Summer of Magic- "Brave"

The writing had been on the wall since the acquisition of Pixar by Disney. Eventually, Pixar would influence Disney's creative process, and Disney would therefore return the favor someday. Immediately, Disney reaped the benefits of this fruitful partnership, charging John Lasseter with the momentous task of taking control of their animation division after a decade of mediocre releases. Lasseter and his crew from Pixar reinvigorated the sleeping giant, leading to the ignition of the third Golden Age of Disney that we are still enjoying today. However, Disney's influence on Pixar was a more gradual process that has resulted in a mix batch of results. Disney's insistence on Pixar creating sequels has led to some genuinely fantastic films (Toy Story 3, Finding Dory), but this has also resulted in some of Pixar's weaker films (Cars 2 especially and Monsters University to a lesser extent). The greatest example, however, of Disney heavily influencing the creative process at Pixar came in 2012 with Brave. Starring the studio's first female leading character, Pixar adds the magic of Disney to its unrivaled genius, and the final result is pretty spectacular. While not Pixar's finest hour, Brave is a more than worthy addition to the Pixar canon.

Of all the Pixar films, this one feels the most like a Disney film, and that by no means acts as a detriment to this film. In fact, I thoroughly enjoy the fact that Pixar pushed its creative limits with Brave, crafting a film that feels nothing like its previous films. Pixar purists that claim this film is evidence of the studio selling out to Disney sound completely and utterly preposterous. This is an animation studio doing something they have never done before, and that should not come with judgmental attitudes, but with wholehearted praise. You are free (and frankly encouraged) to express any potential problems you have with not only Brave, but with all films ever produced by all studios, but disregarding this film solely on the basis that it is too similar to Disney is totally absurd. For starters, there are plenty of aspects about this film that are inherently Pixar. The animation, in particular, is simply jaw-dropping. This kingdom is the perfect backdrop for these incredible animators to show off to the entire world. Even Merida herself is an animation wonder with her flowing scarlet hair that will put Ariel to shame. Also, the music in Brave is classic Pixar, featuring a few new songs that like "You've Got a Friend in Me" from Toy Story and "Our Town" from Cars provide some entertainment and challenging messages ("Touch the Sky" is just a phenomenal number, plain and simple).

Perhaps the most paramount aspect of Brave that is so Pixar is the characters, especially our protagonist, Merida. It took seventeen years for Pixar to give the world its first female main character (and first princess), but luckily, Merida is more than worth the wait. From the beginning, it is abundantly clear that Merida is not your typical character and definitely not your typical royal. Taking a clear cue from Disney here, Pixar does a stellar job of adding layer after layer to Merida's character by allowing her to openly express and pursue her desire to make her own fate. Sure, she is the princess, soon to be ruler of the kingdom, but she is nowhere near satisfied with that. She wants to forge her own path, create her own destiny, and that is a character and a mindset that I can fully support and invest in. Merida's character is greatly influenced by Kelly Macdonald, who fits this role like a glove. From the accent to the profound dialogue, she is simply perfect. Additionally, Queen Elinor (a remarkable Emma Thompson) is an extraordinary counterpart to Merida. As her mother, Elinor wants what is absolute best for Merida, and in her tradition, what is best for her is to be betrothed to another kingdom's suitor. However, upon hearing Merida out (and upon a life-changing experience as a bear), she begins to realize that Merida must be the one to decide what is absolutely best for herself. Throughout the film, Elinor transforms from a overbearing pain to a firm guider for Merida and her quest to find her own unique fate, and that metamorphosis is a spectacle to behold as that mother-daughter dynamic evolves tremendously in Brave. The remainder of the cast is also exquisite, voiced expertly by such greats as Billy Connolly, Julie Walters, Craig Ferguson, Kevin McKidd, and Robbie Coltrane.

There is a real and legitimate debate behind whether or not Brave belongs in the upper-echelon of Pixar's films alongside such consensus masterpieces as The Incredibles and Wall-E. Is Brave a timeless classic? Time will tell. Right now, I do not consider Brave to be in this prestigious category, but it comes super close to reaching this level, and this could very easily change a few months or years from now. I think Brave is a truly great film that is without question one of the best animated films of the modern era, but the only reason I am hesitant to put its name in the same breath as the immortals is due to its rather quickly paced emotional climax. There is undoubtedly some signature Pixar emotion to be found and experienced in Brave because that is just how great the studio is at eliciting those emotions and how well these characters are developed. However, in my humble opinion, this film needed some more development in its second half once Elinor is changed into a bear and Merida begins to truly bond with her mother. The majority of the breakthrough development is relegated to one (albeit great) song, "Into the Open Air." While this song does an admirable job at bringing Merida and Elinor close enough where the breakthrough works to some degree, a few scenes preceding and/or following this song would have been extremely beneficial for the film as the intended emotion would therefore hit heavier. It is not as if Brave is already too long of a film for additional scenes; actually, it clocks in at less than ninety minutes before the credits start to roll. In a film that relies on this mother-daughter relationship and eventual mending of that bond, I would have liked to have seen more scenes with Merida realizing how much her mother truly loves her.

Now, do not misconstrue my thoughts on Brave. I love this film. It features a fantastic story with phenomenal characters surrounded by gorgeous animation. The critiques I have with it only arise when we begin discussing its prospects of achieving classic/masterpiece status, and to that, I say not right now. That should not diminish, though, the greatness that is to be found in Brave. Disney and Pixar have crafted a modern day epic brimming with thought-provoking messages and timely challenges with plenty of laughs and visuals to entertain the masses.

Rating: 9/10

Historical Significance: Brave is dedicated to the late Apple/Pixar co-founder Steve Jobs (Jobs passed away in October 2011 and Brave was released in June 2012). After the credits roll, a wisp appears with the caption: "Dedicated with love and gratitude to Steve Jobs- our partner, mentor, friend." Another way of honoring Jobs is the use of Lord MacIntosh as the character's name voiced by Craig Ferguson, a reference to the famous Apple computer. Pixar was founded in 1979 when Ed Catmull was recruited by George Lucas to work for his company to further explore the use of computer graphics in film. John Lasseter was hired in 1983 as the studio developed its first short, The Adventures of Andre & Wally B. Seeing the young studio's potential, Steve Jobs bought the Graphics Group from Lucasfilm and established it as an independent company to later be named Pixar. Jobs became a majority shareholder and funded the studio early on, even acting as an executive producer on Toy Story. The importance of Jobs to Pixar truly cannot be overstated. Without Jobs, who knows what have happened to the studio in its early days, and therefore, who knows if we would have had the studio we love today.

Behind the Scenes: The film took six years to complete. Mark Andrews is the first one credited for directing Brave, but he was initially assigned to be a mere consultant to Pixar's first female director, Brenda Chapman. However, in 2010, Chapman unexpectedly left the director's chair even though almost eighty percent of the film was complete. Andrews filled the vacancy, but unlike in previous director changes at Pixar, he kept Chapman's story in tact. Chapman would receive equal credit for directing Brave, and although it is unclear why she left, she claimed in the aftermath of Brave's success that "[her] vision came through." Brave won the Academy Award in 2013 for Best Animated Feature as Chapman became the first female to direct a winner from this category. Also, Pixar aimed high during the casting process for this film. Academy Award winner Reese Witherspoon was signed to voice Merida when the project was previously titled The Bear and the Bow, but due to scheduling conflicts, she had to drop out. Sean Connery, the original James Bond, was also eyed to voice King Fergus, the role eventually portrayed by Billy Connolly.

