Summer of Magic- "Finding Dory"

Today, we officially conclude the Summer of Magic. I began this journey of watching and reviewing all of the Disney animated films in the official canon as well as all of Pixar's films on May 10, and while I always hoped to finish, actually arriving on the final day is a little surreal, to be honest. Today I review of Finding Dory, the latest Pixar film and bring this excellent summer to a glorious close. Fifty-five Disney films and seventeen Pixar films later, a summer has never been so magical. I just want to take this opportunity to thank anyone and everyone who has read even just one review this summer. I hope my quest has inspired you to always remember the magic and hold onto those timeless memories. I hold all of these films very near and dear to my heart because they ignited my incredible obsession and love for all things Disney. To be able to give each one of them another day in the spotlight has been a tremendous honor and privilege. From the bottom of my heart, thank you for reading and following along. Now, onward and upward to my review of Finding Dory.

I joked with my family before arriving at the theater a couple of months ago to see Finding Dory that people my age in their early twenties would be knocking younger children down in order to get the best seat to watch this long-anticipated sequel (maybe I was only half-joking). This film's predecessor, Finding Nemo, was released in 2003 when I was the prime age of eight. Seeing Finding Nemo in theaters with my family is still one of my earliest memories of moviegoing, so when it was announced that thirteen years later, we were finally getting a sequel, my entire generation awaited with hastened breath. We were cautiously optimistic, though, because of the such high regard we have for Nemo. We considered that film to be one of the greatest of all-time, and if Dory didn't live up to that lofty expectation, we would instantly know. While Finding Dory never quite reaches its predecessor's standard (but let's face it: not many films do), in terms of Pixar sequels, it fortunately feels more like Toy Story 3 than it does Cars 2. Paying superb homage to its predecessor while also introducing terrific new characters in a worthwhile story with great messages, Finding Dory is yet another masterpiece from Pixar.

(We've reached a point in the summer where it is possible that you may not have seen some of these films, so potential spoilers are present from here on)

Given that she was my favorite character from Finding Nemo, I was extremely intrigued to see what Pixar had up their sleeve by elevating Dory to the leading role, and I was even more intrigued to see what kind of story they were going to tell. Would it be a simple retread of Finding Nemo or will it be something entirely different? Luckily, Pixar gave us the latter with an ingenious original story that just so happens to star characters we already know and love. Due to our admiration for Dory already, Pixar is able to jump right in and begin their legendary story about Dory returning home to find her parents. While we are shown backstory in the form of flashbacks, none of these scenes feel unnecessary or forced, but rather vital and wholly integral to the story overall. In fact, the flashbacks to Dory's childhood are some of the film's many highlights, and young Dory is legitimately irresistible. Dory is the unrivaled comedic relief in Nemo, but in her own film, even though she does find numerous ways to make us laugh, she now taps into her potential to make us emotional. Dory is an established lovable character before Finding Dory even begins, so when she starts to wonder where her parents are, we are all in on the prospect of following one of our favorite characters all the way home. Ellen DeGeneres once again is absolutely fantastic as Dory here, showcasing a natural ability to tap into her dramatic side with relative ease while never losing her signature charisma and wit. Dory is a character for the ages without her own film, but with her own film, she becomes one of the greatest cinematic characters of all-time (no surprise here: more on Dory below).

It takes an entire ocean/Marine Life Institute to help Dory find her parents, and just as we have come to expect with Pixar, every single new and old creation is flawlessly brought to life. Instead of Dory helping Marlin out, the roles are now reversed in this film as Marlin and Nemo are the ones helping Dory out, and that dynamic is a great one. Since Marlin knows what it is like to lose something you truly love, he can immediately empathize with Dory and therefore is motivated to help her out by any means necessary (even if it means thinking 'what would Dory do?'). Albert Brooks is phenomenal yet again as Marlin, and so is Hayden Rolence assuming the role of Nemo for this film. We are treated to some delightful cameos from such old pals as Mr. Ray, Crush. Squirt, and the Tank Gang in the post-credits scene (seriously, make sure you watch this scene). However, the real stars of Finding Dory outside the titular character are the newcomers. As Dory begins to remember more about her family, she feels compelled to go to the Marine Life Institute, and this plot tool allows Pixar to create more icons to add to their enormous pantheon of great characters. Ed O'Neill's octopus (or is it septapus?), Hank, is just a extraordinary character. When we are introduced to Hank, the only thing he is concerned about is how he is going to get out of the institute and on a truck to Cleveland. He could not care less about Dory and her dreams, but as the film progresses, we see a stark change in Hank's personality. By the film's conclusion, we see Hank heroically aiding Dory to fulfill her quest of returning home. O'Neill does a splendid job balancing grumpy old hag with a deeply hidden caring attitude. Additionally, Kaitlin Olsen's Destiny and Ty Burrell's Bailey are excellent characters as well, filling in for Dory to provide some sensational comedic relief to the film. Fluke and Rudder, the two scene-stealing sea lions exquisitely voiced by Idris Elba and Dominic West respectively, are downright hilarious, and Dory's parents, Jenny (Diane Keaton) and Charlie (Eugene Levy), are everything we want them to be and more. As I have stated before, Pixar's cornerstone has always been its characters, and in Finding Dory, no character is wasted and each one is effortlessly developed with multiple layers and dimensions.

Finding Nemo is undoubtedly one of Pixar's most picturesque films to date, impeccably bringing the vastness and wonder of the ocean to the screen, and with Finding Dory, Pixar continues to exhibit the uncanny ability to create magic with their animation. While a majority of the film is actually spent inside the Marine Life Institute, that does not negate the fact that this film is stunning and beautiful, especially when Dory finally does arrive at her physical home and when Dory and Hank find themselves in the Touch Pool. Also, Thomas Newman has once again crafted a spectacular score to accompany this film. His Nemo score is one of the best in the studio's history, and he may have just outdone himself with his Dory score. Plus, that signature Pixar emotion is on full display throughout Finding Dory. Every flashback sequence featuring a young Dory hits me right in the notorious feels as we catch a glimpse into Dory's true background. Furthermore, that sequence in which Dory finally tracks down her parents is one of Pixar's finest, worthy to be mentioned in the same breath as the studio's most emotional scenes from films like Up and Toy Story 3. I am obviously going to discuss that scene in more detail below, but this sequence elevates Finding Dory from a great film to an instant classic. The theme of never forgetting where you came from is a timely, important message to proclaim, as is the clear encouragement to anyone with a physical or mental disability. Finding Dory sees Pixar doing what only Pixar (and Disney) can do: entertaining, inspiring, and challenging.

I am proud to report that the thirteen year wait for a sequel to Finding Nemo paid off incredibly. Finding Dory is a immediate masterpiece, thoroughly entertaining the masses while also becoming an emotionally engrossing film for the diehard and casual fans alike. Just keep swimming, Pixar, and keep on making sequels like this.

Rating: 10/10

Historical Significance/Behind the Scenes: Unfortunately, due to the film's recent release date, there is not much to add to these two categories because we simply do not know much about the production process yet. However, I am going to offer you this treat (well, at least I think it's a treat). In honor of the final day of the Summer of Magic, I thought it would be appropriate to rank the Pixar short films as well, because as I wrote previously, their shorts are absolutely sensational. So, without further ado, my rankings of the Pixar shorts!

1. Geri's Game
2. Piper
3. The Blue Umbrella
4. La Luna
5. Day and Night
6. Knick Knack
7. Tin Toy
8. Luxo Jr.
9. Lava
10. Sanjay's Super Team
11. For the Birds
12. One Man Band
13. Presto
14. Partly Cloudy
15. Andre and Wally B.
16. Red's Dream
17. Boundin'
18. Lifted

Favorite Character: It should come as no surprise considering my choice for this section in my review of Finding Nemo (and given that she is without question the star of her own film, unlike Nemo is in his film), but Dory is my favorite character from this one. The idea for Finding Dory was inspired by a single, at the time merely unimportant line from Finding Nemo when Dory contemplates where her family is located. Leave it to Pixar to take this minuscule sentence and develop a fascinating story surrounding Dory and her plight to find her parents. We all know Dory to be a bonafide comedic sidekick, but in Finding Dory, her character expanded immensely beyond that trait as she blossoms into one of Hollywood's most iconic figures. I praised Ellen DeGeneres's performance in Finding Nemo, and I must do the same here. She is truly remarkable in this film, showing a shocking range of comedy and drama. For every legendary one-liner Dory utters in this film ("Hank, we need to be in that tank. Hey! That rhymed!"), she has an equally impressive scene that elicits a wide array of emotions (the scene immediately prior to her discovery of her parents is phenomenal). We genuinely care for Dory every step of the way in this film. When she hits a memory roadblock, we feel her pain. When all hope seems lost, we feel her despair, and when she finds her family, we rejoice wholeheartedly. In an industry that too often fails to further the development of their characters in sequels, Pixar hits an absolute grand slam with Dory, taking her already established irresistible qualities and adding more layers and dimensions to this legend of cinema.

