not crush area. But I’m a horny person and who I’m attracted to seems to come in phases and right now and I’m very attracted to Brandon Uranowitz and (which came as a total shock to me) Andrew Rannells.

4. Name three of your current Broadway crushes.

Brandon Uranowitz, Andrew Rannells, Jeanine Tesori (she’s a woman but she is GLAM)

5. Name four of your dream roles.

I’ve never had a real desire to perform but I guess Madame Armfeldt, Amy, Phyllis Stone (if I get to sing Ah, But Underneath), Joanne. What can I say, Sondheim’s women are more fun to sing than any role meant for a man.

6. Favourite off-broadway show:

i don’t distinguish between between on and off-Broadway

7. Favourite cast recording.

1970 Company Original Cast Recording. The gold standard for cast recordings in general.

8. 2013 Tony opening number or 2016 Tony opening number?

I honestly don’t remember either and don’t care enough to look them up.

9. Favourite show currently on Broadway.

none of them really speak to me right now, so...Hello Dolly! because I like the score most?

10. A musical that closed and you’re still bitter about. Rant a bit.

Fun Home. 

11. Best stage to screen adaptation?

West Side Story. Steve is wrong when he kvetches about the movie’s switching the places of “Cool” and “Gee, Officer Krupke.” THEIR LEADER JUST GOT KILLED WHY ARE THEY JOKING IT MAKES MORE SENSE TO PLAY COOL THAN TO JOKE AROUND. i’d prefer if the songs were also in that order on stage as well. They already get their moment of post-intermission levity with “I Feel Pretty.” “Gee, Officer Krupke” in Act 2 is excessive. The movie fixes this mistake.

12. Worst  stage to screen adaptation?

I haven’t really seen all that many movie musicals. I don’t know if I would call it the worst but I absolutely hated the Les Mis movie but I don’t know if it’s because i find the show itself over the top or if it was the movie itself

13. Favourite #ham4ham?

never seen them

14. A musical you would love to see produced by Deaf West?

Fun Home. I think having actors who are Deaf parallel the lesbian themes in the show would be a unique take on the show’s portrayal closetedness and parental/child relationships...if that makes sense. it does in my head

15. If you could revive any musical, which one would it be and who would you cast in it?

Assuming it meets all my other requirements, Candide. I don’t have any ideas for who to play whom, but casting must be colorblind, age appropriate, and match the vocal requirements.

16. If you could go to a concert at the 54 below, who’s would it be?

Barbara Cook

17. Do you watch broadway.com vlogs? Which one is your favourite?

Nope.

18. Make a broadway related confession.

I don’t let others know just how much I enjoy the theatre because I don’t want to come off as one of the theatre kids you hated in high school (but secretly admired for their confidence).

19. What do musicals mean to you?

This question is so corny I refuse to answer it.

20. Express some love for understudies and swings!

Danny I just want to be done with this. You do good work understudies and swings. you’re not appreciated enough and when you do go on it’s to the disappointment of the audience who was expecting someone else so good job dealing with that already tough situation to begin with.

21. Best Disney musical:

I’m going based off of the movies and to this I answer Lion King. I liked the stage version when I saw the tour but the movie as a musical is so satisfying and impossible to improve upon (though Shadowland and He Lives in You are great additions)

22. Which Disney movie should be made into a musical?

none. keep them as movies. broadway’s already getting pandering enough

23. Which musical fandom has the funniest memes?

PASSION

24. Name a character from a musical you would sort into your Hogwarts house.

I’m a Ravenclaw according to Pottermore so give me Madame Armfeldt.

25. Name a Broadway star you would sort into your Hogwarts house.

Stephen Sondheim

26. Best on stage chemistry?

Patti LuPone and the scenery

27. A Broadway duo you love.

@jasonrobertclown and @kayleefabulous

28. What book, tv show, movie, biography, video game, etc. should be turned into a musical?

HOWARDS END HOWARDS END HOWARDS END HOWARDS END

29. If you could make a jukebox musical, what artist or genre would you pick?

no

30. Favourite role played by _________________?

Angela Lansbury. Mrs. Iselin in The Manchurian Candidate. It’s not a stage role but she’s a stage legend and it’s my favorite role of hers.