Favorite Character: Pixar's first leading female just so happens to be one of their greatest creations. Merida is not just a technical wonder from an animation standpoint, but she also proclaims and embodies some of the most timely themes ever proclaimed by Pixar. In the best way imaginable, Merida is a rebel. She pushes back against the societal status quo time and time again in every facet, from her kingdom to her own family. She is the ultimate free spirit, longing for her fate to be exclusively decided by herself. In a legend defining moment, Merida gazes upon her potential suitors during an archery competition and decides that something must be done. With a daring move, Merida strides onto the field and professes that she will be playing for her own hand, an unforeseen twist for the entire kingdom, but especially her traditional mother. As she takes her bow and arrows and proceeds to fire away, much to the dismay of Queen Elinor, we can feel the adrenaline pumping through not only Merida, but through us as the viewer. When she lets that final arrow go and it splits the withstanding bullseye from Dingwald, the legend of Merida is confirmed, and so is her place among the pantheon Pixar greats.

Favorite Scene/Song: As iconic as that aforementioned scene is, the "Touch the Sky" sequence is my favorite scene from Brave. Merida eloquently explains early on how royal living is simply not her cup of tea, and she anxiously awaits the arrival of this one day that comes around ever so often where she does not have to be a princess and she is free to enjoy life in whatever way she pleases. This prominently includes her archery set along with her trusty stead and the open road. As the music swells, the animators put on a tremendous display of masterclass artistry as they fully explore the grandeur of Merida's kingdom in majestic fashion. In a film that boasts some awe-inspiring animation, this sequence is the highlight from that perspective. Focusing now back on Merida, we are then introduced to her impressive skill of hitting every single bullseye along this trail with guaranteed accuracy, and this is all occurring while she is riding horseback and jumping over various obstacles. It is a remarkable introduction to the spirit and character of Merida as the scene continues to follow Merida's picturesque journey. "Touch the Sky" is a splendid addition to this scene, performed impeccably by Julie Fowlis. Its lyrics are simple, but when it is teamed up with this animation and Merida, the combination creates one of Pixar's finest moments to date.

Updated Ranking: Just missing out on receiving a ten from me, Brave finds itself as the highest non-ten yet.

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

Next, the world of video gaming takes over Disney and the Summer of Magic in Wreck-It Ralph!

-Cody Fleenor

Summer of Magic- "Winnie the Pooh"

The Hundred Acre Wood gang featuring such literary and cinematic icons as Winnie the Pooh, Piglet, Eeyore, Kanga, Roo, Rabbit, Owl, and Tigger has without question been a Disney staple for decades. This crew starred in one of the studio's most delightful films to date in 1977's The Many Adventures of Winnie the Pooh and proceeded to be a continued presence in the lives of numerous generations in the following years. Therefore, it was a welcomed surprise that Disney decided to bring these legends back to the silver screen in 2011 and insert them back into the official animated canon. Winnie the Pooh is the very definition of what it means to be an innocent film. You will be hard-pressed to find another more joyfully carefree film out there than this one. Acting as a perfect introduction to movies for young viewers, Winnie the Pooh captures the magic of the Hundred Acre Wood with old fashioned Disney animation and infectious storytelling.

We are first attracted to A.A. Milne's tales because of his fantastic characters, and Winnie the Pooh does an excellent job of bringing every single of them to life in a fresh yet familiar way. Winnie the Pooh is still the superstar of the ensemble, and just like in The Many Adventures, Pooh's subtle dry humor keeps me laughing around every corner. Plus, the way the filmmakers once again allowed him to interact with the narrator (Monty Python alum John Cleese brilliantly takes over for Sebastian Cabot) and the storybook itself is a nostalgic and ingenious move (more on Pooh below). Eeyore takes on a co-leading role essentially here alongside Pooh as he immediately reminds us of why we love this irresistible donkey. In Winnie the Pooh, Eeyore has lost his tail, which not only ignites the story, but this detail also allows Eeyore to deliver some hilarious dialogue as well due to the nature of his downtrodden personality. When he teams up with Tigger, this film truly shines because Eeyore and Tigger's personalities are obviously quite different, so the comedy that ensues in those scenes is incredible. Speaking of Tigger, he is as free-spirited as ever, still pouncing on folks much to their dismay and still enjoying life to the fullest. Piglet is as delightfully paranoid as we remember him to be as he never ceases to steal the show when on screen. Rabbit is also given some nice moments, especially when the crew finds themselves trapped in a ditch and Rabbit is apparently the only one who wants to get out. Owl, with all of his false intellect, oftentimes steals the show as he attempts to convince the gang that he knows all about the situation transpiring in this story (Christopher Robin has been abducted, according to Owl, although he is really just preoccupied and will return later). Kanga and Roo are not given much to do, and yet, they are still great characters. Winnie the Pooh is an ode to all of these legends, and every character will leave you with the biggest grin on your face by the film's conclusion.

This film is extremely brief (it clocks in at a mere sixty-three minutes, and that includes the closing credits), but it packs in some rather impressive animation throughout its short runtime. Returning to their hand drawn roots, Disney has crafted a film straight out of the sixties and seventies not only in terms of story and endearment, but especially regarding the animation style. Winnie the Pooh acts as a breath of fresh air to a computer obsessed industry and reminds us all that Disney can still produce films the old fashion way with no magic lost. Now, I love computer animation as much as anyone (you do recall my overall praise for Pixar, right?), but I must admit that I absolutely love watching Winnie the Pooh because here is a film made in the modern era that is doing it the way it was originally designed to be done. In a film that thrives on nostalgia, it is totally appropriate that the animation style transports us back to the first Golden Age of Disney right in the middle of the studio's third Golden Age. Also, the new music found in this film may not reach the classic heights of its 1977 predecessor, but there are plenty of fun songs to go around. "The Backson Song" is the true highlight of the soundtrack (more on this song and its scene below), but other numbers such as "It's Gonna Be Great" and "Everything is Honey" are simply enchanting. Of course, we also hear the signature "Winnie the Pooh" theme song with a short rendition of "The Wonderful Things About Tiggers," which will always immensely enhance a film.

I am not going to write this review and attempt to convince you that Winnie the Pooh is the greatest film in Disney history (you can tell that by my updated rankings below). There are no profound messages to be proclaimed and no show-stopping sequences, but I would expect nothing else from the Hundred Acre Wood gang. Anything flamboyant and over-the-top just wouldn't be appropriate for these characters and their stories, and in an industry that is increasingly moving away from the classic way of producing films, Winnie the Pooh is a nice reminder that Walt mastered the art of animation decades ago. If you have young children, I have no doubt this will quickly become one of their new favorite films thanks to the characters and the simplicity of the story. If you are older like me, though, there is certainly still plenty to enjoy. If nothing else, for sixty-three minutes, the world will fade away and innocence will reign yet again, and I assure you that you will finish watching Winnie the Pooh with a smile on your face and happiness in your heart, and isn't that why we watch Disney films in the first place?