Favorite Scene: Yet again, my favorite scene from a Pixar film is the emotional climax of the story. I briefly alluded to this scene in the previous section, but my favorite scene from Finding Dory is the sequence following Dory's escape from the Marine Life Institute after she had just been informed of her parents's apparent demise. As she returns to the ocean, Dory is at a loss, and DeGeneres has never been better. She fumbles over words so authentically that it makes this talking blue tang so believable. When Dory begins to think about what she should do, her thoughts eventually lead her to the ocean floor, where she discovers those fateful shells. As she connects the dots, she follows the path of the shells to a home surrounded by hundreds of shells. Dory hopelessly looks around, not entirely sure what to expect. Then, suddenly, a pair of blue tangs appear to Dory's surprise. The couple stare amazingly at Dory as she returns the gaze. Dory begins to speak, but she is interrupted by the couple, her long lost parents, who are literally overjoyed that their child has come home. It is a simple moment, but the simple moments in Pixar films are often the ones that stay with you the longest. The entire film had been leading up to this point, and instead of the revelation of Dory's parents appearing underwhelming, it becomes the signature emotional moment found in almost all Pixar film that elevates the film to the classic level. This is what we have been waiting for since 2003, and the wait was certainly worth it because of this one defining moment.

FINAL Pixar Rankings: Finding Dory might move up this list in due time, but it is hard to elevate it past the ones ahead of it currently. As is the case with my Disney rankings from yesterday, I am proud of these rankings, and while everyone has a different opinion on where these films ranks, I think we can all agree that it is extremely difficult to rank Pixar's films. However, that is what I have done for their seventeen films thus far, and here's where they stand today.

1. Toy Story 3
2. The Incredibles
3. Toy Story
4. Inside Out
5. Finding Nemo
6. Up
7. Ratatouille
8. Wall-E
9. Monsters Inc.
10. Toy Story 2
11. Finding Dory
12. Brave
13. Monsters University
14. A Bug's Life
15. Cars
16. The Good Dinosaur
17. Cars 2

And just like that, it's over, but the great thing about Disney and Pixar is that there is always new films on the horizon! Walt Disney once said, "It's kind of fun to the impossible," and throughout his studio's history, that is exactly what they have done: the impossible. Creating films that will endure long after all of us are gone, and more importantly, making memories that will last a lifetime and beyond. Thank you, once again, for following along with me this summer. I hope you had as much fun as I had, and now, go and share the magic!

-Cody Fleenor

Summer of Magic- "Zootopia"

This is it, folks: the final Disney film in the Summer of Magic. We began this journey of revisiting and reviewing all of the Disney animated films in the official canon over three months ago, travelling all the way back in time to 1937 with Snow White and the Seven Dwarfs. Today, to borrow a quote from Dame Judi Dench in her narration on Spaceship Earth, we come to the present. Fifty-five films in their canon and Disney is still churning out classic after classic. While we have surely experienced some missteps over the years, one thing is certain: there really is nothing like a classic Disney animated film. The timeless logic of saving the best for last is rather applicable for today's film. Continuing the theme from the third Golden Age of proclaiming bold messages while not sacrificing the entertaining magic, Zootopia is one of the studio's modern day crowning achievements. Utilizing legendary characters to create unparalleled comedy and teach invaluable lessons, Zootopia is a film that accomplishes all of the essential goals of becoming a Disney classic: it entertains, inspires, and challenges. We may have only lived with this film for a few months now, but it without a doubt a genuine masterpiece and one of Disney's finest films to date.

(We've reached a point in the summer where it is possible that you may not have seen some these films, so potential spoilers are present from here on)

Can we first talk about how great the characters in Zootopia are? Not only has Disney brought to life one instant icon in this film; they brought to life two instant icons in Judy Hopps and Nick Wilde, two of my new favorite characters in the canon (Nick Wilde is actually my character choice on My Disney Experience). Judy Hopps is just an incredible character filled with complexity and classic Disney elements. From the beginning, we understand that Judy is not your typical carrot-growing bunny (much to the dismay of her parents). As her father explains to her the importance of settling and not striving to achieve her dreams in one of the many hilarious sequences to be found in this film, Judy simply shakes it off and boldly continues to dream about becoming Zootopia's first bunny police officer. Her optimism and positive attitude are absolutely infectious, allowing us to fully invest into the life of this legendary character from the moment she first graces the screen with her presence. Disney could not have found a more perfect actress to voice Judy as Ginnifer Goodwin turns in a career-best performance here, effortlessly blending the hilarity of the film's brilliant script with the seriousness of its intended themes. Judy Hopps is one of those characters for the ages, and undoubtedly one of Disney's finest creations in the studio's illustrious history of creating characters for the ages. You could probably tell from the fact that Nick Wilde is the character for My Disney Experience that I love this sly, charming fox. He is simply awesome, to put it plainly. Insanely complex and relentlessly funny, Nick Wilde is yet another character for the ages to be found in Zootopia (you guessed it: more on Nick below). Whenever Judy and Nick are onscreen together (and thankfully, that happens often in this film), it may just be the greatest duo dynamic Disney or Pixar has ever created, rivaling such iconic friendships as Buzz and Woody or Timon and Pumbaa.

Whenever you have two legends leading the way, it is imperative that the supporting ensemble follows suit, and they most certainly do as Zootopia is filled with exuberant characters that make this film feel so rich and unprecedented in terms of character. The Zootopia Police Department contains some excellent characters, especially Clawhauser and Chief Bogo (exquisitely voiced by Nate Torrence and Idris Elba, respectively). Mayor Lionheart and Assistant Mayor Bellwether are obviously very integral to the conflict that arises in the film, and JK Simmons and Jenny Slate are downright superb in these roles. The film also contains a number of straight scene-stealers, such as everyone's favorite sloth Flash, Shakira's Gazelle (who flawlessly performs the terrific "Try Everything"), and Mr. Big. Also,  I would like to take this opportunity to wholeheartedly applaud Disney for their creative naming of these characters. This may sound like a simple task to complete, but I assure you it most definitely is not, and Disney makes it look super easy with these amazing names. Furthermore, Don Lake and Bonnie Hunt expertly voice the sheltered, but well intentioned parents of Judy, and yes, Alan Tudyk does appear in this film in all of his glory as Duke Weaselton (I mean, come on! He voiced the Duke of Weselton in Frozen! How can a group of people be so creative?!). This cast is perfect, and the film's characters are perfect. The cornerstone to Disney's success in its third Golden Age has been its concerted focus on creating great characters; in fact, if you track Disney's most successful times throughout its cinematic history, it is all because of their characters. In Zootopia, the studio has not only created this ridiculously beautiful and inventive world, but they have also brought to life ridiculously beautiful and inventive characters to inhabit this world. This film does not only boast the greatest ensemble of characters from the third Golden Age; this is one of Disney's best ensembles ever period, worthy to be mentioned in the same breath as the ensembles from Beauty and the Beast and The Lion King.

We have grown to expect greatness with Disney's animation throughout its history; even when the film fails from a character or story standpoint, usually the animation is an unquestioned highlight. It would be quite difficult to think of more breathtaking sequence then the one when Judy first arrives in Zootopia. With "Try Everything" accompanying the masterclass of artistry on display, Disney builds this awe-inspiring world with immense detail and precision, giving life to this city before we even meet its citizens. From there, they only continue to raise the bar in such scenes as Judy's chase of Duke and the final climatic sequence. Now, it is time for my obligatory praise of a Michael Giacchino score. I have said it before, and I will say it again: the man is simply a genius. His score for Zootopia is stunning, audacious, epic, and downright gorgeous. I must give it up to directors Byron Howard, Rich Moore, and Jared Bush also. They successfully lead production of one of Disney's most thoroughly entertaining and thought-provoking films to date, and that is not an easy balance to achieve. Their vision was well defined and therefore well executed. Speaking of the thought-provoking nature of the film, one cannot finish watching Zootopia without soon igniting a conversation about its profound messages and challenging themes. Confronting such a major social issue as racism is an extremely bold move on Disney's part, but with the director's steady hand and the perfect script, Zootopia begins a dialogue that few films have ever generated so effectively. This all works, though, because of those characters. If the characters are weak, we could not care less about these messages. However, because we do care for these characters, we hear their proclamations loud and clear, and what a powerful plea it is. Only Disney could pull off such a feat.

