Summer of Magic- "Bolt"

As I was eating lunch today, I informed my inquiring mother that today's film was Bolt. She responded, "I love that movie, but I didn't think it was Disney." In that moment, my mother expertly encapsulated the thoughts of many Disney fans towards Bolt. For me, Bolt is a completely harmless and mindless entry into the Disney canon. It is often fun thanks to its great ensemble of characters and features some genuinely sweet moments, but instead of taking the next step towards Disney immortality, Bolt tends to settle for being a really good film while avoiding greatness. This is one of those films that will certainly entertain you for ninety minutes, but as was the case with my mother, you will unfortunately probably soon forget that Disney was behind it all.

I will admit that the set-up for this film is quite ingenious. The concept of a superstar dog learning that there is more to life than his hit television show is wholly original and rather brilliant. With Bolt, it is evident that Disney is returning to their Renaissance roots with their selection of stories. However, it would still take another year before they finally fully return to masterpiece level because Bolt ultimately falls short of applying the signature Disney emotion we have grown accustomed to over the years. Sure, the relationship with Penny and Bolt is nice, but due to the minimal backstory (we see Penny buy Bolt at the store; then suddenly, we jump forward five years with no character development on display), we never find ourselves becoming fully invested into these characters beyond simply acknowledging the sweetness of the situation upon their reunion. Therein lies the crux of my problem with Bolt. It relies almost exclusively on sentimentality and evoking the "how sweet" response while never providing the appropriate substance to make that intention work. Yet again, the Disney standard strikes again. Bolt is a good film, but I expect greatness from Disney, and this film is unable to take that next step towards classic territory.

You may have forgotten that John Travolta provides the voice for Bolt and Miley Cyrus is Penny. Travolta is actually quite good in this role as he is clearly having a blast playing this super serious canine, but Cyrus is, well, Cyrus. She is simply unfit for this role and therefore oftentimes comes off as an actress simply earning a paycheck and going through the motions, which makes Penny a wasted character. While Travolta and Cyrus are the film's big name attractions, it is the vocal work from Susie Essman (Mittens) and Mark Walton (Rhino) that truly save this film. Essman's Mittens is the film's highlight. Not only does she become the film's most well developed character, but in the process, she causes Bolt to become a nicely developed character too (you guessed it: more on Mittens below). Rhino is the scene-stealer, hilariously injecting commentary into each situation. Odds are that you will finish watching Bolt and immediately begin quoting Rhino's lines.

It is clear that John Lasseter is slowly gaining creative control of Disney in Bolt. You can sense a great film in there somewhere, but instead, Bolt is seemingly content with above average mediocrity. The music is fine, but rather unmemorable. The animation is spectacular while the psuedo-television show is playing out, but whenever the scene shifts to reality, the animation is simply good instead of Disney great. There are some truly fantastic scenes that can be found in Bolt, though. After the five year time jump, the opening introduction to Bolt's TV show is a wonder to behold in every phase. It exquisitely kicks off the characterization of both Bolt and Penny while also being insanely thrilling and supremely entertaining. In fact, each unique scene from the show is fantastic. I would definitely watch that show! Furthermore, each time the different sets of pigeons appear to talk to Bolt, I laugh hysterically due to the simplicity of the humor.

It feels as if Bolt is a lame duck film as Disney apparently knew it had something greater coming up the pipeline one year later with The Princess and the Frog. Bolt is by no means a bad film; there are definitely worse films in the animated canon, but the frustrating thing about this film is that it had all the potential to be great. It had the characters, the production team (Byron Howard co-directed this film, the genius who also co-directed Tangled and Zootopia), and clever story, but far too often, Bolt comes off as an unwanted ripoff of Oliver & Company. If you're looking for a nice, thoroughly entertaining film for the whole family, you cannot go wrong with Bolt, but if you're looking for a Disney masterpiece, you might want to look elsewhere.

Rating: 7.5/10

Historical Significance: The original concept for the film was first developed by Lilo & Stitch star/co-director/mastermind Chris Sanders. Bolt was initially entitled American Dog, and Bolt was named Henry instead while Mittens was called Ogo. Henry was modeled, appropriately enough, after Stitch himself, and Ogo was a male kitten with an eye patch who worked as a mechanic in a junkyard. Rhino was suppose to be a radioactive rabbit, and the setting of the film was first set in the American Southwest. The reason for the immense overhaul was threefold. First of all, the setting needed to change due to its deemed similarity to Cars which was released two years earlier. Secondly, Sanders departed Disney to work on Dreamworks's How to Train Your Dragon (released in 2010). Finally, John Lasseter's creative genius acquired by the studio's purchase of Pixar caused the current stories in production (Meet the Robinsons and Bolt) to be almost entirely altered. Bolt would go on to become the first Disney animated film to be presented in 3D (Chicken Little and Meet the Robinsons were converted to 3D in post-production) and also became the first Disney animated to be released on Blu-Ray before it was offered on DVD.

Behind the Scenes: Miley Cyrus was not the original choice to voice Penny. Chloe Grace Mortez was actually brought in for the role and even recorded all of Penny's lines, but Disney decided to bring in Cyrus while keeping Mortez on to voice the younger version of Penny. We are not quite sure why Disney decided to make such a change to this day. On the other hand, John Travolta was the first and only choice to voice Bolt. Additionally, Disney has always believed in realism for their animation, and in order to properly capture the movements of Rhino while inside his hamster ball, the animators placed a hamster inside its ball and allowed it to roll around on top of a piece of Plexiglas. They filmed the movements from underneath the Plexiglas and studied the hamster's movements to apply it to their animation. Also, Sovereign Productions in the film may look familiar to some of you. That is because it is designed after the Disney Studio lot located in Burbank, California.

Favorite Character: I have kind of spoiled the surprise of my selection here already, but Mittens is my favorite character from Bolt. From the moment we are introduced to Mittens, we know she is going to be a phenomenal character. She is essentially steeped in legend from the beginning thanks to the pigeon's description of her to Bolt, and she more than lives up to the legend. We know she is probably a victim to a dark backstory, and while that prophecy is eventually fulfilled, the film does not unnecessarily present her backstory as its signature dramatic moment because it just would not have meshed with the film's tone. Instead, Mittens mentioned in passing that she comes from owners that did not understand how to properly care for a pet. This subtle reference allows for Mittens to come full circle as a character in a nice way. She also inspires change in Bolt's life. By hanging around Mittens, Bolt comes to the realization that he is just a humble dog, not a world-saving hero. Any character that can develop on her own while also developing other characters is almost guaranteed a spot on my favorite character section.

Favorite Scene: Since I just praised the character changes of Bolt and Mittens, it is only appropriate for me to choose a scene displaying their change as my favorite. The "Barking At the Moon" sequence is as close as Bolt comes to achieving classic status. Bolt has finally had his breakthrough and accepted the fact that he is not the immortal superhero he plays on television. He is an ordinary dog, but the problem is he has never been an ordinary dog a day in his life, so Mittens and Rhino take it upon themselves to teach Bolt the ins and outs of being man's best friend. The following sequence is one of pure delight and sheer entertainment. The song being played in the background here is a nice tune and provides the perfect counterpart to the action occurring on screen. This scene affords all three main characters an opportunity to shine and develop as characters, and you know I am all about scenes like that!

Updated Ranking: I honestly wanted to rank Bolt higher on this list, and it had the potential to work its way up. However, it is what it is, and so is its ranking.

1. Beauty and the Beast
2. The Lion King
3. Aladdin
4. The Little Mermaid
5. Snow White and the Seven Dwarfs
6. The Hunchback of Notre Dame
7. Peter Pan
8. Cinderella
9. The Jungle Book
10. Sleeping Beauty
11. Lilo & Stitch
12. Hercules
13. Mulan
14. The Emperor's New Groove
15. Tarzan
16. Pinocchio
17. Lady and the Tramp
18. The Many Adventures of Winnie the Pooh
19. Alice in Wonderland
20. Dumbo
21. Bambi
22. 101 Dalmatians
23. Pocahontas 
24. Treasure Planet
25. The Great Mouse Detective
26. Fantasia
27. The Adventures of Ichabod and Mr. Toad
28. The AristoCats
29. Fantasia 2000
30. Meet the Robinsons
31. The Rescuers Down Under
32. Fun and Fancy Free
33. The Fox and the Hound
34. Robin Hood
35. Bolt
36. Dinosaur
37. Melody Time
38. The Three Caballeros
39. Saludos Amigos
40. Brother Bear
41. Oliver & Company
42. The Rescuers
43. Atlantis: The Lost Empire
44. The Sword in the Stone
45. Make Mine Music
46. The Black Cauldron
47. Chicken Little
48. Home on the Range

Tomorrow, we'll discover that adventure is indeed out there with Pixar's Up!

-Cody Fleenor

Summer of Magic- "Wall-E"

If Cars and its sequel are Pixar's most mainstream films to date, Wall-E is the studio's most artful film to date. Once again, I must shamefully confess that I was not the biggest fan of this film upon its initial release; I was fascinated by the animation, but the characters were lacking for me and the story was rather boring. However, my eyes have since been opened to the greatness that is found in Wall-E. This is yet another masterpiece in the canon. Rarely relying on flashy characters or a typical story, Wall-E instead focuses on subtlety and nuance in every facet in order to produce a cinematic experience for the ages. Add in Pixar's most though-provoking messages and ideals as well as a dynamite score with some of their best animation and you have a genuine crowning cinematic achievement.