Rating: 8.5/10

Historical Significance: While the characters from the Hundred Acre Wood have appeared in many Disney films, Winnie the Pooh is only the second one produced by Walt Disney Animation Studios (The Many Adventures of Winnie the Pooh from 1977), meaning that only those two films are a part of the official Disney animated canon. The remainder of these films were either released directly to home entertainment platforms or released in theaters under the DisneyToon Studios banner (not officially the canon). This is the third time the official canon has produced a sequel. The Rescuers Down Under in 1990 followed up The Rescuers from 1977 while Fantasia 2000 followed up Fantasia from 1940. The next sequel will be released in March 2018 with Wreck-It Ralph 2 hitting the big screen while Disney has also announced plans for a sequel to Frozen. This film perhaps signifies the end of an era as currently, it is the final animated film from Disney to be hand drawn. Computer animation is the rightfully the craze now, so truly, we may never see another film like Winnie the Pooh.

Behind the Scenes: A variety of new songs were written for Winnie the Pooh, and the writers responsible for these tunes should be familiar to Disney fans. Kristen Anderson-Lopez and Robert Lopez wrote the music for this film, and producer Peter Del Vecho liked the music here so much that he championed the studio to bring back the duo to write the music for a little film called Frozen just two years later. They ended up taking home the Oscar for Best Original Song for "Let It Go" and basically ignited a worldwide phenomenon, so good call, Del Vecho! One major addition to the classic songs from the original films is that Tigger is actually mentioned in the theme/opening song. The Lopez duo did not stop contributing to the film after their music was written, however. Kristen went on to provide the voice for Kanga while Robert provided various noises that were used for Pooh's stomach rumbles throughout the film.

Favorite Character: As I wrote in my review of The Many Adventures of Winnie the Pooh, selecting one character for this section is a near impossibility. I genuinely love all of these characters, but yet again, I cannot pick against Winnie the Pooh. He is simply a legend, undoubtedly one of the greatest animated creations in cinematic history. In Winnie the Pooh, Pooh is still the tubby little cubby all stuffed with fluff we grew up loving, and while he is still fiercely determined to track down his precious honey, Pooh does something in this film that surprisingly adds some layers to his character. He has arrived at Owl's house, and he literally has his coveted honey in his hands ready to consume and enjoy. Yet, upon listening to Owl's story about his discovery of Eeyore's long lost tail (although Owl hilariously has no clue it is Eeyore's tail), Pooh begins to wrestle with whether or not he should dive head first into this glorious pot of honey, or help his friend Eeyore out by returning his tail to him pronto. In an unexpected twist, Pooh chooses the latter, abandoning his honey to help a friend in need. It is the perfect way to end this film as the story is therefore resolved and Pooh is the unrivaled hero. Of course, Christopher Robin finds out about Pooh's good deed and bestows upon him a giant pot of honey, which acts as a joyous conclusion for a heartwarming character starring in an exuberant film.

Favorite Scene/Song: The hand drawn animation aspect of Winnie the Pooh is simply remarkable, and the pinnacle of the film's beauty occurs in my favorite scene with my favorite song. Upon receiving a letter from Christopher Robin indicating that he is gone but will be back soon, Owl interprets the message as Christopher has been abducted by a mysterious creature called the "Backson." Of course, the gang has no idea what a Backson is, but Owl sure does (at least in his imagination). He then proceeds to reveal all the treachery brought about by the Backson, and everyone is instantly mortified and scared for Christopher Robin's life. In an ingenious scene, we are transported inside a chalkboard as Owl literally draws out what motivates the Backson. The song accompanying this scene is a stroke of genius from the Lopez duo: quick witted, rambunctious, and insanely clever. Not only are the lyrics amazing, but for once, the entire Hundred Acre Wood crew gets to sing a song together, and I would be lying if I did not admit to this fact swaying my selection here quite significantly. There is just something special about seeing all of these iconic characters singing the same supremely entertaining number. This song leads the gang to devise a plan to capture the Backson and free Christopher Robin in one of the most beautiful and fun scenes of the modern Disney era.

Updated Ranking: Winnie the Pooh is a forgotten gem of the third Golden Age. Do yourself a favor and seek it out.

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

Tomorrow, Pixar gives the world its first female protagonist in Brave!

-Cody Fleenor

Summer of Magic- "Cars 2"

As you all probably know by this point, there is no bigger fan in the entire world of Pixar Animation Studios than me. I have quite literally grown up with their films and their iconic characters. I keep returning to their films for comfort, inspiration, and entertainment, because in those ninety minutes or so, life is much simpler as I am transported to these fictional worlds that seem so real for the time being. Seventeen films into the studio's illustrious history, and sixteen of those films have become staples in my personal filmography that define my childhood and my life in general. The one missing link is the complete and utter travesty that is Cars 2. While this unfortunate misfire of a sequel is certainly beautiful to look at and boasts an superb score, that is where the praise must stop for me. After blessing the world with a necessarily important sequel just one year earlier with Toy Story 3, I am frankly not sure what Pixar was thinking when they initiated this horrendous production. Actually, I do know what they were thinking. For the first time in their history, they allowed dollar signs to dictate the art, and consequently, the final result fell totally bankrupt.

This film's predecessor worked so well due to its worthwhile story filled with tenderness and brimming with nostalgia. In Cars 2, everything (and I mean, everything) that made Cars so great is thoroughly scrapped in favor of...whatever the final product wants to be. Cars was a hit primarily due to its incredible cast of characters, especially the ones found in Radiator Springs, but its sequel could not care less about these characters. Instead of focusing on the continued relationship with Lightning McQueen or Sally, or even continuing the overall relationship between McQueen and Radiator Springs, Mater is unnecessarily featured in a starring role as Carburetor County is traded in for a international adventure filled with espionage in the lamest James Bond ripoff to date. Of all the aspects that infuriate me the most about Cars 2, this may be the most disheartening and maddening. Pixar had a formula that worked, and they had characters and a setting that were begging to be further explored (hello! Disney dedicated an entire land in California Adventure to Radiator Springs and its inhabitants!), but all of these excellent elements from the first installment are relegated to appearing in glorified cameos, because clearly, everyone will be much more interested in watching Mater make a fool of himself on a global scale (yes, sarcasm is definitely intended). Listen, I am not saying that Cars is the greatest Pixar film ever, but its sequel surely does make it appear that way. All of the magic found in the first film is completely nonexistent in this sequel and for no good reason. Pixar had so many different, more creative directions to take this story after Cars, and this is the best they came up with? For shame, Pixar. For shame.

That brings me to an in-depth analysis of the characters. Lightning McQueen is the star of this franchise, not Mater. I would much rather explore McQueen's relationship with Sally or his continued career in racing, or even deal with the aftermath of Doc Hudson's death (if we ever needed Paul Newman, it's now). Instead, McQueen is given nothing to do other than race. That's it. He literally is just racing and jawing to Francesco Bernoulli (another weak character that, like McQueen, has nothing to do) the entire time. Mater was a fine, oftentimes great supporting character in Cars, but he is just not leading character material. After a while, Larry the Cable Guy's voice becomes quite annoying, and therefore, when it is time to attempt to bring Pixar's signature emotion to the film, it doesn't even come close to working because we find ourselves caring very little about Mater if we do care at all. As I mentioned earlier, the Radiator Springs crew is rendered useless in this film. I honestly would have been perfectly fine if they had not been in this film whatsoever because their roles are so unnecessary. Their presence, albeit limited, is a constant reminder of what this film could have been had Pixar been thinking straight. The film's two biggest additions to the cast, Finn McMissile and Holly Shiftwell, are nice additions, but their screentime is too often sacrificed for more time with Mater, unfortunately. Cars worked because of its characters, and Cars 2 fails because of its lack of care for these characters.