Zootopia is simply a classic and a masterpiece. If you disagree with that assessment, I guess you have every right to be wrong, but I just don't understand how someone could hate on this glorious piece of filmmaking. Years from now, when someone else does a Summer of Magic and they come to Zootopia, I believe they will be ringing the very same praises. Its characters are unrivaled, its story unprecedented, its themes unending, and its timelessness unquestioned. Zootopia is a film Walt would have been extremely proud of.

Rating: 10/10

Historical Significance: Initially, Nick Wilde was intended to be the main character with Judy Hopps taking more of a secondary role. However, when the studio began test screening the film, the audience had a difficult time emotionally connecting with Nick as the leading character, but they loved Judy Hopps instantly. The character roles were swapped, and that is when Rich Moore was brought in to direct alongside Byron Howard with Jared Bush becoming a co-director (it seems as if audiences were able to perfectly connect with Nick emotionally as a "secondary" character, so the change worked out in the end). Additionally, this is the fourth film from the third Golden Age which kept the identity of the villain a secret. It is revealed late in the film that Bellwether is the mastermind behind the night howlers plot, following in the footsteps of King Candy from Wreck-It Ralph, Hans from Frozen, and Callaghan from Big Hero 6. This is not a modern trend though. In fact, some of Walt's films even instituted this plot device. Remember Winkie from The Adventures of Ichabod and Mr. Toad and Madam Mim from The Sword in the Stone? Their villainy is not revealed until well into the film as well. Also, this is Michael Giacchino's ninth score composed for Disney, but it is his first for Walt Disney Animation Studios. He previously worked on The Incredibles, Sky High, Ratatouille, Up, Cars 2, John Carter, Tomorrowland, and Inside Out.

Behind the Scenes: In the US version of the film, a moose (brilliantly named Moosebridge) acts as the news anchor throughout the film. However, if you were to watch Zootopia in another country, a different animal would appear. In Australia, a koala is used; Japan would feature a tanuki (apparently something like a raccoon dog...not sure what that means, but we'll go with it); China would star a giant panda; and Brazil utilizes a jaguar. Moreover, a number of high profile celebrities make voice cameos in this film. Flash's co-worker, Priscilla, is voiced by none other than Kristen Bell, the voice of Anna from Frozen (sloths are apparently Bell's favorite animal). Josh Dallas, star of  ABC's Once Upon a Time and husband of Ginnifer Goodwin, voices one line for a character called Frantic Pig that appears at the Gazelle protest in opposition. I also must make mention of the superb voice acting from director Rich Moore. Moore previously voiced Sour Bill and Zangief from Wreck-It Ralph, and in Zootopia, he voices Doug and Larry. The voice of Mrs. Otterton may sound familiar too. That is because she is voiced by Academy Award winner Octavia Spencer.

Favorite Character: I truly could have chosen either Judy Hopps or Nick Wilde for this section and I would have been totally fine with either selection. However, I simply find myself gravitating to Nick as my favorite. The credit for creating this exceptional character is really twofold. First, the film's amazing script deserves a lion's share of the credit. When we first meet Nick, he is straight hustler (leading to one of the greatest one-liners in Disney history: "It's called a hustle, sweetheart"). He talks fast and steals faster, but throughout the film, Nick evolves from a motor-mouthed thief to a motor-mouthed legend. With the devastatingly beautiful flashback sequence revealing Nick's motivation to become a hustler, all of a sudden, Nick becomes a character we all genuinely care for. When his heart is broken by Judy's apparent betrayal of him, our hearts break too. When he becomes the ZPD's first fox police officer, we wholeheartedly rejoice. The script does an incredible job giving Nick so many layers and dimensions while never stifling his charm and hilarity. Secondly, Jason Bateman is absolutely sensational in this role. He has legitimately never been better, impeccably delivering hilarious line after hilarious line while also showcasing his emotional range too. Nick is a special character with specific traits, and Bateman is the picture perfect choice to bring this character with these traits to life. In the pantheon of Disney icons, Nick Wilde firmly asserts himself into the very heart of the conversation regarding the greatest character in Disney history.

Favorite Scene/Song: I have wrestled with this decision all day. I almost continued my adoration for Nick Wilde by selecting his flashback scene and subsequent conversation with Judy as my favorite scene, but the more I thought about it, the more I kept returning to Judy's arrival in Zootopia with "Try Everything" playing in the background. This is my favorite because of the sheer artistry of display during this sequence from the animators and storytellers. We have been anxiously awaiting the reveal of Zootopia and all of its intricacies, and when we are finally ushered into that glorious city, it is an absolute spectacle to behold. Travelling through the city's various districts such as Tundratown, Sahara Square, and Little Rodentia is an awe-inspiring and breathtaking experience. It is in the midst of a scene like this that I simply stand amazed at the mastery of these Disney animators. The way they have created this phenomenal city from scratch is really unrivaled in creativity and cleverness. Every district is expertly imagined, and Judy's facial expressions throughout this sequence perfectly represent our thoughts as viewers as well. Plus, Shakira's "Try Everything" is the perfect theme song for Zootopia and for Judy herself. This song is the lifeblood for this entire film, entertaining us all while setting the foundation for those bold messages to be proclaimed later on. It is simple, yet highly effective number that exquisitely compliments this masterpiece-making sequence.

FINAL Disney Ranking: For the first time in my Disney obsessed life, I finally have a definitive ranking of the animated films. I have often done this in my head, but I have never done so as I watched the films. I am really proud of these rankings, and I hope this has inspired you to do the same with your own rankings as well. Now, without further ado, my final rankings of the fifty-five Disney animated films in the official canon.

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

Here's to the bright future of Disney animation! Tomorrow, the Summer of Magic will come to an official end with Pixar's latest outing, Finding Dory!

-Cody Fleenor

Summer of Magic- "The Good Dinosaur"

A film's potential is what initiates production. If a studio cannot foresee the project being of high quality (or if they can foresee dollar signs no matter what the quality is), then they will not allocate the necessary funds to ensure that the film gets made. On paper, the potential for The Good Dinosaur was enormous. We have the gold standard for animation studios in the modern era telling a story set in prehistoric time centered on this man/beast dynamic. It should have been an absolute slam dunk because the possibilities would have been truly endless. Unfortunately, instead of producing yet another classic, they settled for simply a good film. If the studio made Cars 2 strictly from a commercial motivation, then they made The Good Dinosaur strictly from an artistic motivation. This film is an example of artists creating a film for the sole sake of creating art, and while there is certainly nothing wrong with that, I expect Pixar to find the right balance between art and entertainment. Too often, The Good Dinosaur is devoid of charm and hilarity, relying immensely on the grandeur of the animation and world-building. By attempting something bold, Pixar actually falls short of its glorious standard.

(We've reached a point in the summer where it is possible that you have not seen some of these films, so potential spoilers are present from here on)

Don't misinterpret my overall thoughts on The Good Dinosaur, though. I still like this film, but I simply don't love it like I wanted to. I think the main reason I feel that way is due, oddly enough for a Pixar film, to the lack of memorable characters. Even as recently as yesterday, I praised Pixar's unrivaled ability to create some of Hollywood's most iconic characters, but that ability does not translate into success in this film. Instead of bringing to life another legend as a leading character, Arlo is merely a nice character that could have been so much better. His characterization comes across as if Pixar was primarily satisfied with eliciting the "how sweet" reaction in the viewer, therefore never taking the appropriate steps to develop Arlo into a worthwhile character. There is nothing particularly bad about his characterization; it just feels incomplete. Once again, the standard that Pixar has set in terms of characters, especially their leads, are just too high to present a character like Arlo who often lacks any resemblance of layers and dimensions. Furthermore, his sidekick, Spot, falls into the same trap. Spot had all the potential to be an intriguing and interesting co-lead character, but beyond a couple of nice moments here and there, the end result is rather unremarkable. Obviously, this film is intended to nurture and grow this relationship between the two, and yet, the relationship never feels authentic and real, even feeling quite forced throughout the film.