On paper, this film should not work. Our setting is in a (potentially not-so) dystopian Earth where garbage has overrun the planet. Waste Allocation Load Lifter Earthcases, or Wall-E for short, have been assigned to clean up the mess while all of humanity is harbored away on a cruise in space on board the Axiom. On top of this insanely original story, Pixar makes the extremely bold decision to have no character dialogue for the first twenty-two minutes of the film, and the first human doesn't speak until about halfway through the film. It shouldn't work, but Pixar somehow makes it work and creates a masterpiece in the process. This film is a classic because of its titular character. Wall-E is one of animation's greatest triumphs. He finds a way to work his way into our hearts and never leave. Wall-E is a character that will stay with you long after the credits roll.  Wall-E has an assignment while on Earth, and he is willing to accomplish his part of the goal to clean up the trash with all of his heart. However, thanks to his collection of earthly artifacts as well as the archived Hello, Dolly, Wall-E knows that there has to be more to this life than lonely trash collecting (more on Wall-E below).

Enter Eve, or Extraterrestrial Vegetation Evaluator. As Eve arrives on the scene to literally change Wall-E's life, Wall-E soars to new heights that only Pixar can reach. Eve is the perfect counterpart to Wall-E as she experiences the exact opposite character arc as Wall-E. Eve believes that there is nothing to life other than locating life on Earth. She will let nothing stand in her way of accomplishing her directive (even a giant magnet doesn't stand a chance, as evidenced in one of the film's best sequences as Eve obliterates the magnet and a host of tankers in the process). However, when her path crosses with Wall-E's, she begins to understand that this life has so much more to offer. Pixar has created some of Hollywood's best duos in its history, and Wall-E and Eve belong in the same breath as Woody and Buzz and Mike and Sulley for their best duo to date. Through their commitment to one another, we witness the power of undeserved love and devotion. Wall-E features one of the industry's best romances ever, and who would have thought that it would come from two robots?

I have alluded to it already, but the animation in Wall-E is downright breathtaking. While the setting is on Earth, Pixar delivers some of their best work, but when the scene shifts to space, they find a way to raise the bar even higher yet again. The first sequence in space, in particular, as Wall-E is hanging on for dear life on the back of Eve's ship is a defining moment in the studio's illustrious career. Each scene is impeccably detailed with rich backdrops and excellent character animation. Additionally, Thomas Newman returns to Pixar and composes perhaps the greatest score of his career. He was fantastic in Finding Nemo, but with Wall-E, he truly outdid himself. In a film filled with highlights, Newman's music is something you will leave thinking about and remembering. Also, a review of Wall-E would be incomplete without applauding the timely messages and challenges issued throughout the film. At first, it is absurd to think about a planet overcome by garbage with humans totally ignoring that fact due to their obsession with their electronic devices, but as Wall-E continually crosses into uncharted moral territory for animation, we quickly realize that its plead for conservation and awareness is one of the most poignant messages found in cinema in the modern era. One cannot finish watching Wall-E without having a conversation about its presented ideals. That is the power of cinema and the magic of Pixar.

If you were to ask a seasoned critic what Pixar's best film is to date, odds are they will say Wall-E for their answer. This is Pixar's Mona Lisa. There are better films out there, but Wall-E will be the one everyone talks about decades from now due to its lush animation, classic characters, and above all, its passionate proclamations. Today, Wall-E is a sheer masterpiece of epic proportions that certainly belongs in the conversation for Pixar's finest film.

Rating: 10/10

Historical Significance: You have probably noticed throughout Pixar's films that "A113" appears in some fashion in each film. The most prominent use of this can be found in Wall-E, where it is revealed that AUTO's secret directive is entitled "A113." Room A113 was a classroom at Cal Arts where many Disney and Pixar animated learned and perfected their craft. The other appearances of A113 in Pixar films are as followed: Andy's mom's license plate (Toy Story/Toy Story 3), code on a cereal box (A Bug's Life), airport announcement (Toy Story 2), pillar inside a warehouse (Monsters Inc.), model code of a camera (Finding Nemo), room number in Syndrome's lair (The Incredibles), Mater's license plate number (Cars/Cars 2), lab rat tag number (Ratatouille), court room sign (Up), address for the witch's store in Roman numerals (Brave), classroom number for Scaring 101 (Monsters University), Riley's classroom number (Inside Out), formed subtly by picket fences (The Good Dinosaur), and the tags of Fluke and Rudder (Finding Dory).

Behind the Scenes: A good portion of Wall-E is essentially an animated silent film. In fact, the first half hour of the film features no dialogue at all, just videos from Buy N' Large and Hello, Dolly. To study the art of pure visual storytelling, director Andrew Stanton and his crew claimed to have watched all of Charlie Chaplin's and Buster Keaton's films during lunch breaks while Wall-E was in production. Additionally, Ben Burtt provides the voices for Wall-E, Mo, and many other additional characters. He recorded over 2,500 different sounds for the film over the span of two years. At this point, he had previously worked on Star Wars: Episode III- Revenge of the Sith, and upon finishing his work there, Burtt promised he would never appear in another film featuring robots again. However, once he read through the script for Wall-E, he couldn't resist signing on. Stanton told Burtt during their first meeting together, "I need you to be 80% of the cast!" Also, Elissa Knight provides the voice for Eve. Knight is not a trained actor; actually, she was a humble employee at Pixar when she got the part.

Favorite Character: His name is the title, so it makes perfect sense for Wall-E to be my favorite character here. Only Pixar could make a trash-collecting robot who barely talks one of their best creations to date. When we are first introduced to Wall-E, he is simply doing his job of cleaning the Earth even though he is literally the only one left to do so. The opening sequences of Wall-E are purely delightful because of Pixar's ability to tell a story while also developing a character. However, Wall-E's characterization hits hyper-drive whenever his world is forever changed by the appearance of Eve. The relationship between Wall-E and Eve is so richly developed and nurtured that I pick up on subtle nuances upon each additional viewing of Wall-E. The reason Wall-E is my choice for this section is due to his incredible devotion to Eve. Even when his entire life is turned upside down, Wall-E stands by Eve, and he stands by the hope of a better Earth in the future although AUTO would beg to differ. As a leading character, Wall-E should be Pixar's most unrelatable character in the studio's canon, but thanks to some sheer magic, Wall-E becomes a legend.

Favorite Scene: I previously praised Thomas Newman's score, and in my favorite scene, his score takes center stage. The track entitled "Define Dancing" is the backdrop for one of Pixar's most visually stunning and magical sequences to date. As Wall-E had just rescued the endangered plant from exploding, Eve breaths a sigh of relief not only for the survival of the plant, but for Wall-E as well. We obviously know by this point that Wall-E is crazy about Eve, but in this sequence, Eve finally returns the feeling as the two lovestruck robots dance like no one is watching. The animation on display here is some of Pixar's finest work, rivaling the studio's best scenes ever such as the final battle in The Incredibles or the climatic door fiasco in Monsters Inc. Then, to provide the film with Pixar's signature emotional moment, Sigourney Weaver explains to us what dancing is really all about, and as Wall-E and Eve dance the night away, our hearts rejoice and soar like never before.

Updated Ranking: Following the precedent set by Ratatouille, a few years ago, I would have been shocked if you would have told me I would have Wall-E ranked so high today. Alas, time changes things again.

1. The Incredibles
2. Toy Story
3. Finding Nemo
4. Ratatouille
5. Wall-E
6. Monsters Inc.
7. Toy Story 2
8. A Bug's Life
9. Cars

Tomorrow, Disney's final film before the third Golden Age arrives commences with Bolt!

-Cody Fleenor

Summer of Magic- "Ratatouille"

I must shamefully confess something as I begin this review of Ratatouille: I despised this film upon its initial release. I was twelve years old when it first hit theaters, and apparently, I had better things to do with my life than watch rats cook food. For the longest time, it held the title as my least favorite Pixar film. However, I am not the sort of guy that cannot admit to committing a wrongdoing. I am so secure in my manhood, in fact, that I must wholeheartedly confess that I was dead wrong about Ratatouille. Brad Bird's second Pixar film is just as clever, ingenious, gorgeous, and thought-provoking as The Incredibles. Nowadays, I find myself fighting for Ratatouille in the conversation for one of Pixar's best films.

Setting a rat as a film's main character is a bold strategy, but leave it to Pixar to make our leading rodent one for the ages. Remy is one of Pixar's most fascinating characters to date. He is expertly brought to life by Patton Oswalt, who has quite literally never been better. Remy is one persistent rat because by all accounts, his dream of becoming a chef is beyond ludicrous, but he is not concerned with what everyone else is saying. He is determined to follow his dream and live it. That is a powerful challenge issued to all of us, and who would have thought it would come from a rat (I'll discuss Remy in more detail below)? Remy's partner, Linguini, is yet another stellar character in this ensemble and in the Pixar canon. The estranged son of the famous Chef Gusteau, Linguini is simply trying to find his place in this great big world, which allows for him and Remy to immediately hit it off and form a legendary connection. Upon realizing that they need each other in order to succeed, Remy and Linguini become one of Pixar's most dynamic duos to date. The montage scene featuring Remy teaching Linguini how to cook with his aid is downright classical, resulting in one of my favorite sequences of the film.