If there are any redeeming qualities to be found in this film, it is the animation and music, two staples I think Pixar can never mess up. While I may have my issues with the globetrotting perspective from a story standpoint, this twist does allow the animators to create some beautiful sequences in the various countries, especially when the World Grand Prix is actually racing. Mater and McQueen's first encounter with Tokyo is quite gorgeous, as is the final climatic scene through the streets of London. Michael Giacchino's score is the only thing worth listening to in the entire film as he does a stellar job of infusing energy into each scene. His ability to take the classic cues from other spy films and put his ingenious twist on them is undoubtedly the film's highlight (of course, that is not saying much considering his competition for highlights, but I digress). As he usually does, Giacchino swoops in and almost single-handedly makes this film passable (the operative work in that sentence, however, is almost). The unfortunate aspect of this is when animation and music clearly outshine your story and characters, you have a gigantic problem on your hands.

I always find a way to get myself extremely excited for every Pixar film, but next summer, we'll see the release of Cars 3, and it is really difficult to get pumped for that one due to the immensely sour taste left in my mouth from Cars 2. In a film devoted to alternative fuel, Cars 2 runs on empty from beginning to end. It is lifeless, unnecessary, and a disgrace to the Pixar name. Here's hoping that Cars 3 can right this egregious wrong; it certainly can't be any worse.

Rating: 5/10 (Side note: a five is just about as low as I go in my ratings for all films on a scale of one to ten. A five indicates that the film is terrible overall, but there are a few bright spots to be found, such as the animation and music in this case.)

Historical Significance: Paul Newman, the voice of Doc Hudson in Cars, passed away in 2008, so out of his respect for the late legend, Doc doesn't not appear in Cars 2 as it is implied that he has also passed away. However, the original voices of Fillmore and Red, George Carlin and Joe Ranft, also passed away before the sequel's release, but their characters appear in Cars 2. Lloyd Sherr replaced Carlin while Ranft's Red is present in the film but does not speak. Additionally, Cars 2 became the first Pixar film to not win the Golden Globe for Best Animated Feature since the category's creation in 2007. This broke a five year streak which saw Cars, Ratatouille, Wall-E, Up, and Toy Story 3 take home the prize. Cars 2 was nominated, but lost out to The Adventures of Tintin: The Secret of the Unicorn (a film which, by the way, would not receive an Academy Award nomination despite winning the Globe). Cars 2 would fail to receive a nomination for Best Animated Feature at the Academy Awards as well, becoming the first Pixar film to miss the field entirely since the category's creation in 2001 (Rango took home the Oscar). Only Cars 2, Monsters University, and The Good Dinosaur have failed to receive the Academy's nomination. Only Monsters Inc. and Cars have failed to win the award upon receiving the nomination (Shrek defeated Monsters Inc. while Happy Feet took down Cars).

Behind the Scenes: Brad Lewis was originally hired to direct the film solo. Lewis had previously helped produce Ratatouille while also providing voices for Ratatouille and The Incredibles. He conceived the story alongside John Lasseter during promotion of Cars in Europe. Lewis was ready to kick production into gear. but at some point in the process, Pixar wasn't satisfied with the direction the film was going (should have taken the hint, Pixar). Lasseter then assumed the role of lead director with Lewis assuming the co-director duties. One of the biggest changes made to the script was reducing the World Grand Prix from five races to three. Paris and Germany were suppose to be featured in addition to Tokyo, London, and Porto Corso, but production dragged on too long and cuts had to be made. Furthermore, the character of Finn McMissile was first developed during the production of Cars. McMissile was originally intended to be a movie star that is featured in a movie being watched by McQueen and Sally while on a date.

Favorite Character: How do I choose a favorite character from a film in which its biggest pitfall is its lack of character development? It is a near impossibility, but since I must choose a favorite, I am going with Finn McMissile. This choice is not because I think Finn is some extraordinary character; in fact, he is quite ordinary, and I am basing my decision for this selection solely on the fact that Michael Caine provides the voice and he is a bonafide legend. How Pixar convinced Caine to sign on to this film is beyond me, but Caine voices Finn with his signature accent to make a nice spymobile (?). While Caine performs admirably, this is basically a default choice. All of the characters that I know and love from Cars are either wasted or horribly mishandled. Sally was a fascinating character in the original, but she is nothing more than a pawn here. I already mentioned my disdain for the way they handled McQueen, and Mater in the lead role is simply a bad decision. Whenever Finn and his assistant, Holly Shiftwell, are on the screen, Cars 2 is at least semi-watchable, and the lion's share of the credit for that fact belongs to Caine (and Emily Mortimer as Shiftwell, who gets an honorable mention here).

Favorite Scene: For a brief few moments near the beginning, Cars 2 gives me a ray of hope. After the conclusion of the opening sequence with Finn hunting down the evil automobiles, the scene shifts to Radiator Springs, which is still the cutest little town in Carburetor County (if you don't get that reference, shame on you). The whole gang is back together and excited to welcome back the now four-time Piston Cup champion, Lightning McQueen. Radiator Springs is thriving as are its inhabitants. We get nicely reacquainted with Luigi, Guido, Sally, Red, and the rest of the crew, and then, the focus shifts to the fraternal bond between McQueen and Mater. They are causing havoc like they always do, and we even get a lovely upgrade to the famous tractor tipping past time. Then, McQueen pays a homage to the late Doc Hudson in a tremendous scene that, if only for a moment, recaptures the magic of the original. Sally and McQueen then go on a date to the newly refurbished and booming Wheel Well Hotel, only to be interrupted by a newscast discussing the World Grand Prix, and the rest is unfortunately history. These scenes contain the tone and style that should have penetrated Cars 2 from beginning to end. It further expands on the legend of Radiator Springs and its citizens while bringing the audience back home to a place we love. Here's hoping that Cars 3 sets up shop in Radiator Springs more often than not.

Updated Ranking: There is no drama here. Cars 2 finds itself in its rightful place: the bottom of the rankings. I honestly hope it stays that way forever because I cannot imagine a worse film coming from the geniuses at Pixar.

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

Tomorrow, we revisit our old friends in the Hundred Acre Wood with Winnie the Pooh!

-Cody Fleenor

Summer of Magic- "Tangled"

Fairy tales and Disney go hand-in-hand, so after an eleven year hiatus from the genre was broken with The Princess and the Frog, I was hoping we wouldn't have to wait another eleven years before Disney's next fairy tale. Luckily, just one year after the world was introduced to Tiana, Disney builds off this newly discovered creative momentum and blesses the populous with Tangled. If The Princess and the Frog was the third Golden Age's opening ceremonies, Tangled is the gold medal presentation. A crowning achievement for Disney, Tangled is sheer perfection, featuring fantastic characters, an insanely great soundtrack, breathtaking animation, and a powerful message. This film brought Renaissance magic to the third Golden Age.