Additionally, the film's supporting characters are not given even remotely close to enough screentime to make an impression, and the frustrating thing is that some of these characters have the potential to be great ones. For example, the family of dinosaurs featuring Butch, Ramsey, and Nash star in some of the film's better moments when this family is onscreen alongside Arlo and Spot. They teach Arlo the value of pushing through his fears, and lo and behold, they also offer some comedy into this all too serious film. Their interactions act as some of the film's scarce highlights, but just as we are beginning to invest in these characters, they are off screen and never seen again. The same problem unfortunately strikes all of the secondary characters. Pixar has made a living by taking these sidekicks and elevating them to icon status, but once more, Pixar squanders the opportunity to do that in The Good Dinosaur. Again, it is not as if these characters are necessarily bad, but they certainly are not that good. They are essentially the very definition of mediocre when they could have and should have been excellent. Also, the cast for this film, in large part, does nothing to assist in the characterization process, too often offering subdued and uninspired performances. With the exception of Arlo and the aforementioned family, who are actually quite solid in this respect, every additional character is not assisted by the lackluster voice acting.

Now, on the more positive side of things, it is impossible deny this film's beauty. Pixar has always impressed with their animation, but there are some shots in The Good Dinosaur that literally take my breath away, especially those scenes which show the landscape from a broad perspective. Also, the music is superb, this time scored by Jeff and Mychael Danna. Taking cues from Michael Giacchino, the film's score is absent of any show-stopping compositions, but the included music perfectly compliments the action taking place onscreen. An example of this is at the film's conclusion when Spot finally reunites with his human family, which is without question one of the top two scenes from the film. I think therein lies the heart behind my frustration with The Good Dinosaur. There are glimpses of an immensely epic classic, but far too often, it is pulled back down into the mires of mediocrity. I will detail the film's disastrous production cycle below, but you can clearly see that there are competing visions at war throughout the film. This film never develops an identity of what it wants to be. Does it want to be a buddy comedy? Maybe an ode to nature in general? What about telling the story of a family connecting like never before? There is so much going on here that the cohesiveness of previous Pixar films is basically nonexistent. Plus, with the exception of some minor laughs, this film is not that funny. Now, that can be attributed to my comment above about this film being made exclusively for the sake of art, but I expect to laugh in a Pixar film, and I simply did not do that in The Good Dinosaur too often.

Maybe Pixar should have seen the writing on the wall when the problems began arising during this film's production. This film had all the potential in the world, but that potential is never fully realized. There are moments of tremendous wonder and spectacle, but those moments are almost always followed by disappointing sequences. The concept for this film is brilliant, and from a technical standpoint, it is a marvelous wonder. However, from a narrative vantage point, this film never feels important like other Pixar films. It just kind of exists, and that is it, and given the amount of incredible possibilities Pixar could have taken a film like this, that is quite the letdown.

Rating: 7/10

Historical Significance: I have already touched on the makeshift nature of this film, and this is primarily due to its horrific production process.The film was in production for six years with a goal release date of May 2014. It unfortunately suffered from creative differences, story complications, studio multitasking, and the fact that Pixar was experiencing a minor slump in consensus quality after Toy Story 3. Up co-director Bob Peterson was originally hired as the director, but just one year before the film's release date, Peterson expectantly left the project. Peterson's original story was almost entirely redone, and so was its cast. The original cast consisted of John Lithgow, Neil Patrick Harris, Judy Greer, Bill Hader, and Lucas Neff, but upon Peterson's departure, only Frances McDormand (Momma) was retained after the change. John Lasseter, Lee Unkrich, Mark Andrews, and Peter Sohn stepped in to rework the project and keep it afloat during this transition time with Sohn eventually winning the director's chair. This overhaul, obviously, caused The Good Dinosaur to miss its scheduled release date as it was pushed back to November 2015 (the original release date for Finding Dory). This is why Pixar had no films released in 2014 and why 2015 became the first year to see the release of two Pixar films. Pixar's general manager Jim Morris described the experience this way: "It was a dramatic event. It was tough on the company. Most studios would have said, 'The movie's fine. It's not bad.' And it wasn't bad; it just wasn't great. We wanted to have a great movie." Although he was not cast after the changes, John Lithgow acknowledged the changes to the script were fantastic and the film was "going to be better than I had imagined."

Behind the Scenes: Due to its rather recent release, there is not a bunch of stories from behind the scenes for The Good Dinosaur. I do, however, want to take this opportunity to recognize the consistently excellent Pixar short films, including the one that played before The Good Dinosaur entitled Sanjay's Super Team. The studio has yet to release a short film I didn't thoroughly enjoy. Some of my personal favorites are Geri's Game, Day and Night, La Luna, The Blue Umbrella and their most recent one, Piper. I hope you never take for granted the importance of these short films. This is where a majority of the greats in animation got their start. Walt Disney, of course, began his illustrious career in the short film industry, and so did Pixar chief John Lasseter. When you see a Disney or Pixar film in theaters, take some time to appreciate the fact that the two studios still believe in the necessity of short films.

Favorite Character: Pixar's cornerstone throughout their history has been their incredible characters, but in The Good Dinosaur, the entire ensemble is filled with mediocre to simply good characters. Since most of the supporting characters are not afforded much screentime, I have to go with Arlo as my favorite from the film, and even his characterization could have been vastly improved. It is odd to think that one of Pixar's films biggest fundamentally flaw is its characters, but that is certainly the case in The Good Dinosaur. Arlo, though, is the strongest of the ensemble, and therefore my favorite, because basically, he is given the most opportunities to make an impression. The rest of the characters are just not given much to do whereas Arlo is front and center from beginning to end. We see Arlo experience tragedy and triumph with everything in between throughout the course of the story. We witness his against-all-odds friendship form with Spot, and we ultimately see his conquering of fear. Raymond Ochoa provides a nice voice for Arlo, and the animators have done a spectacular job bringing Arlo to life with simple facial expressions and body language. Arlo is not Pixar's best character by a long shot, but in a film devoid of any classic characters, he is the unrivaled highlight.

Favorite Scene: The Good Dinosaur does not teeter on the edge of greatness often, but the closest this film comes to achieving classic Pixar status is during its emotional climax with Spot and Arlo. The film relies heavily (sometimes to its detriment) on various familial bonds, and when the duo finds themselves ready to turn it in for the night, they first decide to open up about their personal lives to each other. Arlo explains to Spot that he loves and misses his family more than anything while admirably using sticks to signify his family before drawing a symbolic circle around them. That was a nice moment, but it is when Spot follows suit that the signature Pixar emotion comes to the forefront. Up to this point in the film, we don't know much about Spot, but in this fantastic sequence, Spot uses sticks to show Arlo that he had a family too. However, in the film's most heart-wrenching moment, Spot gently places the sticks symbolizing his parents on the ground before covering them up with dirt, signifying that his parents are dead. This inspires Arlo to do the same with the stick representing his dad, and the two are then able to share a great moment as Spot comforts Arlo and Arlo returns the favor. This scene is everything the rest of the film should have been. It has heart, character development, and a clear focus, so naturally, that is why it stands out as my favorite.

Updated Ranking: While not as atrocious as Cars 2, The Good Dinosaur does find itself near the bottom of the rankings due to its subpar characterization and unclear focus on the story.

1. Toy Story 3
2. The Incredibles
3. Toy Story
4. Inside Out
5. Finding Nemo
6. Up
7. Ratatouille
8. Wall-E
9. Monsters Inc.
10. Toy Story 2
11. Brave
12. Monsters University
13. A Bug's Life
14. Cars
15. The Good Dinosaur
16. Cars 2

Tomorrow, we're going to try everything and visit Zootopia!

-Cody Fleenor

Summer of Magic- "Inside Out"

Every film studio goes through dry spells with no genuine classics being produced in these spans. Disney experienced a mediocre period immediately following perhaps its greatest decade in history by allowing films such Chicken Little and Home on the Range to be released in the aftermath of the Renaissance. While Pixar has yet to experience a downright awful extended period of filmmaking, they did recently go through a tiny drought devoid of bonafide classics. After Pixar's golden run that began at the studio's inception and concluded in 2010, a time period which saw the release of such masterpieces as Finding Nemo, Ratatouille, and Wall-E among others (truly, only A Bug's Life and Cars are not considered to be consensus classics from this time frame), Pixar did have a four year run from 2011 to 2014 that saw the studio simply producing really good films instead of great ones (with the exception of the trainwreck that is Cars 2). In 2014, Pixar didn't even release a film, so by the time June 2015 rolled around, it had been a solid five years since Pixar had released a genuine masterpiece. Luckily, that year, the studio delivered one of its best films to date: Inside Out. We can't really call it a comeback since the studio never really left, but Inside Out was an emphatic reminder that although Disney was enjoying their third Golden Age still, Pixar still had plenty of tricks up their creative sleeves. With Inside Out, Pixar has created a masterpiece for the ages, remarkably unrivaled in ambition, creativity, and emotion.