The remainder of the ensemble is just as splendid also. Colette is the perfect counterpart to Linguini, fiercely determined to make her mark on the world of cooking. Colette stars in one of the film's best scenes in which she proudly explains to Linguini the importance of this job in which she cites the lack of women in Gusteau's kitchen. It is a short and simple scene, but it allows Colette an opportunity to shine and develop as a character, which pays off immensely by the end of the film. Our villain, Chef Skinner, is a maniacal tyrant tenaciously attempting to ruin Linguini's ascent to the Gusteau's throne. He is an excellent villain because he is just another human being in which we can all probably relate to in some scary fashion. Pixar keeps his characterization simple, and it works fantastically. Eight-time Academy Award nominee Peter O'Toole starring in a Pixar film is almost too good to be true, but as the harsh food critic Anton Ego, O'Toole steals the show. Acting as the second, more menacing villain of the film, Ego experiences an amazing character arc filled with genuine evolution. I will resist spoiling my thoughts on this issue for now, but keep reading because I will return to Ego shortly.

Every Pixar film is breathtakingly gorgeous, and Ratatouille may just be the studio's most visually stunning film to date, with all due respect to Finding Nemo and Wall-E. It does not matter how many times I watch this film; every time, I simply watch in awe, especially when shots of Paris on a grand scale are shown. Paris is the perfect backdrop for this iconic story, and Brad Bird and company have done a flawless job bringing one of the world's most famous cities to life like never before. Speaking of Bird, I sang his praises over and over again in my review of The Incredibles, and I must do so again now. Bird is a genius, plain and simple. His witty yet inspirational script is the stuff legends are made of, and his direction rivals the best work by anyone in the history of animation. Furthermore, musical auteur Michael Giacchino once again blows me away. In Ratatouille, he effortlessly blends the culture of France with his own unique style to create one of his most sophisticated and mature scores to date (the end credits track, in particular, is one of his career highlights).

Pixar films are timeless due to their ability connect to both children and adults on an emotional and entertaining level. However, I would say that Ratatouille is geared more towards adults than children, and that is by no means a critique of the film. It is actually the highest praise I could offer to this masterpiece. Ratatouille stands alongside such mature classics as The Hunchback of Notre Dame, The Incredibles, and Wall-E as one of the best films ever made that just so happen to be animated. Sure, this film will entertain you (Remy's first attempt to make the soup is an awesome sequence), but beyond that, it will challenge and inspire. Above all, Ratatouille holds true to Walt Disney's famous philosophy: "You're dead if you aim only for children. Adults are only kids grown up, anyway."

Rating: 10/10

Historical Significance: The original concept for Ratatouille was first conceived in 2001 by Jan Pinkava, the writer/director of one of Pixar's best short films, Geri's Game. He planned the initial story filled with characters, original designs, and sets. However, in the midst of production, Pixar was unsatisfied with the film's direction, so after the massive success of The Incredibles, they brought Brad Bird back to helm the film in 2005. Bird took his crew on a week-long excursion to Paris to fully immerse themselves in the culture, and when they returned, they got to work. The biggest changes to Pinkava's original idea was killing off Gusteau, giving Skinner and Colette more significant roles, and altering the design of the rats. To appropriately capture the look and movements of rats, pet rats were kept in the studio for over a year for the animators to study. Remy's animation called for over one million hairs to be rendered for each shot, which took hours for the animators to properly achieve. Bravo, Pixar.

Behind the Scenes: Two high profile fans of Ratatouille spoke highly of the Pixar masterpiece. TV chef Anthony Bourdain (No Reservations) claims that this is his favorite food-centric film, stating: "They got the food, the reactions to food, and tiny details to food right- down to the barely noticeable pink burns on one of the character's forearms. I really thought it captured a passionate love of food in a way that very few other films have." Furthermore, veteran Disney animation Victor Haboush (Lady and the Tramp, Sleeping Beauty, 101 Dalmatians) called Ratatouille "the best animated film since Pinocchio." Disney/Pixar knew they had a classic on their hands, but they were skeptical of its chances of becoming the first animated film since Beauty and the Beast to be nominated for Best Picture at the Academy Awards. Instead of campaigning the film in such a prestigious manner, they focused their efforts on winning Best Animated Feature, which it won running away. While Ratatouille did not receive a Best Picture nomination, it did set the record at the time for most Oscar nominations for a computer animated film (Animated Feature, Original Screenplay, Score, Sound Mixing, Sound Editing). That record was broken one year later by Pixar's next film, Wall-E, which received six nominations.

Favorite Character: Remy is clearly going to be my choice here. Throughout my years of watching Pixar films, no character has grown on me more than Remy has upon additional viewings. At his core, Remy is a dreamer. He wants to become a chef more than anything in the world. The only problem is that he is a rat, and you can probably guess why food and rats would turn people away from a restaurant. However, here's the greatest attribute about Remy: he knows the societal thoughts and inevitable complications he will face, and he still pursues his dream with everything he's got. His plight is so challenging and rather encouraging to me every time I have the privilege of watching Ratatouille. Remy is constantly at war with his limitations and his own friends and family, but yet again, he is not deterred from his mission. We should all be able to pull out some genuine inspiration from this rat. Patton Oswalt turns in a career best performance as the inspiration rat, deftly blending comedy with raw emotion. The animators have once again exquisitely brought one of Pixar's characters to life physically. Remy is a legend, and you will undoubtedly finish watching Ratatouille firmly believing that anyone can cook.

Favorite Scene: Peter O'Toole's Anton Ego is not afforded much screentime, but his final visit to Gusteau's is the film's unquestioned highlight. We have been anticipating Ego's return to the famed restaurant for quite some time, and when he finally settles down to partake of whatever Linguini is serving, we await his response with hastened breath. As the ratatouille is presented, Ego takes a bite, fully expecting to loathe the dish. However, in a brilliant twist that could have only been brought about by Pixar, the taste of the medley of vegetables instantly transports Ego back to his childhood when his mother used to cook the exact same dish that initially ignited his love for food. As we cut back to reality, Ego dramatically drops his pen and quickly finishes off the delightful cuisine. It is such a beautifully simple moment that brings this film together perfectly. Then, whenever O'Toole has the opportunity to read Ego's review of Gusteau's, the film finds its heart and soul. This is the signature Pixar emotional moment, and its payoff is tremendous.

Updated Ranking: A few years ago, there would have been absolutely no chance of me ranking Ratatouille as high as I have today. My, how times change.

1. The Incredibles
2. Toy Story
3. Finding Nemo
4. Ratatouille
5. Monsters Inc.
6. Toy Story 2
7. A Bug's Life
8. Cars 

We're sticking with Pixar tomorrow as we travel to outer space in a dystopian future in Wall-E!

-Cody Fleenor

Summer of Magic- "Meet the Robinsons"

We have arrived in a period of time in Disney history where the studio is undergoing tremendous changes, which I will unveil more thoroughly below and in the coming days. While Disney buying Pixar sounds as if it would primarily benefit Pixar, it ended up working the exact opposite way. Pixar's creative team came in and rejuvenated Disney after a span of three years where their films bombed. It would take a while to return to Renaissance-level work, but the first film released from the Mouse House after the partnership commenced was the delightfully wacky Meet the Robinsons. While oftentimes allowing technology to once again overtake the story, this film is a significant improvement over the studio's previous two films which shall not be named. Meet the Robinsons pays homage to the spirit of Walt Disney, and for that fact alone, it messes around and produces a fairly solid film.

Unfortunately for Meet the Robinsons, it is by no means a perfect film; in fact, it is a rather flawed one, but its contagious spirit and timely messages often do the heavy lifting and make up for half-developed characters and a predictable story. Yes, against all odds, I enjoy a film that does not feature strong characters. This ensemble is certainly not a terrible one, as was the case in Home on the Range (No! I mentioned its name!), but the characterizations could have definitely been more developed across the board. Lewis is a fine leading man, but it is not until he arrives in the future that his characterization truly takes off, and by that time, it is almost too late to form an emotional investment. The same can be said of the film's villain, the Bowler Hat Guy. His development will be discussed below, but for now, I'll just say that something just seemed to be missing in this character. Each of the Robinsons contain a unique personality and have the potential to steal the show, but they are unfortunately not afforded much screentime. The film could have benefited greatly from an expanded presence of this futuristic family.

Therein lies the one major flaw in Meet the Robinsons. From the characters to the story, it feels like something is missing, but I am not sure what it is because yet again, I find myself thoroughly enjoying it nonetheless. This may be the strangest review I have written thus far in the Summer of Magic because according to my required criteria of excellent characters in a fantastic story, Meet the Robinsons falls short in both categories, but I still like this film! I don't know why, but I do! Maybe it is the film's infectious optimism and positive outlook towards the future which the modern world desperately needs more of nowadays. Maybe it is the fact that the film boasts some extremely impressive animation. Maybe it is because it ends with a Walt Disney quote (such a nice touch, by the way). For the first time all summer, I am at an apparent loss for words.

As I previously stated, the film really takes off when the time travel starts kicking into full gear. When Wilbur first shows Lewis the future, the following sequences are spectacular (especially when Todayland is proudly revealed with Space Mountain in the background). The animators continue to clearly obtain a firmer grip on the new computer animation, and while significant strides are being made to effortlessly balance story and technology, Meet the Robinsons still falls slightly short of Disney's glorious standards. However, the film does feature some genuinely emotional scenes that really connect with the audience. Disney's signature charm comes to the forefront whenever Lewis finally finds that elusive family he has always longed for, and when he decides to abandon his dream of tracking down his birth mother because of it, it is a powerful moment. Even though our emotional investment is not as deep into Lewis as it has been in past Disney characters, I still feel the weight of that moment in its entirety. That's simply Disney magic.