Disney princesses are the studio's staples, and Tangled stars one of the best royals to date. Everyone has a favorite Disney princess, and Rapunzel is mine. She possesses all of the best qualities of her royal predecessors: the dreaming lifestyle of Ariel, the bravery of Mulan, the infectious spirit of Snow White, the intelligence and wit of Belle, and the vocals of...well, all of them. However, what makes Rapunzel such a phenomenal character is our ability to instantly relate to her. I am not implying that the other princess don't possess that quality; they most certainly do, but there is just something extra special about the way Rapunzel is brought to life.   We know from the beginning that Rapunzel is the lost princess, but she has lived her entire life away from the kingdom. Therefore, just like everyone else, Rapunzel struggles with discovering when her life will truly begin (shameless incorporation of song lyrics into the review: check). She is confidently innocent. She has no idea how to obtain this dream of seeing the floating lanterns on her birthday, but that is not going to stop her from finding a way to do so by any means necessary (just ask Flynn Rider). Mandy Moore turns in a career-best performance as the lost princess, flawlessly executing the jovial spirit of Rapunzel while additionally displaying an incredible ability to elicit emotion in the film's dramatic moments (no surprise here: more on Rapunzel below).

Flynn Rider is an equally impressive character and undoubtedly the best leading man in a Disney fairy tale to date. Flynn is not just a pawn in the film's grander scheme. He is just as integral to the story  as Rapunzel is, and that is what makes him so fascinating. By all accounts, we should not care for Flynn whatsoever. He is a thief on the run. He is wanted throughout the kingdom, and his first encounter with Rapunzel is solely due to the fact that he had nowhere else to hide. Flynn has lived his life with a target on his back, but leave it to Disney to make us genuinely care for the well-being of the former Eugene Fitzherbert. As he journeys off with Rapunzel to see the lanterns, we begin to notice a stark change occurring within Flynn. He discovers that the riches of this world will never satisfy, and true happiness and contentment can not be obtained with dollar signs. He witnesses this in the life of Rapunzel. She has nothing of her own other than Pascal (a bonafide scene-stealer that never ceases to make me laugh hysterically), and yet she still possesses something that Flynn is devoid of: joy. This change of Flynn's character comes to a crescendo in the "I See the Light" sequence where he finally admits that his old life must go in order to make way for this new life with Rapunzel. Zachary Levi is spectacular as Flynn, effortlessly delivering hilarious dialogue while also exhibiting some serious dramatic chops.

The remainder of the character ensemble is simply phenomenal. Mother Gothel is a tremendous villain, clearly drawing inspiration from the dastardly Judge Frollo in The Hunchback of Notre Dame. However, instead of holding an individual captive for their ugliness, Gothel prohibits Rapunzel from leaving the tower because she supposedly knows best and wants to keep Rapunzel's magic all to herself. While Frollo was certainly evil, Gothel's motivation may be even more vile. Like Lotso from yesterday's review of Toy Story 3, I despise Gothel from beginning to end more so than any other character in the Disney canon, and that is why she is such a remarkable villain. Pascal and Maximus never speak, but they don't need to because they are awesome as is. The Snuggly Duckling ruffians take full advantage of their limited screentime to become instant legends. The primary reason the third Golden Age began and continues to this day is due to Disney's concerted effort to make characters a top priority again. That's what worked for Walt, and that's what worked in the Renaissance. If audiences don't care about the characters, they won't care about the story, and if they don't care about the story, your film is pretty pointless. Tangled features some of the studio's finest character creations of all-time, and that is why it has obtained classic/masterpiece status.

Alan Menken makes a triumphant return in Tangled as he has crafted one of the best soundtracks in Disney history. The amazing thing about this soundtrack is that each song is not only thoroughly entertaining or emotionally engrossing, but every song serves a purpose to developing a character. "When Will My Life Begin" is Rapunzel's way of expressing how routine her life and how much she desires to truly experience all of life's offerings. It is a catchy, infectious tune that exquisitely kicks off the film and the development of our legendary princess. Gothel's "Mother Knows Best" and its reprise expertly give us a glimpse inside her twisted mind as she attempts to justify harboring Rapunzel inside the tower for eighteen years. It is a superb villain song that offers great insight into her madness. The show-stopping "I've Got a Dream" is probably the song you will finish Tangled singing along to. This is such a fun song featured in a supremely entertaining sequence filled to the brim with iconic characters. Then, of course, you have the masterpiece known as "I See the Light." I am literally getting chills just thinking about this song. Without question, this is one of Menken's finest songs to date, and I will definitely be discussing this one in more detail below.

As I wrote in my review of Toy Story 3, I could write about the greatness of Tangled forever. I haven't even mentioned the groundbreaking animation or the incredibly emotional finale. I truly feel as if words cannot do this film justice. I know for a fact that I cannot conjure up the appropriate words to describe my love for Rapunzel and all of this film's characters as well as Menken's incredible soundtrack. Therefore, I will try my best to summarize my thoughts this way. Tangled is a modern day masterpiece, an instant classic that Walt would be proud of and a film that deserves a spot among the pantheon of Disney greats.

Rating: 10/10

Historical Significance: Despite The Princess and the Frog being a success among critics and audiences, the box office results were not what Disney anticipated or desired. With a budget of $105 million, the film grossed only $104 million in the United States (factoring in the international returns, the final gross travels north of $267 million, equating to a less than stellar box office performance). Disney executives believed that the obvious princess theme discouraged young boys from seeing the film, which in turn caused some families to stay away all together. Tangled's original title was simply Rapunzel, but this was changed in order to demonstrate just how vital Flynn Rider is to the story in addition to Rapunzel and to attract those elusive males. Early marketing heavily pushed Flynn Rider as the main character with Rapunzel essentially appearing secondary (watch one of the trailers here). Also, for Disney's fiftieth animated film, Idina Menzel auditioned for the role of Rapunzel. While Mandy Moore was cast instead, a casting director recorded Menzel's audition and stored it away. When casting got underway for Frozen, Menzel's audition for Tangled got her the part of Elsa. Additionally, Zachary Levi was originally cast to portray Flynn with a British accent. He won the role by doing this, but obviously, the accent was dropped in the final product.

Behind the Scenes: Tangled features Disney's first computer animated princess with Rapunzel, but from the beginning, animator Glen Keane intended for the film to look and feel like a traditional hand drawn film that just so happened to be three-dimensional. Keane hosted a seminar entitled "The Best of Both Worlds," where fifty Disney animators were brought in to discuss the techniques used in each style and how to "bring the warm, intuitive feel of the hand drawn to CGI." Keane wanted the computer to "bend its knee to the artist," not the other way around. He wanted to make computers "pliable as the pencil." In response to the concerns about the lack of interest in fairy tales, Keane stated, "I think that's what Disney needs to do right now. No one else can do it. We should not be embarrassed or make excuses for doing a fairy tale." Due to this reinvigorated focus on computer animation, Tangled's budget inflated to $260 million, the most expensive Disney film to date. It ended up grossing over $590 million worldwide, though, so the gamble certainly paid off. Also, as a strange bit of information, Mother Gothel becomes the eighth Disney villain to fall to her death, following in the footsteps of the Evil Queen, Ratigan, McLeach, Gaston, Frollo, Queen Narissa (Enchanted), and Charles Muntz,

Favorite Character: I have already revealed that Rapunzel is my favorite Disney princess to date, so it should come as no surprise that she is my choice for this section. Rapunzel has been locked away in her tower for her entire life, but what makes her such a fascinating character is that she still finds a way to dream. Her wish of seeing the floating lanterns in person is a simple one, but it fits her character so perfectly. Rapunzel exudes innocence, and this may just be the most innocent wish of all-time. However, when her dreams are seemingly squandered by Mother Gothel, that does not stop Rapunzel. As she so eloquently states in "I've Got a Dream," she just wants to see the floating lanterns gleam, and she will stop at nothing until she finally gets her wish. What elevates Rapunzel to the top of my princess leaderboard, though, is the conversation she has with Flynn while awaiting the lanterns to appear. Her dream is about to become a reality, but instead of sheer excitement overtaking her, she admits that she is terrified because she is unsure if there will be another dream comparable to this one in the future. In a moment of pure honesty, Rapunzel asks a profound question never before uttered in a Disney film: "What if it's not everything I dreamed it would be?" Rapunzel is a dreamer deeply rooted in reality (as evidenced by her internal war when debating whether or not to return to the tower upon first entering the real world in a hilarious scene), and that what makes her such an endearing character. Mandy Moore knocks this role out of the park as she brings to life not only the best Disney princess to date, but one of Disney's greatest characters in its history.