(We've reached a point in the summer where it is possible that you have not seen some of these films, so potential spoilers are present from here on)

On numerous occasions throughout the Summer of Magic, I have highlighted the excellence of a film's cast. Pixar has always had the incredible ability to cast the perfect actor for the perfect role, and they truly outdid themselves with Inside Out. I would have loved to be able to sit in on some of those conversations regarding how they were planning to cast these five unique emotions for the film because whatever they worked out was a sheer stroke of genius. Amy Poehler (Joy), Phyllis Smith (Sadness), Bill Hader (Fear), Mindy Kaling (Disgust), and Lewis Black (Anger) absolutely nail these roles, and they are joined by more cast members who nail their roles too. Richard Kind (Bing Bong), Kaitlyn Dias (Riley), Diane Lane (Mom), and Kyle MacLachan (Dad) round out this picture perfect cast, and their work helps elevate Inside Out to tremendous heights. When these knockout performances team up with the stunningly beautiful script and the magic of Pixar, the final result is nothing short of extraordinary. The screenplay for Inside Out, based on a story concept by Pete Docter (I want to be him when I grown up. And I want to be Brad Bird. And John Lasseter. And Andrew Stanton. And Lee Unkrich. I love Pixar's directors, if you couldn't already tell) and Ronnie Del Carmen with a script by Docter, Meg LaFauve, and Josh Cooley, is one of the most mature screenplays I have ever seen in terms of humor and, appropriately, emotion. Being inside of a teenage girl's mind literally allows for the possibilities to be endless, and as a viewer, being able to witness these masters of their art at work firing on all cylinders is a wonder to behold.

This phenomenal screenplay works so well because of the film's terrific characters. I will detail my love for Poehler's Joy in more detail below (so you know what that means), but I will say that now, a discussion about Pixar's best characters cannot be complete without the inclusion of Joy, deserved to be mentioned in the same breath as Woody, Dory, and Remy. Phyllis Smith turns in a career-best performance as Sadness. Sadness is the odd emotion out in Headquarters; the rest of the gang is just no quite sure what to do with her and her particular skill set as it pertains to Riley. Smith expertly demonstrates this desire of Sadness to be involved in Riley's life, and when the film's emotional climax occurs (which will also be discussed more below), Sadness and therefore Smith take center stage and shine bright. Hader's Fear is the film's greatest comedic relief, mainly due to the physical comedy at work whenever he is on the screen. Hader's voice acting coupled with the genius of the animators blend seamlessly to create yet another legendary character. Kaling's Disgust and Black's Anger are simply stellar as well, flawlessly bringing comedy and emotion to one of Pixar's most hilarious and emotional films to date ("Congratulations, San Francisco! You've ruined pizza!"). The Anderson family is so well developed overall, especially Riley who is impeccably voiced by Dias here. The surprising legend from this comes in the form of Riley's former imaginary friend, Bing Bong. Richard Kind has been around the Pixar block before, but he has legitimately never been better. He steals the show upon his arrival, all the way up to his tragic sacrifice to ensure Joy's safe return to Headquarters ("Take her to the moon for me, okay?" gets me every single time and is actually getting me right now). There is not a bad character whatsoever in this ensemble. In fact, there is not even just a good character in this ensemble because every one of them is great, becoming instant icons and cinematic legends.

I referenced earlier that Pixar's possibilities in this film were truly endless, and the animators really showoff in the best possible way in Inside Out. I can imagine these unrivaled artists having an absolute blast coming up with ingenious idea after ingenious idea of what this cerebral environment would look like. Pixar has always benefited from the excess of imagination and creativity that abounds at their studio, and that fact is extremely prevalent in Inside Out. From Headquarters to Long-Term Memory to Imagination Land to the Personality Islands, more so than ever before, Inside Out is a masterclass in animated storytelling and visuals. I just cannot stop my jaw from dropping to the floor quite often whenever I look around at this amazing universe they have created. Also, has Michael Giacchino ever composed a bad score? In Inside Out, he continues to top himself. This score is not as rampant as some of his previous Pixar works such as The Incredibles, but that doesn't mean that his score loses any affect at all in eliciting emotion and raising adrenaline. Oftentimes relying on the power of subtlety, Giacchino's simple, yet ever so powerful score is one of the countless highlights to be enjoyed in this cinematic masterpiece.

We have become accustomed to Pixar challenging us with their daring messages; that is actually one of the major keys to their success because their films appeal to children and adults simultaneously. I have lauded Pixar's thematic material often in previous reviews, and I must do the same now because Inside Out's message is one of the studio's most ambitious one to date. Joy is obsessed with making sure that Riley is happy all day, every day. However, instead of potentially sugarcoating the film by allowing Joy to fulfill her quest, Pixar boldly proclaims that Sadness is just as integral to the growing up process as Joy, Fear, Anger, and Disgust are. In a powerful scene that I will discuss in more detail below, Pixar takes Inside Out's to uncharted thematic heights in the grandest way imaginable. It is wholly appropriate that a film about emotions is one of Pixar's most emotional films ever, engrossing us, the viewer, into every minute detail of the action while also igniting the tear ducts to work overtime by the film's conclusion due to the insane amount of laughter and the heartbreak-to-breakthrough moment for our characters.

I am simply running out of adjectives and additional phrases to describe the greatness of Inside Out. A little over a year ago, I watched this film for the first time in theaters, and I left that viewing knowing beyond a shadow of a doubt that this film will go down in history as not only one of Pixar's best films, not only one of the best animated films ever, but one of the best films ever period, animated or otherwise. Never has a film made me feel so, well, joyful.

Rating: 10/10

Historical Significance: Psychologists were heavily consulted during the process of writing the script. Pixar even invited renowned psychologist Paul Ekman, who is a pioneer in the study of emotions and their relation to facial expressions, to brief the crew on the nature of emotions (Ekman also released a fascinating slideshow on his website entitled "Parents' Guide to Inside Out," and I highly recommend you take a look at it here). One major aspect that was incorporated into the story that was applauded for its accuracy by various psychologist is the conversion of short-term memory to long-term. Psychologists believe that this process occurs in real life while we are sleeping, and in Inside Out, that is exactly what transpires. Furthermore, Inside Out is an extremely personal film for director Pete Docter. The story was inspired by Docter watching his own daughter experience a multitude of difficulties while growing up, and Docter desired to make this film so he could better understand what his daughter was going through. Additionally, one of the film's many great scenes is immediately after Joy and Sadness have left Headquarters and Riley's mom is asking her a number of questions about her day, much to the dismay of Riley. This is when we get some insight into the emotions of Riley's parents, leading to her dad "putting the foot down" after Riley's string of sassy and snarky responses (Docter actually voices Riley's Dad's Anger in that scene). Docter claims that this scene was inspired by a personal experience in his home with his daughter. He later stated that Inside Out was "one of the most challenging [films he] had ever put together."

Behind the Scenes: Pixar eventually narrowed down the potential emotions to appear in this film to five, but the final five were not decided upon overnight. In fact, the writers considered including twenty-seven emotions with such possibilities as Pride, Surprise, and Trust ultimately being cut. They cut it down to five to avoid plot complications, and when those cuts were made, they quickly got to work on casting. When director Pete Docter first proposed the story for the film to John Lasseter, Lasseter stated, "Imagine the fun we're going to have when it comes to casting! We could get people like Lewis Black as Anger!" Of course, Lewis Black ended up being cast as Anger, and in order to convince the legendary comedian to join the project, Pixar apparently sent him a box of some of their previous films, suggesting that Black might be unaware of what Pixar is. Black said in the aftermath of this occurrence that Pixar "thought [he] was just some sort of recluse." Black loved Pixar and signed on for Inside Out almost immediately. He was the studio's first and only choice for the role. For Mindy Kaling, the voice of Disgust, the entire production process was an emotionally satisfying experience, even during the recruitment process. In her own words, Kaling said this about reading the script for the first time: "When I was asked to do this, the script was amazing. I went to Pixar and I cried. I was just in a meeting with these guys and they showed me the story and I started weeping." Kaling reportedly told Pete Docter and producer Jonas Rivera, "I think it's great that you guys are making a film that shows it's difficult to grow up and that it's okay to be sad about it." Docter simply responded, "Quick! Write that down!" The screenplay for Inside Out would receive an Academy Award nomination for Best Original Screenplay while the film itself took home the Oscar for Best Animated Feature.