Meet the Robinsons is not a bad film whatsoever, but it is also no classic. This is middle-of-the-road work for Disney, the definition of a good film, but given my expressed critiques for this film, it should not even be deemed good. However, Disney finds a way to impress me yet again even when my mind is telling me otherwise. This rating is based on my heart, and my heart is saying that Meet the Robinsons is an irresistible charmer.

Rating: 8/10

Historical Significance: After Disney bought Pixar, Disney changed its name to Walt Disney Animation Studios with the Steamboat Willie intro to its films that can still be seen today. They also created a new logo, the same logo that is used before films today. They instituted these changes to establish they were starting over with a fresh slate now that Pixar and Disney were officially partnering together. The first animated film to display these changes was Meet the Robinsons (Pirates of the Caribbean: Dead Man's Chest was the first film ever to show off the logo, live action or animated). In the aftermath of these changes, Pixar chief John Lasseter was tasked to act as the executive producer for all future Disney animated films. His first assignment was to produce Meet the Robinsons. In a story meeting with director Stephen J. Anderson, Lasseter suggested that major changes be made to raise the quality of the final product. Over the next year, it is estimated that approximately sixty percent of the film was altered from the original plans, including adding new action scenes and further developing the Bowler Hat Guy into a more devious villain by adding his sidekick, Doris. It was this intense focus on characters and story from Lasseter and company that ultimately led to the third Golden Age of Disney, which will discuss in more detail next week.

Behind the Scenes: Director Stephen J. Anderson was no stranger to Disney prior to his involvement in Meet the Robinsons. He had worked in the story department on such films as Tarzan, The Emperor's New Groove, and Brother Bear. When he got a hold of the final script for Meet the Robinsons, he personally lobbied to direct the film due to his instant connection with Lewis because Anderson had too been an orphan and had dealt with the same emotions Lewis was feeling in the film. Disney hired him and apparently loved him because they brought him back a few years later to direct 2011's Winnie the Pooh. Furthermore, the voice acting for Lewis is suspect as it is, but the fact that Disney had to bring in two actors to record his lines certainly did not help. Daniel Hansen was initially brought in to portray Lewis, but halfway through recording, his voice broke and was deemed not suitable for Lewis's intended age any longer. The studio then brought in Jordan Fry to complete the project. Also, Disney had its eye on Jim Carrey to voice the Bowler Hat Guy, a role that peaked the interest of Carrey. Unfortunately, Carrey had to choose between Meet the Robinsons and Number 23, and he obviously chose the latter. Oh, what could have been!

Favorite Character: I have already alluded to my overall displeasure with this film's characters, but since I must choose one as my favorite, I guess I will go with the Bowler Hat Guy. Despite spending far too much time acting as a lunatic more than a villain, the Bowler Hat Guy does find a way to become the most well developed character in the ensemble due to the film's clever twist. Revealing that the Bowler Hat Guy is actually a grown up Goob, Lewis's roommate at the orphanage, is such an ingenious way to make this lackluster bad guy become a semi-memorable one. Suddenly, upon that revelation, the Bowler Hat Guy becomes a sympathetic villain of sorts, especially when Doris takes the reigns and begins plotting to take over the future. Plus, it gives his conflicts and quibbles with Lewis true meaning and merit. The Bowler Hat Guy is not one of Disney's best villains (in fact, he is probably one of their worst, but that's mainly due to the fact that Disney has made so many great villains over the years), but in an ensemble devoid of a star character, he stands out above the rest.

Favorite Scene: In a film completely dedicated to the future, my favorite scene actually occurs in the past. Near the end of the film as Lewis is supposedly returning to the present, Wilbur surprises him by staying true to his promise of taking Lewis to meet his mother. They travel back to the very moment Lewis's mom drops him off at the Sixth Street Orphanage, and Lewis finally has the opportunity he has been dreaming about for so long. However, just as Lewis is about to reveal his existence to his mom, he restrains himself and begins slowly backing away, never meeting his mother. When asked why he would do such a thing, Lewis proudly proclaims that he already has a family...in the future with the rest of the Robinsons. It is a tender, sweet film that provides a nice emotional payoff to the film's messages of family and belonging. Once again, I find myself being drawn to the dramatic. Nice job, Disney.

Updated Ranking: You can begin to see in Meet the Robinsons that Disney is starting to turn things around after their previous two debacles, but this film never elevates beyond being just really good.

1. Beauty and the Beast
2. The Lion King
3. Aladdin
4. The Little Mermaid
5. Snow White and the Seven Dwarfs
6. The Hunchback of Notre Dame
7. Peter Pan
8. Cinderella
9. The Jungle Book
10. Sleeping Beauty
11. Lilo & Stitch
12. Hercules
13. Mulan
14. The Emperor's New Groove
15. Tarzan
16. Pinocchio
17. Lady and the Tramp
18. The Many Adventures of Winnie the Pooh
19. Alice in Wonderland
20. Dumbo
21. Bambi
22. 101 Dalmatians
23. Pocahontas
24. Treasure Planet
25. The Great Mouse Detective
26. Fantasia
27. The Adventures of Ichabod and Mr. Toad
28. The AristoCats
29. Fantasia 2000
30. Meet the Robinsons
31. The Rescuers Down Under
32. Fun and Fancy Free
33. The Fox and the Hound
34. Robin Hood
35. Dinosaur
36. Melody Time
37. The Three Caballeros
38. Saludos Amigos
39. Brother Bear
40. Oliver & Company
41. The Rescuers
42. Atlantis: The Lost Empire
43. The Sword in the Stone
44. Make Mine Music
45. The Black Cauldron
46. Chicken Little
47. Home on the Range

Brad Bird returns to the director's chair for Pixar tomorrow with one of the studio's most mature film to date: Ratatouille!

-Cody Fleenor

Summer of Magic- "Cars"

Have you ever wanted to hate something but can never bring yourself to actually doing so because you secretly love whatever it is? I think that is precisely the feeling many people have towards Pixar's seventh film, Cars. Maybe the sting of the disastrous Cars 2 is too severe and too recent for us to shake, but every time I return to the original 2006 film, I find myself being thoroughly entertained and remarkably challenged as well. Cars is a film that you want to hate but simply can't because it is a pretty great film. Sure, it never quite soars to the masterpiece level of Pixar's finest films, but for what it is, Cars is a definitive winner.

Without memorable characters, Pixar's films just don't work, and while Cars is devoid of an all-time classic character like a Buzz Lightyear or a Mr. Incredible, it does offer an array of hilarious automobiles that are fairly solid Pixar creations. For a good portion of the film, Lightning McQueen is an egomaniacal jerk, and while that personality defines the legend for far too long, this set-up does allow for the character evolution in the end to be coupled with a nice emotional payoff. When Lightning does finally change his ways, he becomes one of Pixar's best characters. I just wish that change would have transpired a little earlier in the film. It is not too often that I can write this next phrase, but Owen Wilson turns in a fantastic performance as McQueen. His ability to effortless deliver comedic and dramatic lines is a wonder to behold. Also, Sally is another great character that is aided immensely by the vocal work of Bonnie Hunt. Sally is the default leader of Radiator Springs, and that characterization allows for some excellent moments to occur, especially when the neon is finally returned to the town. Sally and McQueen's interactions are some of the best moments from the film as well (more on that below). You can feel the heartache from both parties as McQueen is unwillingly ushered away to the race in California, which is really a testament to the tremendous ability of Pixar.

The supporting crop of characters is equally as impressive also. Doc Hudson is voiced by Paul Newman, which automatically makes him one of Pixar's greatest characters. Hudson is the heartbeat behind the entire film, and his leadership for the town and McQueen himself is exemplary throughout. I'll discuss Hudson in more detail below. Mater became so popular in the aftermath of Cars that they essentially gave him his own film in Cars 2, but despite that atrocity, Mater is a stellar character in Cars. He provides the ultimately timely comedic relief throughout as Larry the Cable Guy effectively steals the show. The remainder of the Radiator Springs gang is superb too as they are often afforded the opportunity to steal the spotlight from the leading characters. The animation for these characters is spectacular as well, each embedded with their own unique personalities before they even begin speaking.

You may have a variety of complaints about Cars that are totally legitimate, but one thing I think we can all agree on is that the animation overall is awe-inspiring. From the characters to the landscapes, everything about Cars is a visual treat. The reason Disneyland's Cars Land is so picturesque and beautiful today is because of its inspiration from this film. The shots of Radiator Springs feature some of Pixar's most glorious animation to date. Furthermore, Randy Newman yet again delivers another phenomenal score that is also boasts some great songs as well, such as the infectious "Life Is a Highway" and the Oscar-nominated "Our Town." John Lasseter's steady directing hand allows for Cars to break out of the mires of mediocrity it comes close to be trapped in and proceed onward to a genuinely great film. The only quibble I have with Cars is that I feel as if this (along with its sequel) is Pixar's most mainstream film to date, meaning that they made it solely for entertainment sake and not for the sake of art. The messages and themes proclaimed in Cars are nice, but they do not hold a candle to the bolder proclamations in other Pixar classics. There is nothing wrong with making a downright fun film, but that is why Cars is simply a great film in my book and not a masterpiece.

However, that should diminish this film's greatness. I loved this film when I first saw it in 2006, and I still love it to this day. I keep on returning to this film for its memorable characters, rich animation, and big heart. While not a Ferrari (sorry, Luigi), Cars is definitely not scrap metal.