Favorite Scene/Song: Alan Menken strikes again! The "I See the Light" sequence is one of Disney's finest scenes to date. We have been anxiously awaiting that climatic breakthrough between Flynn and Rapunzel to occur, and as the floating lanterns begin to light up the night sky, Menken comes along to give us one of the most perfectly beautiful songs in the Disney canon. I especially love how the music starts as the internal thoughts of Flynn and Rapunzel before transitioning to the dynamic duet. By setting the song up this way, Menken allows these characters to be extremely honest with themselves as Rapunzel admits to having found her true belonging in life while Flynn confesses his love and appreciation for how Rapunzel has changed him for the better. Then, as the two start singing in unison, chills travel up and down my spine like never before. Stellar songs that also develop the characters are always going to be my favorites, and "I See the Light" is one of my favorite songs ever.  All this is playing out with a backdrop of thousands of lanterns illuminating the sky. This is my favorite scene not only because of the song and the incredible characterization, but also because it is seriously one of the greatest pieces of animation I have ever witnessed. I distinctly remember watching this scene unfold for the first time, and I fairly confident that my jaw hit the floor due to my awestruck demeanor. Those lanterns with the picturesque kingdom background and the boat on the water combine to create a scene that should find its way into a museum someway. A conversation focusing on the greatest scenes in Disney history cannot be complete without mentioning this one, a confirmation to the world that Disney still has magic left to share.

Updated Ranking: I warned you that there would be some major shifting going on atop the rankings in the last few days of the Summer of Magic. Still don't believe me? Check out my ranking of Tangled.

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

Tomorrow, I will unleash on Pixar's weakest film to date: Cars 2!

-Cody Fleenor

Summer of Magic- "Toy Story 3"

I was born in 1995, and I consider it no accident that Toy Story was released in that same year. I literally grew up with Buzz and Woody. I was Andy. I enjoyed plenty a playtime with Buzz and Woody and still have them in my possession to this day. Toy Story and its sequel often defined my childhood, so in 2010 when Pixar released Toy Story 3, I was clearly excited because I was pumped to see my childhood heroes back in action, but I also approached the film with cautious optimism. If this film had fallen short of the Toy Story standard, it would have been clear to me and my childhood would take a hit. I should have known, though, that Pixar would not let me down. Toy Story 3 is every bit as great and classical as its predecessors, but what sets it apart in my book is that unrivaled emotional connection I have with this film. I was a sophomore in high school when this film was released, so the prospect of heading off to college was becoming all too real for me, as was obviously the case with Andy who I identified greatly with. Watching Toy Story 3 essentially became a autobiographical experience for me. I had invested so much into these characters that I was an emotional wreck in the best way imaginable by the film's end. Everyone has their own personal favorite Pixar film, and Toy Story 3 is mine for those reasons and so many more.

Toy Story 3 is a sequel in name only; this is a wholly original story filled with brand new, scene-stealing characters to compliment the already established legends. Buzz Lightyear and Woody are still the unquestioned stars, though. This is their world, and we're just fortunate enough to be living in it. Woody is internally torn for a good portion of this film: does he allow his friends to live their days at Sunnyside and go to college with Andy, or does rescue his friends from Sunnyside and run the risk of never seeing Andy again? It is a great conflict that sets up the story beautifully and in a unique way. Yet again, Tom Hanks is the star of the show, constantly making us laugh hysterically while also providing the signature Pixar emotion punch on numerous occasions. Buzz is not always himself in Toy Story 3 (the Demo Mode and Spanish Buzz sequences are some of the film's many highlights), but he is still the character we all know and love. He experiences the same conflict as Woody. but Buzz realizes that Andy has grown up, and the toys may just need to move on and accept the fact that their life with Andy is over. The interactions that ensue between Buzz and Woody debating this issue are fantastic, allowing both Hanks and Tim Allen to clinch their spot among the great voice actors of all-time.

The rest of Andy's toys are all given ample chances to shine as well. Jessie was a welcomed highlight in Toy Story 2, and in this film, those fears she so eloquently expressed in the previous installment come back to haunt her. She loathes the idea of being placed into storage, so when the opportunity is afforded to her to always be played with at Sunnyside, she is all in. However, what makes Jessie such a fascinating character in Toy Story 3 is her ability to adapt to her situations. When it is revealed that Sunnyside is actually a treacherous prison, Jessie springs into action and assists the toys in their grand escape. She has conviction, but she also possesses common sense. Mr. Potato Head is prominently featured in one of the film's best scenes when he must transform into Tortilla/Cucumber Head. Slinky, Hamm, Rex, and the others also provide high quality comedic relief as well as the appropriate dose of emotion.

As phenomenal as the original characters are, Toy Story 3 takes on the bold and admirable task of introducing a ton of new characters as well, and leave it to Pixar to make every single one of these new characters memorable. We were introduced to Barbie in Toy Story 2, and in Toy Story 3, she meets Ken (voiced exquisitely by Michael Keaton). This is a creative decision that almost makes too much sense, but when Barbie and Ken first lock eyes, it's as if Pixar has ignited the greatest romance ever told. Barbie and Ken's interactions throughout the film are simply superb, elevated by the tremendous work of Keaton and Jodi Benson. Our villain, Lotso, is one of Pixar's finest villains to date. I have never despised a fictional character more than I despise Lotso, but the amazing thing about his characterization is that Pixar gives him a backstory that somehow makes it rather difficult to despise him (don't get me wrong: I still do despise him, but they came close to convincing me otherwise). Ned Beatty is the perfect voice for Lotso, deftly blending menace with perceived innocence. The entire ensmeble of characters encountered at Sunnyside are absolutely terrific, especially Big Baby and the Book Worm (voiced by Pixar legend Richard Kind).

I will never forget where I was whenever Toy Story 3's final act first transpired before my eyes. As Woody and the gang arrive at the dump, I never anticipated becoming such an emotional wreck. As the toys hopelessly fall into the incinerator (thanks for the help, Lotso, you jerk), they look around at their options. When Buzz realizes that there is no escape, he simply extends his arm to Jessie, and without the aid of words, we know what they are thinking: this is it. The toys link arms, and in a sheer stroke of genius, Woody acts as the glue for the entire crew both literally and symbolically. We all know that Pixar could not send these characters to a violent and scorching death, but in that moment, this was the end of the line for Andy's toys, and I have never cried so much in a film. Then, leave it to Pixar yet again to snap us out of our emotional coma with the most ingenious twist of all with the aliens using "The Claw" to rescue the forlorn toys. The emotions did not end there, however. As if that wasn't enough, Pixar takes us to the passing of the torch moment between Andy and the toys's new owner, Bonnie (who, by the way, owns a wide variety of excellent characters herself, such as Mr. Pricklepants, Buttercup, and Dolly). I'm going to discuss this scene in more detail below, but this sequence is forever ingrained in my mind. It is so beautiful, so perfect, so emotionally satisfying, and so Pixar.