31. What musical has made you cry the most?

I don’t cry at movies or books or anything, so none.

32. What musical has made you laugh the most?

It’s not Steve’s best score by any means, but A Funny Thing Happened on the Way to the Forum is a fucking laugh riot but thankfully, the strength of the show is its book. 

33. Current showtune stuck in you head:

I’ve been mourning the death of Barbara Cook and her “Will I Ever Tell You” from The Music Man is one I’ve been listening to a lot the past two days. It’s lovely and keeps popping back into my head.

34. A musical that has left you thinking about life for a long time or deeply inspired you.

Bridge of Madison County was a show that affected me more than I expected and I think it was because I had just put in my notice for my teaching job so I could return to grad school. The show was entirely about choice and consequence and that was what I was taking from it.

35. If you could perform any ensemble number , which one would you pick?

I wouldn’t. I am a star. 

36. Name a musical you didn’t like at first but ended up loving.

A Little Night Music.

37. What are some customes you’d love to try on?

I don’t really have any.

38. Favourite dance break.

this dance break from “The Story of Lucy and Jessie” in the original production of Follies. It’s Bennett’s best work and even better than the sublime work he did on “Who’s that Woman”

39. Favourite Starkid musical:

don’t have one

40. What’s a musical more people should know about?

Nine

41. What are some lines from musicals you really like?

Basically everything Regina Resnik’s Madame Armfeldt says

42. Name a Tony performance you rewatch and rewatch.

Ring of Keys

[nixonsmoviereviews]

"The Santa Clause 3: The Escape Clause"- I wish I had escaped the theater...

Look, by no means am I a massive fan of the fairly beloved "Santa Clause" trilogy from Disney that were released between 1994 and 2006. They just weren't my cup of tea. But I could definitely understand the appeal of the often clever and entertaining original. And I do think that for what it was, the second movie provided a modest amount of chuckles and good-natured giggles. But good lord, was the third and final installment a letdown! I remember getting roped into seeing it on the big-screen one day with my extended family... and I still haven't forgiven them. "The Santa Clause 3: The Escape Clause" is one of the most patchy, disjointed and all around messy family films to have come out in recent years, and that fact that it's excused all too often because it's "just a silly movie for kids" is just disconcerting and worrying. People, we need to have higher standards for the entertainment we subject our children to. The first two movies were definitely on par with what children's entertainment should be. The third... doesn't even come close. Tim Allen is back once again as Scott Calvin/Santa Clause. But all is not well, thanks to his attempts to impress his visiting in-laws, the stress of knowing Mrs. Clause is pregnant with their first child and the arrival of the jealous wannabe-star Jack Frost. (Martin Short) Pining for the recognition of other fantastical beings, Frost manipulates Calvin into exorcising the "Escape Clause", causing a rift in time that stops him from ever having become the newest Santa in the first place. Now stuck in an alternate time-line where Frost has assumed the role of Santa Clause and has turned the North Pole and Christmas at large into a kitschy way to make money and attain fame, Scott must figure out a way to make things