Rating: 9/10

Historical Significance: The concept for Radiator Springs was originally conceived during a Route 66 road trip with John Lasseter, Joe Ranft, and author/historian Michael Wallis. The trio studied different stops along Route 66 in states such as Kansas, Oklahoma, Texas, and New Mexico (from that, you can see where the setting inspiration in Cars comes from). Wallis so impressed Lasseter that he brought on the historian to voice the Sheriff in Cars. Furthermore, this film unfortunately marks the final film for two legends. Joe Ranft, co-director of the film and the voice of Red and other additional characters, tragically passed away in a car accident in 2005. Ranft was integral to the success of Pixar in its early years, providing voices for characters in every single one of the studio's first seven films while assisting in creating the stories for such classics as Beauty and the Beast, The Lion King, and Toy Story. Cars is dedicated in his honor. Additionally, this would also be Paul Newman's final film. The Academy Award-winning icon voiced Doc Hudson, and he often claimed before his death that Cars was one of his favorite films to work on (and one of his personal best performances since The Verdict in 1982) due to his immense passion for racing. Cars would go on to become the highest grossing film on his career. He passed away due to lung cancer in 2008.

Behind the Scenes: Pixar was continually searching for faster, more efficient computers in their early years, and the computers used on Cars were reportedly four times faster than the ones used during production of The Incredibles and almost one thousand times faster than the ones used for Toy Story. Still, each frame of Cars took nearly seventeen hours to render. Whoever says computer animation is not art is fooling themselves. Also, the release of Cars was scheduled for 2005, one year after The Incredibles in order to have a Pixar release in every year. However, Pixar chief Steve Jobs held off the release date for over year because he believed that it would act as good leverage in his negotiations with Disney. The plan worked out just the way Jobs envisioned it as Cars would become the final film released by Pixar before Disney officially purchased the studio. The film saw tremendous success financially. The film grossed over $460 million worldwide (a modest figure), but the real money was made in home entertainment sales and merchandise. It was reported that Cars sold over five million copies in just two days of DVD release, and merchandise brought in an estimated one billion dollars. That is why we got Cars 2 and why a third installment is on the way, folks.

Favorite Character: If Paul Newman stars in your film, odds are that his character is going to be my favorite, and in Cars, Newman's Doc Hudson is certainly my favorite in this excellent ensemble of motor vehicles. You know by now how much I love a great character arc filled with evolution throughout the film, and while Lightning McQueen definitely experiences the most drastic change from beginning to end, but in my opinion, his change would have never occurred without Doc Hudson. It wasn't until McQueen stumbled upon Hudson's secret garage filled with his empty Piston Cups that he realized that life is not all about winning races. Hudson's life and legacy inspires McQueen to change, and therefore inspires the film to find its heart and soul. Also, Hudson experiences a significant change as well. When we are first introduced to the Fabulous Hudson Hornet, he cannot stand the sight of race-cars, but by the end of the film, he has valiantly become McQueen's crew chief in the biggest race of his life. Just like Hudson inspired change in McQueen, McQueen conversely inspired change in Hudson. Upon seeing the disappointment in the Radiator Springs citizens when it is revealed that Hudson let the press know where McQueen can be found, he understands just how important McQueen has become to this forgotten community. Hudson drives the emotion of this entire film, and when the Piston Cup crowd gives him a rousing ovation in the end, we follow suit.

Favorite Scene: The scene in which Sally and Lightning McQueen simply take a drive and then discuss the history of Radiator Springs to the tune of "Our Town" is undoubtedly the highlight of Cars. Pixar's ability to entertain and challenge adults just as much as children comes to the forefront in this powerfully fantastic sequence. While Cars never reaches the emotional peaks achieved in other Pixar films like Up or Toy Story 3, its message of returning to your roots and appreciating life to the fullest is a nice sentiment that always leaves me with chills at the conclusion of that song in this scene. Being able to travel back in time to see Radiator Springs in its heyday is a simple, yet highly effective moment in the film that gives it that signature Pixar charm and timelessness. Sally and McQueen are also afforded the opportunity to take center stage here, and the results are spectacular as Bonnie Hunt and Owen Wilson turn in the highlights of their performance. Plus, the animation is fantastic, especially when we are given the chance to finally explore the grandeur of Carburetor County. This scene basically inspired Cars Land in Disneyland, and for that reason alone, this should be considered the best scene in Cars.

Updated Ranking: This is how unfair it is to rank Pixar films. I truly love Cars. It is a genuinely fantastic film, but I have to rank it at the bottom because of the awesomeness that is found in Pixar's first six feature films.

1. The Incredibles
2. Toy Story
3. Finding Nemo
4. Monsters Inc.
5. Toy Story 2
6. A Bug's Life
7. Cars

Tomorrow, we'll travel to the future and Meet the Robinsons!

-Cody Fleenor

Summer of Magic- "Chicken Little"

The 2000's have to be the most infuriating decade in Disney history. While the studio was able to have great success creating modern day classics like The Emperor's New Groove and Lilo & Stitch, they also somehow managed to produce some of the studio's weakest offerings in its history with such films as Home on the Range and today's film, Chicken Little. This is a perfectly harmless film meant to entertain young viewers, but for me, the Disney standard is not met whatsoever with simple popcorn entertainment. Sure, Chicken Little's target audience of extremely young guys is going to be enthralled by this film, but Disney is what is it today due to its catering to children and adults. While Home on the Range allowed a star-studded cast to get lost in a terrible story, Chicken Little managed to stifle some genuinely fantastic computer animation in a convoluted story.

Too often it feels as if key scenes have been cut in the interest of keeping the final product short and sweet because the characters in Chicken Little never come close to being fully developed. That being said, a few of them do come close (although I am being quite generous there) to experiencing a solid arc, but ultimately. these characters are simply pawns in a much grander scheme that never pulls it all together. I simply find myself feeling completely apathetic to these characters and their stories. If they succeed, great, and if they don't, well, too bad. Yet once again, the cast is definitely not to be blamed. Unfortunately, Disney totally wastes this cast with lackluster characters inhabiting a bizarrely disappointing story. An ensemble featuring Zach Braff, Garry Marshall, Joan Cusack, Don Knotts, Patrick Stewart, Steve Zahn, Amy Sedaris, and Wallace Swann simply deserve so much better.

As for the individual characters themselves, Chicken Little is a fine, but rather unremarkable character. We all know the story of Chicken Little before the film even starts, but unlike in times past, Disney is unable to break the narrative mold and breath new life into this legend. His characterization is strictly by the books, which is quite disheartening given the endless possibilities with how to handle such a character. However, I do applaud Disney for creating a character that is unwavering in the face of trials. so while I am ultimately unfilled by Little's characterization, there have certainly been worse characters in the Disney canon. Abby Mallard and Buck Chuck have the potential to be the film's highlights, but once again, the feeling of cut scenes rears its ugly head in regard to their characterization. Mallard is such a good character as Cusack is on her way to voicing another superb character, but then, Chicken Little kisses her, and apparently, she is rendered useless in the aftermath. You're better than that, Disney. Give her something to do instead of relegating her to the sidelines. Buck Chuck, Little's father, should have an emotional breakthrough at some point with his son, and while he does, it's too little too late. He has already publicly embarrassed and ostracized his son on his way to winning an award for worst father ever, so when they do finally find that elusive closure, the intended emotional payoff is minute if existent at all. The rest of the characters are simply passing by and rather useless. Yet again, you're better than that, Disney.

Chicken Little is one of Disney's first completely computer animated films (more on that below), and that is one of the few highlights from the film. The animation is quite gorgeous, especially when the science fiction element is brought into the equation. That being said, though, whenever a film is more of a technical marvel than anything else, that is problematic. Pixar chief John Lasseter once stated, "The art challenges the technology, and the technology inspires the art." The animation is suppose to be a part of the story, not overtake it. It is intended to be the means in which the story comes to life, but unfortunately in Chicken Little, the story is overpowered by Disney's apparent newfound fascination with computer technology. This film feels like two films in one. The first half is the story we all know: the sky is not falling and Chicken Little must deal with the consequences. The second half, for some disastrous reason, turns into a science fiction farce. The first half is solid, but the second half is laughably atrocious. The characters have nothing to do other than run around like, well, the world is ending, and the storyline with the aliens is just absurd. It's almost as if Disney was admitting the story was bad, so they decided to put all of their creative energy behind the animation, and that is a recipe for disaster.

When the animation is the only highlight in the entire film, you know the film is subpar, to put it nicely. In a period of time in which Pixar continued to foster excellent ideas for stories and phenomenal characters to inhabit those stories, Disney simply wasn't getting the job. Luckily, they are about to turn it around in the coming days of the Summer of Magic, but there is no denying that 2003 to 2005 was a dark time in Disney history as characters were an afterthought, stories were backdrops, and the sky was seemingly falling right before our very eyes.

Rating: 5/10

Historical Significance: While Dinosaur was the first Disney film to be computer animated, Chicken Little officially kicked off the new trend for the studio that is still going strong today. With the exceptions of The Princess and the Frog in 2009 and Winnie the Pooh in 2011, all of Disney's animated films have been computer animated since 2005. Chicken Little was also the first Disney film to be presented in Disney Digital 3D. The original plan for the film was to tell the story with a narrator (voiced by Don Knotts, who ended up voicing Mayor Turkey Lurky in the final cut as the film was released just a few months prior to his death) telling the story of Chicken Little. Additionally, the film was intended to be hand drawn, not computer animated, but after the critical and financial failures of Brother Bear and Home on the Range, Disney decided to embrace the future of animation with Chicken Little.