I feel as if words can not do this film justice. I am struggling to adequately express how much I love this film. Toy Story 3 is one of those films that puts a smile on my face merely thinking about it. I could write about its perfection forever. I haven't even mentioned Randy Newman's stellar score, or the breathtaking animation, or the awesome beyond measure opening sequence and closing credits, or the insanely clever escape from Sunnyside. If there is such a thing as a perfect film, Toy Story 3 is it. This is the pinnacle of Pixar's magic, and for that, I am eternally grateful.

Rating: 10/10

Historical Significance: As Disney and Pixar were continually growing apart in 2004 immediately prior to the eventual union formed a couple of years later, an idea for Toy Story 3 was being developed. During this time, Disney attempted to open a new studio called "Circle 7," which would be charged with creating sequels for Pixar's films without the input from any of Pixar's staff (it was almost a nasty break-up, folks). The initial storyline for Toy Story 3 was that Buzz was going to have a defect, which would cause him to be shipped to Taiwan for repairs. Woody and the rest of the gang discover, though, that they are simply going to replace Buzz and a number of other toys, so they travel to Taiwan too in order to rescue Buzz. When Disney bought Pixar and amends were made, the idea was scrapped due to the mutual agreement between the studio that stated all ideas developed during this fallout period were to be permanently canned. Pixar's Toy Story 3 was a gigantic success for the studio. It became the first animated film to gross over one billion dollars worldwide (Frozen, Minions, and Zootopia have since accomplished that feat as well). It was the first IMAX release for Pixar, and it also became the first sequel to ever receive a nomination for Best Picture at the Academy Awards without any of its predecessors previously earning a nomination. The film's theme song, "We Belong Together," took home the Best Original Song Oscar, becoming the first Toy Story song to win the award. Disney had recently defeated Pixar when a Toy Story song was up for the award with "Colors of the Wind" from Pocahontas defeating "You've Got a Friend in Me," and "You'll Be in My Heart" from Tarzan defeating "When She Loved Me." Ironically, "We Belong Together" beat out Disney's "I See the Light" from Tangled.

Behind the Scenes: Big Baby only says one word in the entire film: mama. The filmmakers auditioned a lot of babies, and ironically, the baby whose voice can be heard in the film was named Woody. Director Lee Unkrich joked that his name was the only reason he got the part. Unkrich wanted the escape from Sunnyside to look as authentic as possible in relation to some of Hollywood's most famous prison breaks. Unkrich and his crew claimed, "There are a lot of prison movies out there, and I think we watched every single one of them." When they were not trying to create the perfect prison break, the filmmakers were attempting to effectively capture the look of Lotso's fur. If you recall, Lotso was originally slated to appear in Toy Story (he actually does in the first staff meeting, but he was suppose to have an expanded role). Pixar went into production anticipating that this would be their biggest concern, but it turned out that animating the sequences featuring the garbage bags were the trickiest. They spent weeks studying and animating garbage bags due to such special properties as how the bags reflect light from inside and out.

Favorite Character: Throughout the Toy Story franchise, Buzz and Woody have consistently remained my favorite characters. In Toy Story 3, we are introduced to a wide array of new, excellent characters (Ken, Bonnie, etc.), and even the franchise staples are developed even more (Jessie, in particular). However, it is always Buzz and Woody at the top of the list for me. These two are literal legends, not only for Pixar, but for Hollywood at large. Think about how far we have come with Buzz and Woody since 1995. They have grown from a friendship that was never meant to work to an everlasting bond that will never be broken. In Toy Story 2, it is Buzz who must save Woody, and in this third installment, Woody returns the favor. One theme of this entire franchise has been remaining endlessly devoted to your friends and family no matter what, and Buzz and Woody beautifully embody that message in Toy Story 3. Even when Woody escapes Sunnyside the first time and is free to return home to Andy, he cannot shake the feeling that he is wrongly abandoning Buzz and the rest of his friends. Plus, even when Buzz is finally getting played with, he feels as if Woody may have been right all along and they do need to return home to Andy. In the end, their devotion to one another and the rest of the gang wins out when Woody encourages Andy to donate the toys to Bonnie, ensuring that their friendship will endure to infinity and beyond.

Favorite Scene: I could have easily chosen that incredible opening of the iconic final playtime between the toys and Andy. I almost went with the expansive prison break sequence due to its amazing cleverness and ingenuity, but I just could not pick against that breathtakingly beautiful, life-defining final scene. Andy is packed up and ready to move to college, but he is still faced with the predicament of what to do with his loyal toys. With the assistance of Woody, he decides to donate the gang to Bonnie, Woody's owner for a short time upon escaping Sunnyside. As Andy introduces Bonnie to the legendary crew, we are each given one last chance to witness these characters in the spotlight. It is a perfect ode to this perfect ensemble of characters, the quintessential finale to one of Hollywood's greatest trilogies. In a franchise that has created some of animation's most endearing characters, it is fitting that they are the center of attention at this film's conclusion. However, nothing could possibly prepare us for that moment when Andy gets in his car to finally drive away. As he looks back at Bonnie with her new toys, Bonnie innocently takes Woody's hand and waves it to Andy. It is a moment that will reduce just about anyone to tears. We've been through a lot with these guys over fifteen years and countless repeat viewings, and that wave signified the end of an era. As Andy emotionally proclaims, "Thanks, guys," I cannot control my emotions. Then, as Andy drives off into the sunset, Woody ends this film in the most perfect way possible, simply stating, "So long, partner." I'll never forget the first time I saw this ending, and I'll also never forget the subsequent times I saw this ending. It is the ultimate emotional payoff, filled with sheer happiness and utter sadness. It is Pixar doing what Pixar does best: reducing us to tears while simultaneously giving us hope for the future.

Updated Ranking: It is going to take a monumentally impressive film from Pixar in order for Toy Story 3 to lose its spot atop my rankings.

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

Tomorrow, Disney builds off the momentum from the rejuvenation of the studio after The Princess and the Frog with Tangled!

-Cody Fleenor

Summer of Magic- "The Princess and the Frog"

The post-Renaissance Disney was filled with a few impressive ups (The Emperor's New Groove, Lilo & Stitch), but it was unfortunately also plagued with tremendous downs (Home on the Range, Chicken Little). However, we all knew in the back of our minds that Disney would one day return to its former glory. The studio that Walt built would not become allergic to classical material. Thankfully, that prophecy began to be fulfilled in 2009 with The Princess and the Frog. An emphatic return to classic form, this film kicked off the third Golden Age of Disney that continues to this day. Paying homage to the greats while also forging a new path for the studio, The Princess and the Frog will entertain, excite, challenge, and inspire folks of all ages from all backgrounds.