Favorite Character: I previously applauded every character in this film as each one was a part of one of Pixar's greatest ensembles to date, but Joy is without question my favorite character from Inside Out. While the character animation for Joy is downright inspired and the messages proclaimed through her actions are even more so, Joy becomes one of my favorite characters in the Pixar canon because of Amy Poehler's exceptional voice acting. Has there ever been a more perfect casting choice in the history of the studio? I don't think so because Poehler is Joy. From the beginning, we cannot help but admire Joy's persistence to ensure Riley's happiness. Even in the face of certain adversity, Joy always seems to find that allusive silver lining and turn the tide for the better. However, what elevates Joy into elite company among the Pixar icons is that stark change in perspective upon the realization that Sadness is actually the key to unlocking Riley's true joy. Joy grows to understand that it is literally impossible to be happy all of the time; we all need a little sadness, anger, fear, and disgust in our lives because that is just the way we are wired. Poehler is able to effortlessly proclaim that message through her voice (with some tremendous assistance from the filmmakers and animators, of course). Her ability to portray Joy in an exuberant manner while also having the full capability to elicit those signature Pixar emotions in the viewer is truly awe-inspiring. Only Pixar could take an emotion and make it one of their most complex and well developed characters to date, and only Pixar could take an emotion and challenge us in a profoundly powerful way.

Favorite Scene: I almost went with the opening minutes of Inside Out as my favorite scene because of the fantastic introduction to all of the characters with Michael Giacchino's sublime score also making its presence felt, but once again, Pixar makes it hard to pick against their emotional climax. My favorite scene from the film begins when Joy and Sadness ultimately making it back to Headquarters upon Joy realizing Riley's need for Sadness. Sadness is able to convince Riley to get off the bus bound for Minnesota as she was running away and return home. Riley's arrival back home is one of Pixar's crowing achievements. As Joy steps back and allows Sadness to take control, Pixar yet again finds a way to reduce us all to tears in a inventive way. Riley finally confesses to her parents that she wants to move back home with her friends and her sports team. She has been hiding these feelings due to her fear that her parents will get angry, but in a moment of honesty, her parents actually confess their desire to return home as well. Kaitlyn Dias (Riley) and Kyle MacLachlan (Dad) are spectacular in this scene, authentically delivering those brilliant lines with relative ease. While I am not a parent, I can only imagine what parents are feeling watching this scene unfold because even I am an emotional wreck as tears begin to run down Riley's face (I know it's probably not surprising at this point in the summer that Pixar's signature emotional moment turns me into a mess, but I digress). As the scene shifts back to Headquarters, we see a new core memory appear, but this time, there is unique blend of joy and sadness. In that moment, Joy and the rest of the gang understands that in order to ensure Riley's happiness every day, they must work together as one emotional unit, and that is such a timely and important message to proclaim. I put this scene in the same category as the opening twelve minutes of Up and the final scene of Toy Story 3 as one of Pixar's most emotionally brilliant scenes in the studio's history, and one of the best sequences ever period. By the time this scene rolls around, Inside Out is already a classic, but this scene takes it to masterpiece level.

Updated Ranking: I initially ranked Inside Out fairly high in the immediate aftermath of its release, but I was worried that I was simply going to be caught as a prisoner of the moment and that opinion would eventually change upon additional viewings. Thankfully, though, my initial thoughts have since been confirmed, and Inside Out still stands as one of my favorite Pixar films to date.

1. Toy Story 3
2. The Incredibles
3. Toy Story
4. Inside Out
5. Finding Nemo
6. Up 
7. Ratatouille
8. Wall-E
9. Monsters Inc.
10. Toy Story 2
11. Brave
12. Monsters University
13. A Bug's Life
14. Cars
15. Cars 2

Tomorrow, Pixar goes from the mind of a teenage girl to the prehistoric land of the dinosaurs in The Good Dinosaur!

-Cody Fleenor

Summer of Magic- "Big Hero 6"

Ever since the acquisition of Marvel Studios by Disney, Marvel has delivered gigantic hit after gigantic hit for Disney beginning in 2012 with The Avengers and continuing today with their most recent release, Captain America: Civil War. In 2014,though, Marvel decided to return the favor by allowing Disney to tell a story arc from a comic series with a cult following while giving them the free reign to create some fresh and original at the same time. The final result was Big Hero 6, one of Disney's most entertaining films of the modern era. Tapping into their incredible ability to take something established and breath new life into the material, Disney has crafted a film for everyone, whether you are a diehard comic book fan or a casual Disney fanatic. With Big Hero 6, Disney continues to assert to the world that there is a new generation of filmmakers at the studio, and they are here to stay while producing classic after classic.

(We've reached a point in the summer where it is possible that you have not seen some of these films, so potential spoilers are present from here on)

At this point in the Summer of Magic, I probably sound like a broken record regarding Disney's characters, but yet again, Disney impresses in this aspect in Big Hero 6. Hiro Hamada is a fascinating character fueled by a terrific performance from Ryan Potter. Hiro is a scientific genius; his brain is able to comprehend and process thing such as robotics in an unprecedented fashion. However, at heart, Hiro is just a normal guy trying to find his place in the world. You can see that from the opening sequence as he is hustling gangsters while illegally fighting robots and by the way he is always looking up to his older brother, Tadashi, for guidance. Upon visiting Tedashi's research facility, Hiro becomes enamored with the prospect of working on robots all day, every day, and upon being accepted into the program, he has found his coveted place in the world. One day, though, something goes terribly wrong and Tedashi tragically dies, leaving Hiro with a loss of hope and identity. This dynamic allows Hiro to be a really well developed character with layers and fleshed out dimensions. Big Hero 6 holds no punches with Hiro's characterization. We see life at its finest (flying majestically over San Fransokyo atop Baymax), but we also see life at its worst (the aftermath of Tedashi's tragedy). That is one aspect of the third Golden Age of Disney that I admire above the rest. Sure, these films are set in mythical places, but their characters could not be more relatable and more like us. Hiro is a character that we can wholeheartedly identify with from the beginning, and that is what makes him such an excellent character.

However, Big Hero 6's ensemble is certainly no one hit wonder. I am going to discuss my love for Baymax more below, but I'll tease my thoughts by saying this: he is simply one of the best characters Disney has ever created. Furthermore, Hiro's inner circle of friends that assume the mantle of becoming superheros by completing the team are superb as well. Wasabi, Honey Lemon, Go Go, and Fred are such richly defined characters, each possessing their own unique personality that allows them to shine at various moments throughout the film.The entire cast of Big Hero 6 thrives in each individual role. The aforementioned Ryan Potter, Scott Adsit (Baymax), Damon Wayans Jr. (Wasabi), Genesis Rodriguez (Honey Lemon), Jamie Chung (Go Go), and T.J. Miller (Fred) may not make up the flashiest and most celebrated ensemble in Disney history, but they are each perfect for their roles, and the final result benefits because of it. Yes, Alan Tudyk does make his obligatory Disney animated film appearance, and just as we have come to expect from the studio's great lucky charm, he delivers as Alistair Krei (one of the best character names ever, might I add). Then, our villain for this film, Professor Robert Callaghan (James Cromwell with the splendid voice work), is a solid adversary for the Hiro and company. The twist of the loss of his daughter being his motivation behind stealing Hiro's microbots and trying to ruin Krei's life is an ingenious and inspired plot point that Disney pulls off with relative ease. We even hear from Maya Rudolph as she voices the eccentric Aunt Cass, and while she is not afforded much screentime, she raises the energy significantly whenever she has the opportunity to do so.

Every film from the third Golden Age thus far is spectacularly animated, and Big Hero 6 elevates the standard yet again. In particular, the shots of San Fransokyo on a large scale are just spellbinding and beautiful. The opening scene and Baymax's first flight over the legendary city feature some of Disney's best animation to date. Additionally, Henry Jackman returns to the studio after hitting a home run with his previous score for Wreck-It Ralph, and once again, he has crafted a perfectly complimentary score for Big Hero 6. Jackman's score never overpowers the action on screen, but it never nonexistent as well. It is always present in the subtlety of the film's emotional moments and in the bombast of the film's grand action sequences. Don Hall and Chris Williams direct this film to sheer perfection, and John Lasseter's creative genius looms large in this film as he acts as executive producer. Big Hero 6, in my book, seems quite a bit underrated in the official Disney canon, and I am not sure why that is. While it may not reach the heights of the all-time masterpieces, it truly has legitimate merit to be christened as a classic in its own right.

By now, with all of the Marvel and DC films hitting theaters, it is extremely rare for a superhero film to be released and feel fresh and inventive (and when that does happen, those films make all the money, i.e. Guardians of the Galaxy). That is precisely what Disney was able to do with Big Hero 6, though. Of course, the basic origin story nature of the film feels familiar at times, but due to their concerted focus on these characters, Big Hero 6 never comes off as a simple retread of previous material. Disney tossed its hat into the ring of superhero movies with this one, and just like Hiro in the world of robotics, they came out victorious.