Behind the Scenes: After many failed attempts at voicing a Disney animated character in the past, Star Trek and X-Men legend Patrick Stewart was finally cast in one of the studio's films as he voiced Mr. Woolensworth in Chicken Little. He had recently auditioned for or at least was considered for the following roles: Francis (Oliver & Company), King Triton (The Little Mermaid), Cogsworth (Beauty and the Beast), Jafar (Aladdin), Zazu (The Lion King), Governor Ratcliffe (Pocahontas), Judge Frollo (The Hunchback of Notre Dame), Zeus (Hercules), and Clayton (Tarzan). Furthermore, Chicken Little was initially planned to be a female character, and the studio even went as far as to bring in Holly Hunter (The Incredibles) to record the dialogue. Hunter essentially recorded all of the lines before Disney decided to switch the genders and bring in Zach Braff to provide the new voice. No one is quite sure why Disney decided to make such a change. Hunter was later considered for the voice of Abby Mallard, but another Pixar alumnus, Joan Cusack (Toy Story), was cast instead.

Favorite Character: Almost by default, I have to go with Chicken Little as my favorite character here due to the simple lack of other more viable options. This entire film is filled with good characters that never even come close to making the jump to greatness. We see glimpses of greatness from Buck Chuck and Abby Mallard, but their characterization eventually falls quite short. Our main protagonist, though, is given an opportunity to drive the film emotionally in a solid, albeit unmemorable manner. Too often in Chicken Little is character and story sacrificed in favor of technological advancement, but you must hand it to Chicken Little for his amazing persistence in the face of adversity. He stands firm in his belief that the sky is in fact falling even when he is the laughing stock of the entire world. There's a lesson to be learned in that. Unfortunately, that lesson is lost in that insanely weird alien invasion.

Favorite Scene: The ending scene in which Chicken Little's story is finally brought to the silver screen features some excellent tongue-in-cheek humor. Chicken Little is assured that the one thing Hollywood will not do is mess with a good story (my, how that line proved to be prophetic for this film). However, when the packed theater witnesses how Hollywood has interpreted the events in Oakey Oats, we are greeted with a barrage of exaggerations. Chicken Little is the coolest guy around as Adam West (yes, that Adam West!) hilariously provides the voice for the newly nicknamed Ace. Then, Abby becomes a James Bond girl essentially while Runt is portrayed as a Han Solo-type. Fish (yup, still pains me to call a character by the name of Fish) is given a clear voice, and when he talks, it is quite hilarious. This scene captures the tone I wish the entire film would be defined by, and that is why it is my favorite.

Updated Ranking: When you recieve the same rating as Home on the Range, you find yourself in the cellar.

1. Beauty and the Beast
2. The Lion King
3. Aladdin
4. The Little Mermaid
5. Snow White and the Seven Dwarfs
6. The Hunchback of Notre Dame
7. Peter Pan
8. Cinderella
9. The Jungle Book
10. Sleeping Beauty
11. Lilo & Stitch
12. Hercules
13. Mulan
14. The Emperor's New Groove
15.  Tarzan
16. Pinocchio
17. Lady and the Tramp
18. The Many Adventures of Winnie the Pooh
19. Alice in Wonderland
20. Dumbo
21. Bambi
22. 101 Dalmatians
23. Pocahontas
24. Treasure Planet
25. The Great Mouse Detective
26. Fantasia
27. The Adventures of Ichabod and Mr. Toad
28. The AristoCats
29. Fantasia 2000
30. The Rescuers Down Under
31. Fun and Fancy Free
32. The Fox and the Hound
33. Robin Hood
34. Dinosaur
35. Melody Time
36. The Three Caballeros
37. Saludos Amigos
38. Brother Bear
39. Oliver & Company
40. The Rescuers
41. Atlantis: The Lost Empire
42. The Sword in the Stone
43. Make Mine Music
44. The Black Cauldron
45. Chicken Little
46. Home on the Range

Life is a highway, and tomorrow, I'll drive it all night long with my review of Pixar's Cars!

-Cody Fleenor

Summer of Magic- "The Incredibles"

Occasionally throughout the Summer of Magic, I have been at a loss for words due to the awesomeness of the film I just watched. Truly, there are some instances that words simply do not do the film justice. I cannot adequately express how much I love and feel the need to praise some of my favorite films like Beauty and the Beast and The Lion King. Today, I must confess that I yet again am not sure how to properly exalt the masterpiece that is The Incredibles. It deserves every positive adjective in the English language. Not only is this film one of Pixar's best; it is not even just one of animation's best; The Incredibles is one of the greatest cinematic achievements of all-time.

Superhero stories and animation are a match made in heaven, and director/writer/genius Brad Bird has crafted one of the best superhero films of all-time, certainly rivaling the best products from Marvel Studios and DC Comics (and from me, that is saying something considering I am one of the biggest fans of Marvel and DC). Bird's script is so clever and ingenious that I catch a new joke or discover a new nuance in the story every time I watch it. Every scene is flawlessly detailed with rich animation, impeccable action sequences, and tender familial moments. Like The Hunchback of Notre Dame, The Incredibles is a film for adults more so than for children, in my opinion. When I first saw it, I was nine, and while I was certainly impressed with the superhero aspect of it with the action, I was never able to fully grasp the complexity of the story and characters. Now, I cannot get enough of The Incredibles. I am downright obsessed with the film, and I attribute all of that to Brad Bird.

As I have stated before, with Pixar, character is key, and The Incredibles stars some of the studio's finest characters to date. Bob Parr/Mr. Incredible (expertly voiced by Craig T. Nelson) is a bonafide legend. Nelson does such a great job of delivering Bird's witty dialogue and balancing it with the emotion of each situation. It is plain to see that Bob has not adjusted well to life without saving the world as he longs to return to action as Mr. Incredible. We can all relate to that sentiment on some level, I do believe, because our lives can become mundane at times while we wait for something better to come around the bend. When Bob finally accepts his new superhero duty from Mirage (another phenomenal character), we find ourselves wholeheartedly cheering for him to succeed so he can relive the glory days. Helen Parr/Elastigirl is equally as fantastic. Yet again, the voice acting here is absurdly amazing as Holly Hunter provides the perfect voice for the supermom. While Bob is craving the glory days, Helen is content with her relatively normal life of raising her three superkids, but when Bob reignites the heroic flame, it comes to a point where she cannot resist joining him. I'll discuss Helen's character in more depth below, but she is one of Pixar's most complex and fascinating characters to date.

The children of Bob and Helen are absolute scene-stealers. Dash and Violet are simply wanting to blend in with society. They understand that they are different than everyone else due to the presence of their powers, but at the end of the day, Dash just wants to compete in sports and Violet wants to catch the eye of her crush, Tony. However, when the Incredibles are forced into action, Dash and Violet unleash their powers, and it is a wonder to behold. The scene in which these two are first in their classic red suits by themselves is one of my favorites scenes in the entire film. Their youngest brother, Jack-Jack, does not get a bunch of screentime, but he certainly makes his presence felt (just ask Syndrome). Then, of course, we do have the excellent villain for The Incredibles: Syndrome. Pixar continues its early success of creating great bad guys following Hopper in A Bug's Life and Randall/Waternoose in Monsters Inc. Syndrome is a complicated character as he definitely reveres Mr. Incredible and everything he stands for, but at the same time, he feels slighted by Mr. Incredible's disrespect. Therefore, he takes matters into his own hands and attempts to exalt himself as the ultimate superhero for all humanity. Jason Lee provides an exquisite voice for Syndrome, delivering quotable line after quotable line ("You sly dog! You had me monologuing!/"And when everyone's super, no one will be."). Also, how could I not mention Frozone? Samuel L. Jackson as a Pixar superhero? Enough said. Finally, can someone be more incredible than Edna Mode? Every word she utters is hilariously profound, especially when she goes on her tirade about the dangers of capes.

Predictably with Pixar, the animation is utterly breathtaking, especially in the action sequences. These action sequences rival the best live action sequences around as Bird and his crew have expertly crafted these scenes to break new ground in the animation industry. The final climatic battle sequence, in particular, is so beautiful that I simply just watch in sheer awe. Additionally, Michael Giacchino's score is spellbinding. Of all the Pixar's soundtracks, this may be my personal favorite (although Giacchino's Up score might have something to say about that later). From the theme song to the subtle music played during Mr. Incredible's investigation into Syndrome's plan, the score is one of the many highlights found in The Incredibles.

There will truly never be another film like The Incredibles (well, until the film's sequel is released in 2019, but I digress). In the debate for Pixar's best, The Incredibles belongs firmly in the top spot or, at worst, in the top three. There is absolutely nothing flawed about this film. If there is such a thing as a perfect film, The Incredibles is it.

Rating: 10/10

Historical Significance: Brad Bird had always been on Pixar's map. In fact, John Lasseter first recruited Bird to join Pixar in 1995 during production of A Bug's Life and in the aftermath of Toy Story. Bird declined, but Lasseter asked him again a few years later. Unfortunately, Bird was already contracted to direct an animated film for 20th Century Fox: the classic known as The Iron Giant. Bird and 20th Century Fox had a falling out of sorts after The Iron Giant as the studio failed to properly promote the film as was expected by Bird. In response, Bird finally joined Pixar. Lasseter informed him that he could join on one condition: Bird had to make the film he was dying to make. Luckily, Bird had come up with the idea for The Incredibles in the early nineties and had been working on it ever since. Naturally, Bird decided to direct the animated masterpiece as his Pixar debut. Interestingly enough, the story for the film is semi-autobiographical as Bird claims the idea was conceived by noticing his personal methods of balancing work and family.