right once again and restore Christmas to its former glory. To give credit where it is due, there are a few charming elements at play that keep the film from imploding into a complete train-wreck. Allen is charming as ever as our lead and has some fun moments. Short makes for a great whiny, conniving villainous presence. And while his role isn't quite as big as I might have liked, I also very much enjoyed co-star Alan Arkin as Scott's perpetually cranky father-in-law. There's also a fun little sequence where Scott and the elves try to disguise the North Pole as Canada as a ruse so that his wife's visiting parents won't discover his true identity that supplies a few decent chuckles. But unfortunately, the fun stops there. This isn't really a film so much as a sub-par sitcom Christmas special, and the laughs come few and far in-between. There's a few interesting ideas at play, but they are never thoroughly addressed or developed, and the script does the film no favors. It's one of those strange cases where the film feels light on plot, yet somehow still overstuffed at the same time thanks to a collection of conflicting and messy sub- plots that consistently distract from the main story. It's a shame, because the idea of Scott "losing" his identity as Santa Clause and having to reclaim it after witnessing the effects it would have on the world around him is a charming enough idea... it could have easily been played as a riff on classics like "It's a Wonderful Life" or even "A Christmas Carol"... but it's never fully explored because instead we have to waste so much time up front with Scott worrying about being a father, or Scott worrying about charming his in-laws or a number of obnoxious and surprisingly low-quality set- pieces that fail to illicit either drama or laughs. From what I can gather, the budget was slashed fairly tremendously between films, with this movie costing only a small fraction of what was spent on the first two entries, and it definitely shows on- screen. The film has all the aesthetic character and charm of a cheap Hallmark TV-movie, and is filled to burst with frankly flat and boring production and character design. Who'd have thought the North Pole or Fairy Tale characters like Jack Frost or the Tooth Fairy could look so dull? It can't even come close to matching the visual flair of the prior films, and there are a lot of effects present that are just... unsettling to look at because they look so out-of-place due to their low-budget quality. The reindeer look like they came right off of stage at a Chuck E Cheese and good lord, the Easter Bunny is the stuff nightmares are made out of! Add to that a completely apathetic supporting cast who are coasting by on autopilot, an uninspired musical score with no discernible or memorable themes, really amateurish cinematography and just an otherwise head-scratching production full of half-hearted effort, and you got a recipe for a completely and utterly underwhelming film. It's shocking just how huge a dip in quality this third and final chapter takes, and it comes off as nothing more than a condescending cash- grab as a result. This is a cynical effort from a cynical crew who just want to make a little more money before the well dries up. Nothing more. Nothing less. "The Santa Clause 3: The Escape Clause" barely squeaks by with a 3 out of 10. The youngest of children might get a kick out of it thanks to a few clever gags peppered in here and there and the very un- challenging tone it has. But fans of the first two will likely just feel disappointed.