Rating: 10/10

Historical Significance: Big Hero 6 is in fact based on a Marvel comic book series that debuted in 1998 and hit peak popularity in 2008. However, the film and the comics don't share many similarities besides the title. In the original comics, Big Hero 6's is Japan's official team of superhuman agents. In the 2008 arc, the team was tasked with assignments in America (hence, San Fransokyo). The team in this arc included the following: Silver Samurai (actually a former villain of Wolverine from the X-Men comics too), Hiro Takachiho (a thirteen year old scientific prodigy, so that similarity is strong), Honey Lemon (extremely similar to the film's character), Go Go Tomago, and Baymax (who was actually a robot who can himself into a dragon, of all things). Although Marvel is the film's inspiration, it is not labeled as a Marvel film due to the immense amount of changes, and unfortunately, it does not exist inside the grander Marvel Cinematic Universe with Captain America, Iron Man, and company. The idea for San Fransokyo was originally conceived by John Lasseter who suggested a blending of the two cultures to create a mythical city. According to art director Scott Watanabe, legend has it that the film is set in an alternative universe where the famous earthquake that struck San Francisco in 1906 destroyed the city, causing the US to ask Japan for assistance in rebuilding.

Behind the Scenes: Since I took the opportunity in my review of Wreck-It Ralph to applaud the short film that accompanied it, I must do the same here for the fantastic Feast. A man's love life is told through the eyes of a dog, and it is simply one of Disney's finest short films to date. Yet again, stop reading; do yourself a favor and watch the short here. Have you watched it? Great! The rejuvenation of the short films have also contributed to the rise of Disney's third Golden Age. With such classics as Paperman, Feast, Get a Horse!, Tangled Ever After, and Frozen Fever, Disney once again proves its willingness to return to its roots and recapture that unrivaled glory. Furthermore, there are a couple of references to Feast in Big Hero 6. Two posters appear throughout the film that say "Adopt a dog today!" while a graffiti version of the title is shown on an alley wall in Greek letters (phi and st, which is apparently pronounced feast). Plus, for my fellow Marvel geeks out there, in the tradition of the comic book studio, there is a post-credits scene which features Fred's father returning home to the mansion, who is voiced by none other than Stan Lee, abiding by his contract to appear in every Marvel film is some way.

Favorite Character: I promised you more discussion of Baymax, and now, I deliver upon that promise. Only Disney could take a robot with no facial expressions and no emotion whatsoever and create one of their best characters of the modern age. Acting as a constant reminder of Tedashi's presence in Hiro's life, Baymax is the heart of soul of Big Hero 6. I don't know how they did it, and I cannot offer any deep characterization epiphanies here, but Disney somehow, someway, makes it work. Baymax's infectious innocence is perhaps the highlight of the entire film, oftentimes leading to some of the most hilarious moments in Disney history (take Baymax and Hiro's first encounter with the villainous Callaghan where Baymax proudly proclaims, "I am not fast.") Scott Adsit provides the perfect voice for a rather tricky role. How do you voice act like a robot? Once again, I'm not sure how he did it so effectively, but he certainly did and to tremendous success. Not only, though, does Baymax star in the film's most hilarious moments, but he is also deeply involved in the film's emotional climax (more on that below). You will undoubtedly leave Big Hero 6 quoting Baymax and imitating his legendary fist bump, but you will also soon discover that everyone's favorite personal healthcare companion has worked his way into your heart like you never imagined.

Favorite Scene: I love every member of this superhero team, and in the film's climatic battle, they all have equal opportunity to shine and showoff, so this is my favorite scene from Big Hero 6. As Callaghan has converged on Krei's grand opening of a new research facility to permanently ruin his life, our Big Hero 6 team leaps into action as the filmmakers and animators teach a masterclass in awesome animated fight sequences. The presence of the microbots alone are enough to amaze me with all the intricacies involved in animating every single unit, but when debris starts flying and panic ensues, the entire scene simply leaves me awestruck, wondering how on Earth Disney pulled this off from a technical standpoint. Furthermore, the actions of our heroes are extraordinary, especially after Hiro encourages them to use their smart brains to find a new way to defeat Callaghan. We have been anxiously awaiting the first battle for this new team, and Disney did not disappoint whatsoever. Additionally, the following sequence which shows Baymax and Hiro flying through the teleporter to retrieve Callaghan's long lost daughter, Abigail, in the aftermath of the battle is where Disney provides its signature emotional moment. As incoming debris destroys Baymax's armor except for his fist, Baymax commands to Hiro to keep going without him with Abigail before the teleporter collapses and they are trapped forever. Obviously, Hiro does not want to leave his best friend behind, but there is simply no other choice. As Hiro heroically states, "I am satisfied with my care," Baymax ignites his fist and sends Hiro back to the real world as he ultimately meets his demise. It is an immensely emotional encounter that tugs at all the right heart strings, and after an adrenaline packed action sequence, we needed that. Of course, Hiro is able to reinvent Baymax in the next scene, but in that moment, emotional wrecks abound. This extended sequence solidifies Big Hero 6's place among the Disney elites.

Updated Ranking: As you can tell by my rating and review, I love Big Hero 6, but ranking it is was a rather difficult task. Here's what I have come up with, though.

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

Tomorrow, Pixar takes us where they have never gone before: inside the mind of a teenage girl. Inside Out is next!

-Cody Fleenor

Summer of Magic- "Frozen"

Today's film is apparently the one that shall not be named nowadays. While the anger and frustration geared towards Disney's tremendous obsession with Frozen is rightfully justified to an extent, what aggravates me the most about Disney fans who are anti-Frozen is that most of the time, they actually have zero problem with the film itself. Their biggest gripe comes when you start discussing the presence of Frozen in the Disney Parks and and the constant push for more merchandise (because how dare Disney run a business intelligently). If you are reading this and you consider yourself anti-Frozen, I want you to attempt something for me. Try to remember your thoughts and feelings about Frozen after watching it for the very first time. Before the chaos, before "Let It Go" was played on repeat one hundred and twenty-seven times consecutively, before Frozen Ever After took over Malestrom at Epcot, just imagine yourself walking out of the theater for the first time having witnessed Frozen. For me, I walked out of the theater thinking I had just watched an instant genuine Disney classic that deserves to be mentioned in the same breath as Beauty and the Beast and The Little Mermaid. Now, almost three years later and with the continuous barrage of Frozen everywhere I look, I still stand firm in my initial belief that Frozen is one of the best films ever produced by Walt Disney Animation Studios.

Frozen brings numerous classical elements to the table that have made Disney such a masterpiece-churning machine since Snow White and the Seven Dwarfs, but the characters in Frozen are ultimately why I keep coming back for more time and time again. There is a legitimate reason to why so many people initially loved this film and why it grossed over a billion dollars worldwide, and while the songs may receive all of the rightful publicity, it is these characters that are the true stars of the film. Anna (voiced phenomenally by Kristen Bell) is an immediate Disney legend. In literally every stage of her life, she exudes exquisite character development that is a highlight in studio history (more on Anna below). Queen Elsa (voiced by the queen herself, Idina Menzel) actually is not afforded an immense amount of screentime in Frozen, but when her majesty is on screen, pure Disney magic happens. From the early isolation to finally letting it go, Elsa is a character for the ages, firmly asserting herself as one of the best Disney royals in the studio's history. This sister dynamic that Disney brings to life in this film is so flawlessly executed. Anna and Elsa's relationship is so genuine and authentic that you believe them wholeheartedly during every step of their journey. Sure, these are animated characters we're talking about here, but Anna and Elsa are incredibly relatable, which allows the viewer to fully invest in their lives and actions. We cheer for them while also hurting with them, and that is a testament to the brilliance of Disney.

Anna and Elsa's supporting characters are some of the best sidekicks and bad guys in the animated canon. Of course, everyone's favorite snowman Olaf is the scene-stealer of the film, and he definitely deserves that title no doubt. Olaf enters the film late, but he hits the ground running, thoroughly entertaining us while also providing a certain heart to the film as well. Josh Gad turns in a career-best performance here, effortlessly singing his way into our hearts forever. The duo of Kristoff and Sven are also superb. Kristoff is much more than the stereotypical brute assigned to help the princess; instead, Kristoff is a charming, well-developed character that becomes one of the most dimensional leading men in a Disney animated film to date. Jonathan Groff provides the perfect voice for Kristoff in yet another casting stroke of genius from the studio. Then, we have Sven, who makes it virtually impossible to do anything but love him. Additionally, joining the ranks of Lotso and Mother Gothel as one of my most hated characters in the best way possible, Hans is a character that I would love to punch in his perfect little face just as Anna did near the film's conclusion. The twist of Hans not actually loving Anna blew me away during my first viewing of Frozen, and even today, I find myself hoping the outcome turns out different this time around. Frozen works primarily because its characters become legends instantly. There is no weak link in this ensemble; from top to bottom, it is one of Disney's crowning achievements in regard to characterization.