Behind the Scenes: Apparently, Brad Bird wanted to top Andrew Stanton (Finding Nemo) not only in directing, but in voice acting as well. As Stanton did for Crush, Bird voiced Edna Mode in the recording sessions and rough cut of the film with no intentions of being the final voice for the character. He initially recruited Lily Tomlin to portray the iconic spitfire, and Tomlin even came in for a meeting with the filmmakers. They showed her the rough cut to give her an idea of the character they were envisioning, but when the meeting was finished, Tomlin asked in regard to Bird's voice for Mode, "What do you need me for? You've got it already." Bird would go on to expertly voice Mode in the film's final cut. Furthermore, Jason Lee, the voice of Syndrome, recorded his lines over the span of four days whereas Craig T. Nelson took close to two years to record his dialogue. Samuel L. Jackson was cast as Frozone because Bird wanted the coolest voice for the classic character.

Favorite Character: I could honestly pick any character from this entire ensemble and make a compelling case as to why they are the film's best and my personal favorite. Every single one of them isjust so exquisitely brought to life in their animation and characterization. However, I am going to choose Helen Parr/Elastigirl as my favorite character in The Incredibles. Helen is perfectly content to accept her new role in society as a mother of three upon the institution of the superhero ban. Unlike her husband at the time, Helen understands that saving the world isn't all that life has to offer, but when she grows suspicious of Bob's whereabouts and actions with Mirage, she slowly realizes that the world needs Elastigirl now more than ever. This is a decision that is made with some reluctance, however, as Helen continually cares for the well-being of her children, which could be endangered if she becomes the hero again. That is what makes Helen such a fascinating character. You can visibly see the inner battle being waged within her spirit as duty faces off against family protection. We come to find out, though, that because she is such a phenomenal character, Helen Parr/Elastigirl saves the world and protects her family in the process. What a character!

Favorite Scene: Once again, I could honestly pick any scene from this entire film and make a compelling case as to why it is the film's highlight and my personal favorite. From the battle sequences to the family focused scenes, Brad Bird's amazing attention to detail in each shot is awe-inspiring. I am going to choose Bob Parr/Mr. Incredible's first encounter with Syndrome as my favorite scene, though. Up to this point, we've been clamoring for the big reveal to occur and the film's villain to finally take center stage. When it turns out that it is Syndrome, or the mastermind formerly known as Buddy/Incrediboy, it is truly a mind-blowing twist (at least upon my first viewing). Then, the following interaction in which Syndrome famously states, "You sly dog! You had me monologuing," is easily one of Pixar's greatest scenes to date. Additionally, the action that transpires in the aftermath of these events is spectacular, leading Mr. Incredible to unveil Syndrome's grand plan after all. It is the turning point in the film, and boy, does it deliver with some incredible characterization, gorgeous animation, and endlessly quotable dialogue.

Updated Ranking: We have a new leader atop the Pixar rankings, folks! The question now is how long will it stay there.

1. The Incredibles
2. Toy Story
3. Finding Nemo
4. Monsters Inc.
5. Toy Story 2
6. A Bug's Life

Beware because tomorrow, the sky just might be falling when Chicken Little invades the Summer of Magic!

-Cody Fleenor

Summer of Magic- "Home on the Range"

It is an extremely rare occurrence when I have very little if anything at all to positively say about a Disney film. Even in the studio's weakest films and my least favorites, I have been able to pinpoint at least one aspect of the film that works, such as the music in The Sword in the Stone and the Casey at the Bat segment in Make Mine Music. Today, however, I am having severe difficulty conjuring up positive thoughts about Home on the Range. Now, I must admit that even Disney's lesser fare is decently salvageable, and it is nearly impossible to completely trash a film outright, but in the entire canon, Home on the Range is the most unnecessary film ever produced by the Mouse House.

Here is my attempt to think positively about this film. As is the case with all the films recently, the cast in Home on the Range is delightful and single-handedly carry this film. The three leading cows, Maggie, Mrs. Caloway, and Grace, are exquisitely voiced by Roseanne Barr, Dame Judi Dench, and Jennifer Tilly respectively. Additionally, Cuba Gooding Jr. voices Buck and becomes the star of the show in the process. Even Steve Buscemi, Estelle Harris, and Patrick Warburton make an appearance in this fantastic ensemble, and while they are all on their game and ready to go, that is also what makes this film so disappointing and frustrating. With a cast like this, you don't want to waste it, and unfortunately, this cast is completely wasted in a preposterous story with weak characters. None of these characters are memorable whatsoever as most of them end up becoming caricatures more than anything. There are no character arcs existing at all (with the exception of one which I'll discuss later), and every single character starts and ends the film with no change occurring at all. How they attracted such a star-studded cast for this disaster is beyond me.

That brings me to our villain, Alameda Slim. When his characterization begins, we discover that he is an infamous livestock thief, stealing hoards of cows at a time and no one really knows how or why. As long as the mystery of his character is present, Slim is a solid villain due to his blurred intentions and dark secrets. However, when it is time to reveal his motivation and methods, the rest of his scenes are nothing more than laughable. He doesn't have some elaborate trap or grand scheme; instead, Slim magically yodels and the cows become instantly entranced. In one of Disney's most bizarre scene in its history (and think more along the lines of the finale in Oliver & Company when I say 'bizarre' instead of the delightfully bizarre "Pink Elephants on Parade" sequence in Dumbo), Slim colorfully entices the cows, Maggie and Mrs. Caloway included, to follow him to their impending death. And what is Slim wanting to do with these cows? Well, of course! Sell them for money and that's it! Slim is such a lame and boring character that we never fear him. He never poses a legitimate threat, and without a threat, why does this story exist in the first place?

Speaking of the story, I am all in favor of more wacky stories being produced in Hollywood, especially from Disney. Some of Disney's most ingenious ideas and best films come when they decide to avoid the stereotypical story and create something fresh and unique (take The Emperor's New Groove and Lilo & Stitch for examples), but there is the risk of telling a story that goes beyond wacky into the insane and entirely unnecessary category. Home on the Range finds itself in that category. A story about three cows setting out to capture a greedy cowboy in order to save their farm is so strange that it becomes intriguing on paper, but the execution in this film is atrocious. I never care about the characters, the stakes are never high enough, and as I much previously, the exterior threats are never legitimatized. If this were a straight-to-DVD release, that would be one thing, but this film is from the same studio that just two years prior to the release of Home on the Range crafted a masterpiece in Lilo & Stitch. This film is an example of a studio trying to make a dollar, and rightfully so, they lost quite bit of money on this project (more on that below).

I'll conclude on a semi-positive note. In addition to the cast, Alan Menken returns to give us good songs, but nothing ever reaches the classical heights. When Menken can't even save the film, you know it is beyond salvageable. As much as I love praising Disney's classics, I cannot stand tearing one of their films down, but it is a necessity when it is deserved. Home on the Range is a trainwreck, plain and simple.

Rating: 5/10

Historical Significance: Home on the Range was budgeted at $110 million for Disney, but only made $103 million at the worldwide box office while only grossing approximately $50 million in the United States. Although the studio had begun experimenting with computer animation, they had yet to full embrace the new technology, clinging to the classic hand drawn method. However, when the box office receipts began coming in for Home on the Range, Disney changed their tune. Witnessing the continued rise of Pixar, Disney's response was to begin producing completely computer animated films. Home on the Range was the last film to be animated the old fashioned way until The Princess and the Frog in 2009. The studio went five years without a hand drawn film, the longest streak ever at the time, but currently, they are on another five year streak and counting (Winnie the Pooh in 2011). Here's hoping Disney never forgets where they came from.

Behind the Scenes: Directors Will Finn and John Sanford originally pitched the idea for the film as a myth based on the legend of the Pied Piper. CEO Michael Eisner despised the idea from the beginning, claiming that no parent would ever take their child to watch a film featuring murdered children (probably a good call, Eisner). However, Finn and Sanford incorporated elements of the story with Alameda Slim, who entices the cows to follow him upon hearing his transfixing yodeling, a method similar to the Pied Piper's method of luring children in by playing his flute.

Favorite Character: It was rather difficult to pick a character for this selection, not because of the embarrassment of riches, but because of the lack of options. I am going to have to go with Buck, though, because he does experience the best character arc of anyone in the film (although that's not saying much). Buck simply aims to impress. He is a legend in his own mind, and he wants the world to know it. So when Rico, the infamous bounty hunter, chooses him as his stead to track down Slim, Buck immediately seizes the opportunity. However, when it is revealed that Rico is partnering with Slim, Buck has an unlikely decision to make: should he cave in and obey his master, or should he join the efforts of the three cows to bring Slim to justice? Buck's heroic decision is a valiant one, and when he returns home rejoicing, against all odds, you can't help but be happy for him.

Favorite Scene: I haven't wrote this in quite some time, but I must write it now: Alan Menken strikes again! Now, Menken's songs in Home on the Range are nowhere near his best, but the "Little Patch of Heaven" sequence is as close this film comes to capturing Disney magic (even though it still significantly misses the mark). There is nothing groundbreaking or earth-shattering going on in this scene. In fact, in the grand scheme of things, it is quite unnecessary, but with Menken's music and Disney's animation, it becomes the highlight of the film. The Patch of Heaven Farm is the reason this story is set into motion to begin with, so naturally, it deserves a nice introduction. With this song and the following action, we are solidly introduced to our setting and our main characters. It gives the three determined heifers an opportunity to gather some motivation for when the farm is threatened to be sold, and therefore, this scene gives us the unfortunate motivation to stay tuned.