[catalinanp-blog1]

Motivational Tunes For Kids of All Ages

rozprávky pre deti Motivational Tracks are great for the mind, human body and spirit in youngsters of all ages. If you are like me, a kid staring at forty, listening to motivational tracks offers me that significantly essential decide-me-up in the middle of the working day reworking my overall mood, bringing me to my toes, and inviting me to dance. And a lot more importantly, for my very own young children, motivational music teach precious daily life classes that will conjure up potent reminiscences for quite a few several years to come. A track is motivational if it has a constructive and encouraging message. For illustration, lyrics like "You can get it if you genuinely want, but you ought to attempt," recommend tips of willpower and challenging operate. Nevertheless, some tracks may well have an upbeat rhythm that frees the intellect and moves the human body...like in the concept tune from the Rocky collection "Gonna Fly Now". That invigorating horn arrangement, along with that rock guitar solo, oh and that string motion are so strong it provides you that tiny push, the further vitality to get up and go. Even faculty teachers locate that the suitable music assists aid finding out by making a desirable ambiance and energizes activities for young children. It can also assist them to boost their awareness, enhance their memory, launch tension, and so considerably additional. How awesome is that? As a mom of two small children, I also come across that motivational tunes give them positive sayings that you would not be humiliated to listen to them repeat or sing along to. Subsequently, for moms and dads, motivational lyrics develop into words of knowledge to use when training children about the "trials and tribulations" of lifestyle that Princess Tiana sings about in "Practically There" (SEE Beneath). Essentially, they work just like inspirational quotations do. But, because they have the skill to get stuck in the listener's head and repeat into oblivion, motivational tracks are that much far more highly effective! Luckily, motivational tunes can be observed in all genres and from an array of artists previous and new, well-liked and not so well-liked. While there are so numerous to decide on from, right here are just a handful of I have introduced my little ones to. These are in no certain get. one. "Accentuate the Good" sung by Dr. John, is a hugely stylized version of the previous regular that was highlighted in the movie The Mighty Ducks. This one particular leaves them singing together to some really great words of wisdom that had been initially written by Harold Arlen who was noted to have been inspired by a church sermon he experienced heard with the exact same title. two. "You Can Fly! You Can Fly! You Can Fly!" is a beloved Disney common tune from Peter Pan. Its charismatic "aged school" attraction is even now refreshing right after all of these yrs. 3. "We Did It!" from Dora the Explorer series is simply a celebration of achievement. It has an undeniably infectious defeat and often delivers you to your toes to dance. 4. "Walking Tall" by Ziggy Marley and featuring Paul Simon, is a new catchy tune written in the tradition of his father's constructive lyricism. There is an crucial lesson currently being taught right here, and is accomplished in these kinds of a lovable way that it is destined to develop into a hit! five. "Tomorrow" sung by Alicia Morton from the Unique Broadway Solid Recording of Annie. I can recall people lyrics currently being there for me rising up, and hope other children find them as similarly encouraging. 6. Despite the fact that "Zip-a-Dee-Do-Dah" sung by James Baskett is just not a preferred however amongst my kiddies, Grandma enjoys it and every single time we are in the vehicle, that is her very first request. It's possible I must have picked the Miley Cyrus variation...which qualified prospects me to... seven. "The Climb" by Miley Cyrus is the just one the 3-year-aged loves finest. There is a fantastic message in this one particular, way too. But, I really don't even believe she cares! It really is Hannah Montana! eight. "All Star" by Smash Mouth is a late nineties basic with a great message so healthful it has currently been showcased in plenty of films, commercials, and "finest of" compilations and never will get previous. Not only does it deliver you to your feet, but it fills your kids' mouths with some wonderful words and phrases that can enhance self-esteem and interior self-confidence. 9. "Three Small Birds" by Bob Marley is a reggae classic that also hits residence for so numerous folks..."Don't fear 'bout a issue...every tiny thing's gonna be alright." Who isn't going to require to listed here that from time to time? It's a good track for little ones and definitely has lyrics to are living by. 10. "My Favourite Things" by Julie Andrews is initially and foremost usually a wonderful vocal work out! She hits these notes and retains them as extended as only she can. But in her rendition of this common standard, she clearly provides a excellent remedy to anybody emotion down in the dumps...Make a listing of your beloved items. Pull them out when you need to have them, and enable it get the job done miracles on your temper. Excellent plan! 11. "Almost There" by Anika Noni Rose from Disney's new The Princess and the Frog movie is so very good it was nominated for an Academy Award this calendar year. It can be so uncomplicated to sing alongside to, all the when relaying an critical concept about perseverance. How several instances have you essential a tune like this to enable you remain determined when nearing the finish line? The essential issue to keep in mind is that by having the time to do a small finding and choosing of what they hear to, just like they check what they view, mothers and fathers can regain some electrical power to management the ideas and illustrations or photos that penetrate their children's minds. Additionally, by feeding them with positive suggestions and pictures by means of new music, mother and father can system their kids to become stronger, far more impartial, and profitable folks. Fairly amazing, huh?

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Motivational Songs For Little ones of All Ages