The aspect of Frozen that catapulted it into the international spotlight, though, is its soundtrack. Now I will concede that I do not live with small children, so I have been able to avoid hearing these songs constantly on repeat for days upon days because I know if that were the case, my opinion here may be a little different. However, I must say that I believe Frozen's soundtrack is the best soundtrack produced by Disney since The Hunchback of Notre Dame in 1996 (with all due respect to the fantastic soundtracks of The Princess and the Frog and Tangled). These songs are Renaissance era worthy, and that in and of itself is quite an accomplishment. "Do You Want to Build a Snowman" features an excellent blend of entertainment and story/character development. While we will undoubtedly leave singing the catchy parts of this song ("Hang in there, Joan."), when we stop and consider how much this song progresses the story while also providing great insight to Anna and Elsa's unique personalities, that is when we will truly be amazed. "For the First Time in Forever" is a wonderful number yet again progressing the story superbly while also continuing to develop Anna and Elsa as characters. Olaf's "In Summer" is a delightful show-stopper that is a splendid introduction to this lovable sidekick, and the trolls's "Fixer Upper" is supremely fun.

Then, of course, we have the big one. While parents who have heard this song more times than they can count might disagree with me, I think "Let It Go" is one of the pinnacles of Disney songwriting, a genuine highlight belonging in the pantheon of great Disney songs and sequences alongside the "Circle of Life" sequence from The Lion King and the "I See the Light" sequence from Tangled. This song/scene so eloquently captures the message and spectacle of this entire film, and if you leave uninspired after this song, something is wrong with you. I honestly think that is applicable to a bunch of opinions regarding Frozen. Some of us haven't yet recovered from the onslaught that continues today in the aftermath of Frozen's release, and because of that, we want to hate the film. However, if we were really being honest with ourselves, I think the majority of us would conclude that Frozen is a modern day masterpiece. Don't allow the last three years or so to blind you to Frozen's greatness. Despise and reject the commercialization all you want (I'm right there with you, in fact, to some degree), but this film deserves nothing less than our highest praise and adoration.

Rating: 10/10

Historical Significance: The film is based on "The Snow Queen" by Hans Christian Andersen (side note: the character names of Hans, Kristoff, and Sven pay homage to the legendary author). Disney tried to initiate production on a film based on this story on numerous occasions in the early 2000's, but they could never get something to materialize. Their first attempt was in 2002, but animation guru Glen Keane notoriously quit the project and basically took the whole thing down with him. In 2009, John Lasseter returned to the project and rejuvenated the passion to tell this story. He recruited Gary Trousdale and Kirk Wise (directors of Beauty and the Beast, The Hunchback of Notre Dame, and Atlantis: The Lost Empire) to helm the project. Producer Don Hahn (Beauty and the Beast, The Lion King, The Emperor's New Groove, and more) was also brought in as well as Linda Woolverton (2010's Alice in Wonderland, Maleficent) to write the script. Even Alan Menken, along with partner Glenn Slater, was tasked with writing the film's songs, but in 2010, Disney was not satisfied with the direction of the film. Instead of scrapping the entire project and starting from scratch again, the film was simply put on hold as Disney brought in a new crew. Chris Buck and Jennifer Lee directed the film (Lee also wrote the screenplay) while Kristen Anderson-Lopez and Robert Lopez wrote the music and Peter Del Vecho produced. Frozen would go on to become the highest grossing animated film of all-time, and it became the first Walt Disney Animation Studios film to win an Academy Award since Tarzan in 2000 (Chris Buck's previous Disney film). Frozen won Best Animated Feature and "Let It Go" took home Best Original Song.

Behind the Scenes: You can blame Kristen Anderson-Lopez and Robert Lopez for the worldwide phenomenon created by Frozen and especially its music, and according to the Lopez duo, they wrote "Let It Go" in a single day. Anderson-Lopez stated: "We went for a walk in Prospect Park and threw phrases at each other. What does it feel like to be the perfect exalted person, but only because you've held back this secret? [Robert Lopez] came up with kingdom of isolation, and it worked." Lopez reportedly improvised the song's first four lines right there in the middle of Prospect Park. They returned home to finish the song by day's end. "Let It Go" would, clearly, go on to become a gigantic success worldwide. Not only did it win the Academy Award, but it also became the first Disney song since "Colors of the Wind" from Pocahontas in 1995 to reach the top ten of the Billboard Hot 100 ("Colors of the Wind" peaked at #4 while "Let It Go" got as high as #9). The Lopez duo did not produce a one-hit wonder soundtrack, though. Another great song is "Do You Want to Build a Snowman" Three different actresses provided the voice for Anna during this song. The youngest Anna was actually voiced by Katie Lopez, the daughter of Kristen and Robert, while Agatha Lee Monn, the daughter of writer/director Jennifer Lee, voiced teenage Anna. Kristen Bell obviously voiced adult Anna, fulfilling a lifelong dream of hers to voice an animated character. She was inspired to do so after watching The Little Mermaid in 1989, prompting her to record her rendition of "Part of Your World" in a voice box. Jennifer Lee actually listened to that voice box and claimed that it was a big factor in casting Bell for the role.

Favorite Character: In an ensemble filled with some of the best characters in Disney history, it is rather difficult to single out just one, but since I must choose a favorite, I am going with Anna. From the moment she first arrives on screen, Anna wins the heart of the viewers. Her desire to live a normal life with her sister, Elsa, is on full display in a immensely admirable way, and even though she is a princess, Anna could not be more relatable. She is jovial, exuberant, a little clumsy, headstrong, and the list could go on. Kristen Bell shines in this role that fits her skills perfectly. In her own right, Anna is a tremendous character, but in addition to being a terrific individual character, she also inspires the change that takes place in the lives of Kristoff, Olaf, and Elsa. Anna is the heart and soul behind Frozen. She not only drives the progression of the story; she is the story. Think about it. Without Anna, Elsa would have never been trapped inside her kingdom by her parents, therefore never feeling the need to conceal her magic. While that would have made for a much better life for Elsa, it would have caused Frozen to be incredibly dull film. This conflict, initiated by Anna, sets this fantastic story in motion. Without Anna, Kristoff and Sven would have continued to unsuccessfully sell ice and never upgrade their life. Without Anna, Olaf would have aimlessly desired his summer to no avail, but with Anna, Olaf discovers his true purpose in life. As much deserved hype that is lavished upon Elsa, Anna is the unrivaled star of Frozen, and for that reason and many more, she is my favorite character from the film.

Favorite Scene/Song: You knew this was coming, right? Folks, there is a reason that this song and sequence defined popular culture for so long, and that is because it is one of the greatest song/scene combinations in the history of Disney animation. As I wrote earlier, you can hate on the over saturation of the market with Frozen, but the commercialization of the film should not cause you to hate the film itself. The same is applicable when discussing Elsa's anthem, "Let It Go." Sure, we have heard it countless times in the past three years, but that is simply because it is one of the best numbers ever written for a Disney film. Its powerful and profound message is something never before heard in a Disney song, and obviously, its lyrics are quite good and incredibly catchy. Idina Menzel absolutely slays with this song, truly a legend-defining performance. Additionally, the animation during this sequence is a masterclass in artistry. Every frozen fractal is expertly animated to instigate a sense of awestruck wonder in the viewer's eyes. The moment Elsa begins to form her ice castle is a moment I will not soon forget because it is such a beautiful scene. I still remember watching this scene unfold for the first time on opening night for Frozen in November 2013. I was completely and utterly amazed, and watching it in 2016, nothing has changed whatsoever. This is one of the greatest songs accompanying one of the greatest sequences we have ever witnessed in the history of Disney animation, and if you disagree, you need to just let it go (shameless incorporation of the song's lyrics into the review: check).

Updated Ranking: I can sense the torches and pitchforks firing up as I write this, but remember that this is my opinion, not yours. My opinion is that Frozen belongs firmly in elite company.

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

Tomorrow, Marvel helps out Disney in their inaugural partnership with Big Hero 6!

-Cody Fleenor