Updated Ranking: I never thought I'd see the day. The Black Cauldron is off the hook. We have a new "leader" for Disney's worst film to date.

1. Beauty and the Beast
2. The Lion King
3. Aladdin
4. The Little Mermaid
5. Snow White and the Seven Dwarfs
6. The Hunchback of Notre Dame
7. Peter Pan
8. Cinderella
9. The Jungle Book
10. Sleeping Beauty
11. Lilo & Stitch
12. Hercules
13. Mulan
14. The Emperor's New Groove
15. Tarzan
16. Pinocchio
17. Lady and the Tramp
18. The Many Adventures of Winnie the Pooh
19. Alice in Wonderland
20. Dumbo
21. Bambi
22. 101 Dalmatians
23. Pocahontas
24. Treasure Planet
25. The Great Mouse Detective
26. Fantasia
27. The Adventures of Ichabod and Mr. Toad
28. The AristoCats
29. Fantasia 2000
30. The Rescuers Down Under
31. Fun and Fancy Free
32. The Fox and the Hound
33. Robin Hood
34. Dinosaur
35. Melody Time
36. The Three Caballeros
37. Saludos Amigos
38. Brother Bear
39. Oliver & Company
40. The Rescuers
41. Atlantis: The Lost Empire
42. The Sword in the Stone
43. Make Mine Music
44. The Black Cauldron
45. Home on the Range

Thankfully, Pixar is here to save the day! Tomorrow, the studio releases another masterpiece: The Incredibles!

-Cody Fleenor

Summer of Magic- "Brother Bear"

Sometimes with Disney, potential outweighs results. I think back to the seventies when the studio decided to tell the legend of Robin Hood. In the eighties, they had all the makings of yet another classic in The Black Cauldron. Even Walt himself wasn't immune to this problem with the highly disappointing The Sword in the Stone in the early sixties. The modern era of Disney has unfortunately garnered quite a few films like this. Dinosaur and Atlantis: The Lost Empire from previous days this past week quickly come to mind, and today, I must regrettably add one more to this list. Brother Bear has every ingredient one could possibly look for to make a classic on paper. It even has Phil Collins doing the music! However, the final project is too often devoid of enthusiasm and genuine emotion as Disney once again settles for mediocrity.

I stated when I began the Summer of Magic that I can usually find something to praise every film for, and thankfully, Brother Bear is no exception to this rule. Since I already brought him up, I might as well get my obligatory applause for Phil Collins in now. After the success of Tarzan, Disney apparently wanted to try and recapture the magic from the Renaissance in this film by bringing back Collins, and the prolific songwriter/performer nearly saves this film from the mires of mediocrity. Such standouts as "On My Way" and "No Way Out" are truly fantastic songs that compliment the film perfectly. In a film desperate for life and energy, Collins's music is like a breath of fresh air whenever it is being played. Additionally, the animation in Brother Bear is quite great too. Actually, the film's highlights are often due to the fact that the animation is downright superb. I think about Kenai's transformation into a bear and the beautiful salmon run sequence in particular. Two Disney cornerstones throughout the studio's history have been animation and music, and Brother Bear delivers the goods in both departments.

As you have probably noticed, for the first time maybe ever in my reviews, I did not start off by discussing the film's characters, and that was completely intentional. Truth be told, Brother Bear's characters are rather weak. Our main character, Kenai (voiced by Joaquin Phoenix), is never quite fully developed like a leading man should, and that unfortunately sets the tone for the rest of the ensemble as well. This film relies so much on the theme of family, and yet the main family is either dead or angry at one another for most of the film. I wanted more backstory into Kenai and his family, and I believe that if that would have occurred, Brother Bear would be a much stronger, more cohesive film. However, Disney drops us right into the action and family drama without any context. By the time Kenai becomes a bear and meets Koda, we simply could not care less whether or not he becomes a human again. Speaking of Koda, he is a solid character brought to life by the super talented Jeremy Suarez, but Koda's characterization relies heavily on feeding off of Kenai's character, which means that Koda is not as developed as you would like him to be either. The only character standouts come in the form of Tuke and Rutt, the duo of moose. I'll discuss their greatness later, but even then, they are not integral to the story whatsoever, and when the best characters add nothing to the story, the film usually has a significantly problem on its hands.

That leads me to the story of Brother Bear. Again, it should be great, but it is wholly predictable. The "twist" of Kenai being the one that killed Koda's mother is one that just about anyone can spot right when Kenai first meets Koda. The film acts as if this revelation is some gigantic breakthrough, and therefore, the intended emotional punch falls flat. The story shines, unsurprisingly, when the characters are not speaking and the music and animation are allowed to tell the story. As is the case recently, the cast is not to be blamed for the characterization or the story. Phoenix and Suarez do their absolute best, but in the end, the comedy is tired (with the exception of Tuke and Rutt's dialogue) and the drama is manipulative.

It feels as if Disney was simply going through the motions with Brother Bear, and as I have stated on plenty of occasions before, I hold Disney to a higher standard than any studio out there (except for Pixar). Brother Bear is never able to reach that standard, although Collins and the cast exalt it immensely.

Rating: 7/10

Historical Significance: Brother Bear was the third and final film to be fully produced at Disney's Orlando, Florida, facility inside MGM Studios. Mulan was the first film produced in 1998 and Lilo & Stitch followed suit in 2002. The studio shut down in 2004 as Disney began focusing on computer animation. While Brother Bear never reached the classic heights of its two predecessors from that studio, the moose duo, Tuke and Rutt, became so popular that Disney seriously considered giving them a spinoff television series. Ultimately, that idea was obviously scrapped, however, in the aftermath of the film's domestic box office. American audiences simply did not find the desire to see the film in theaters as Brother Bear grossed a mere $85 million in its initial release.

Behind the Scenes: An interesting technique was used in Brother Bear that I honestly had never seen before. The film begins with a standard widescreen while Kenai is human with realistic animation. However, once Kenai is transformed into a bear about twenty-five minutes in, the screen expands to a 2.35:1 aspect with brighter colors. Some of you probably know a lot more about that than I do, but to actually expand the screen during the film is a bold move that is quite fascinating to watch. Furthermore, one of my favorite stories from Brother Bear production is when Joaquin Phoenix and Jeremy Suarez were recording their lines together and Phoenix messed up one of his lines. He said, "I don't care that you and Binky found the world's biggest pine cone ever." Suarez realized the mishap and improvised accordingly. He responded, "First of all, it's not Binky, and it wasn't a pine cone, it was a pine nut." The filmmakers loved this interaction so much that they kept that recording in the final cut of the film.

Favorite Character: I have already lamented the lackluster characterization of Kenai. Koda is a significantly stronger character than Kenai, and I almost went with him as my selection here. However, sometimes, I simply find myself in the need to laugh, and Tuke and Rutt make me laugh hysterically every time I watch Brother Bear, so they are my choices for this section. I know in the past I have applauded excellent arcs with genuine emotion appearing in the evolution of certain characters, but with Tuke and Rutt, they are my favorites due solely to the fact that I cannot stop laughing when they are on the screen. There is nothing overtly spectacular about their character; in fact, in terms of story development, they are rather useless, but this film is at its best when these two are on the screen entertaining us all. Even the hide-and-seek joke delivered in one of their scenes is rather predictable and has a sense of "been there, done that," but Tuke and Rutt make it work. I would have watched that proposed television spinoff, Disney!

Favorite Scene: In my review of Atlantis: The Lost Empire, I picked the climatic battle scene as my favorite strictly because of the animation displayed. I am making the same type of decision now with Brother Bear as the sequence showing Kenai's transformation into a bear is my favorite. Unsurprisingly, the music played during this scene is a true highlight as the chorus of voices join together for a legitimately powerful moment. The animation is also gorgeous, especially when the spirits of all these animals are presented to Kenai before he actually transforms. When the transformation finally occurs, the animators brilliantly show-off their skills yet again. Any faults I may find in Brother Bear are not due to its animation or music, and luckily for this scene, this is the best of both worlds.

Updated Ranking: Brother Bear is not Disney's worst film, but I wanted and expected so much more. That is why it finds itself near the bottom of my rankings.

1. Beauty and the Beast
2. The Lion King
3. Aladdin
4. The Little Mermaid
5. Snow White and the Seven Dwarfs
6. The Hunchback of Notre Dame
7. Peter Pan
8. Cinderella
9. The Jungle Book
10. Sleeping Beauty
11. Lilo & Stitch
12. Hercules
13. Mulan
14. The Emperor's New Groove
15. Tarzan
16. Pinocchio
17. Lady and the Tramp
18. The Many Adventures of Winnie the Pooh
19. Alice in Wonderland
20. Dumbo
21. Bambi
22. 101 Dalmatians
23. Pocahontas
24. Treasure Planet
25. The Great Mouse Detective
26. Fantasia
27. The Adventures of Ichabod and Mr. Toad
28. The AristoCats
29. Fantasia 2000
30. The Rescuers Down Under
31. Fun and Fancy Free
32. The Fox and the Hound
33. Robin Hood
34. Dinosaur
35. Melody Time
36. The Three Caballeros
37. Saludos Amigos
38. Brother Bear
39. Oliver & Company
40. The Rescuers
41. Atlantis: The Lost Empire
42. The Sword in the Stone
43. Make Mine Music
44. The Black Cauldron

Luckily for you, my review of Home on the Range, the next film in the official canon timeline, has already been released! Check it out!

-Cody Fleenor