smejko a tanculienka Motivational Music are great for the mind, entire body and spirit in kids of all ages. If you are like me, a child staring at 40, listening to motivational music offers me that significantly needed decide on-me-up in the middle of the day transforming my whole temper, bringing me to my toes, and inviting me to dance. And much more importantly, for my possess little ones, motivational songs teach useful daily life classes that will conjure up strong recollections for quite a few yrs to appear. A track is motivational if it has a beneficial and encouraging information. For illustration, lyrics like "You can get it if you truly want, but you have to consider," counsel concepts of resolve and challenging get the job done. However, some tracks may have an upbeat rhythm that frees the head and moves the body...like in the concept music from the Rocky series "Gonna Fly Now". That invigorating horn arrangement, alongside with that rock guitar solo, oh and that string movement are so powerful it presents you that tiny force, the extra energy to get up and go. Even school lecturers locate that the proper new music aids aid understanding by developing a fascinating ambiance and energizes actions for youngsters. It can also help them to raise their consideration, strengthen their memory, launch tension, and so substantially far more. How great is that? As a mother of two smaller little ones, I also uncover that motivational tracks give them positive sayings that you would not be embarrassed to hear them repeat or sing together to. Subsequently, for parents, motivational lyrics turn into phrases of knowledge to use when instructing kids about the "trials and tribulations" of daily life that Princess Tiana sings about in "Nearly There" (SEE Down below). Essentially, they operate just like inspirational quotations do. But, due to the fact they have the capacity to get stuck in the listener's head and repeat into oblivion, motivational songs are that substantially much more powerful! Fortunately, motivational tracks can be discovered in all genres and from an array of artists old and new, popular and not so well-liked. Although there are so many to decide on from, listed here are just a handful of I have launched my youngsters to. These are in no certain order. one. "Accentuate the Positive" sung by Dr. John, is a highly stylized version of the old regular that was highlighted in the movie The Mighty Ducks. This one particular leaves them singing along to some quite fantastic text of wisdom that had been initially composed by Harold Arlen who was documented to have been encouraged by a church sermon he experienced read with the similar title. two. "You Can Fly! You Can Fly! You Can Fly!" is a beloved Disney vintage tune from Peter Pan. Its charismatic "previous university" appeal is nevertheless refreshing following all of these many years. three. "We Did It!" from Dora the Explorer collection is only a celebration of accomplishment. It has an undeniably infectious defeat and generally delivers you to your ft to dance. four. "Strolling Tall" by Ziggy Marley and that includes Paul Simon, is a new catchy tune created in the tradition of his father's positive lyricism. There is an critical lesson being taught listed here, and is accomplished in these kinds of a cute way that it is destined to turn out to be a hit! 5. "Tomorrow" sung by Alicia Morton from the First Broadway Cast Recording of Annie. I can recall all those lyrics getting there for me rising up, and hope other kids discover them as equally encouraging. six. Although "Zip-a-Dee-Do-Dah" sung by James Baskett isn't a beloved however amongst my kiddies, Grandma loves it and every single time we are in the vehicle, that is her first request. It's possible I must have picked the Miley Cyrus edition...which potential customers me to... 7. "The Climb" by Miley Cyrus is the 1 the 3-calendar year-aged enjoys greatest. There is a wonderful information in this a single, as well. But, I really don't even believe she cares! It's Hannah Montana! 8. "All Star" by Smash Mouth is a late nineties classic with a wonderful concept so healthful it has presently been featured in many videos, commercials, and "greatest of" compilations and never ever gets previous. Not only does it convey you to your feet, but it fills your kids' mouths with some wonderful terms that can raise self-esteem and interior self-assurance. 9. "3 Minor Birds" by Bob Marley is a reggae common that also hits house for so numerous folks..."Really don't worry 'bout a factor...each small thing's gonna be alright." Who does not want to below that from time to time? It truly is a good tune for youngsters and surely has lyrics to reside by. ten. "My Favorite Points" by Julie Andrews is first and foremost constantly a excellent vocal training! She hits these notes and holds them as very long as only she can. But in her rendition of this well known standard, she plainly delivers a fantastic resolution to everyone sensation down in the dumps...Make a checklist of your favourite items. Pull them out when you will need them, and permit it operate miracles on your mood. Good plan! eleven. "Virtually There" by Anika Noni Rose from Disney's new The Princess and the Frog film is so excellent it was nominated for an Academy Award this year. It is so easy to sing alongside to, all the although relaying an essential message about willpower. How numerous moments have you wanted a tune like this to help you continue to be motivated when nearing the complete line? The important matter to remember is that by using the time to do a tiny finding and choosing of what they hear to, just like they check what they look at, mother and father can regain some energy to management the strategies and images that penetrate their children's minds. In addition, by feeding them with optimistic concepts and illustrations or photos through songs, parents can software their little ones to develop into more powerful, a lot more unbiased, and effective folks. Pretty great, huh?