 After a decade of mediocre characters, Disney has created a handful of their best creations in this film. First and foremost, Tiana is simply a marvelous character as she more than deserves to be mentioned firmly in the conversation for greatest Disney royal. Her characterization reminds me of Belle from Beauty and the Beast (and if you can remember back to my review of the current #1 film in my rankings, you'll know that is a huge compliment to Tiana). Her path to royalty is filled with obstacles, but above it all, Tiana maintains her composure, grace, and determination. I have often applauded certain Disney characters for being excellent role models for everyone to look up to, and Tiana is one of the most upstanding individuals Disney has ever brought to life (more on that thought and Tiana in general below). Her prince, Naveen, is given such an intriguing and incredible character arc. Sure, Naveen rules over Maldonia, but his parents have cut him off from the royal money, leaving him dead broke. He begins his journey down the bayou with one goal in mind: to marry a rich woman to recoup his losses. However, as he meets and gets to know Tiana, his life is radically changed, no longer desiring endless riches, but looking instead at the riches to be found in his love for Tiana. It is a superb twist on the typical prince arc, and in a film that thrives on its unpredictability, it suits the plot exquisitely. Anika Noni Rose and Bruno Campos turn in career-best performances as Tiana and Naveen, respectively. Whether they are singing or conversing, Rose and Campos shine in some of the best voice acting in Disney history.

Our supporting characters are up to the task of matching Tiana and Naveen's greatness. Louis, the jazz-singing alligator, is one Disney's best sidekicks. He enters the film and you can immediately sense the film's already elevated energy level rise even more. Louis is one of those characters that you simply cannot look away from because he is that hilarious and that integral to the story. Also, Ray, the Cajun firefly, is an absolute riot with a tender soul. For every classic Ray zinger ("Y'all from Shreveport?!"), there is also a number of sweet moments between him and his girl, Evangeline. Ray's innocence towards his thoughts about a star being his girl is so expertly handled by the filmmakers. In a world where innocence is lost far too often, it is such a breath of fresh air to witness a character going through life with such purity. Finally, the film's villain, Dr. Facilier/The Shadow Man, is one of my personal favorite Disney villains to date. As is the case with most classic Disney villains, the voice acting is the key, and Keith David provides the perfect voice for Facilier. He is menacing, cunning, and downright dastardly. The Shadow Man commands not only his friends on the other side, but he never ceases to command the screen as well. Dr. Facilier definietly deserves to be mentioned in the same breath as Cruella De Vil and Maleficent for the greatest Disney villain of all-time.

One of the primary reasons The Princess and the Frog was able to break Disney out of the mires of mediocrity was its music. Welcoming Pixar veteran Randy Newman to the Disney family, the music in this film is some of the best ever produced by the studio. The opening number, "Down in New Orleans," is such a flawless introduction to the glamorous streets of New Orleans. The lyrics are catchy and infectious, and the animation is sensational. Tiana's show-stopping tune, "Almost There," is simply fantastic (that's all I will say about this song now...read more about it below). Dr. Facilier's "Friends On the Other Side" is, without question, one of the best villain songs ever. Just when you think the Shadow Man could not get any creepier from his physical appearance, cue this song. The reveal of his dealings with voodoo and dark magic is something that will probably frighten young viewers, but for me, this song and sequence is downright awesome. Louis's chance to shine, "When We're Human," is the quintessential New Orleans number, offering an excellent blend of jazz and swing. Ray's "Gonna Take You There" and "My Belle Evangeline" are outstanding in every facet, and Mama Odie's (another phenomenal character, by the way) is spectacular. This soundtrack is expansive, and luckily for us, every single number is a classic worthy of multiple listens for days upon days. Like the film itself, this music is an ode to the greatness of New Orleans.

I cannot overstate the importance of The Princess and the Frog in the context of Disney history, It had been seven years since Disney had released a universally recognized great film. Now, since they were returning to fairy tales, the thought was that if they couldn't master this genre anymore, there was barely any hope left for the studio's future. However, we know how the rest of the story goes. The Princess and the Frog is one of Disney's finest films to date. From its memorable characters to its beautiful animation to its supremely entertaining soundtrack, this film exudes classic Disney from beginning to end. Welcome back, Disney.

Rating: 10/10

Historical Significance: The Princess and the Frog is the first Disney animated feature to star an African-American princess (and it was the first fairy tale from the studio since Aladdin in 1992). The film was originally entitled The Frog Princess, but test screenings claimed that the title along with some additional elements implied racial insensitivity. Tiana was initially named Maddy, and there featured a sequence in which she worked as a maid for another job. Audiences accused 'Maddy' of sounding too similar to 'Mammy,' a derogatory remark towards African-Americans, so her name was eventually changed to Tiana while the maid subplot was dropped in the final, retitled film, The Princess and the Frog. This film is Disney's first hand drawn film since Home on the Range in 2004, and it also was the first time since Beauty and the Beast that all the actors voiced both the speaking and singing parts. Randy Newman made his Disney debut with the music (he had previously worked exclusively with Pixar), but he was not the original choice to provide the music. Alan Menken was the studio's first choice, but producer John Lasseter wanted Newman due to Menken's recent involvement with Enchanted in 2007. Lasseter wanted to avoid the studio of being accused of appearing repetitive in their music. Ironically, just one year later, Menken would bring his talents to Disney's fiftieth film, Tangled.

Behind the Scenes: Legendary animator Eric Goldberg oversaw production of Tiana's fantasy sequence during "Almost There" in which she imagines what life would be like owning her own restaurant. Goldberg drew inspiration from paintings by Aaron Douglas, one of the most prolific artists during the Harlem Renaissance (read more about Douglas and see some his work here). One can also see a striking resemblance between this sequence and Goldberg's most famous work: the Rhapsody in Blue segment from Fantasia 2000. Furthermore, stars such as Alicia Keys, Jennifer Hudson, and Tyra Banks were originally considered for the role of Tiana. Beyonce Knowles even was on Disney's radar, but lost out due to her unwillingness to audition. Anika Noni Rose got the part in the end, and despite voicing the daughter of Terrance Howard's father, Rose is only three years younger than Howard. Rose wanted Tiana to possess her own unique personality, and one way of displaying that was her request to make Tiana left-handed since she was also left-handed.

Favorite Character: As much as I love Dr. Facilier, I would be remiss if I didn't select Tiana for my favorite character in The Princess and the Frog. It's one thing to bring to life Disney's first African-American princess in its history; it's another thing entirely to make her one of the studio's greatest characters to date. Tiana dares to dream. She so longs to one day open her own restaurant to fulfill the dreams of not only herself, but for her hardworking father. However, Tiana is rooted in reality, an attribute that is crucial for her characterization. Yes, she wishes upon stars and hopes for the best, but just as she was advised by her father, she knows she has to work hard each every day. She's got to make it happen, it all depends on her (I apologize for the cheesy incorporation of those "Almost There" lyrics). That twist in character is a subtle one, but it gives Tiana such an added dimension that it makes her stand out in the pantheon of Disney legends. Anika Noni Rose is simply superb in this role, flawlessly serenading us with Tiana's musical numbers while also being totally capable of providing that signature Disney emotion. If The Princess and the Frog reignited Disney's passion for great stories, Tiana reignited the studio's passion to create iconic characters. There ain't nothing going to stop her now (I apologize once again...I couldn't resist)!

Favorite Scene/Song: Given my obsessive use of this song in the previous section, it should probably not come as a surprise to you that my favorite scene and song is the "Almost There" sequence. The soundtrack for this film is one of Disney's best, and "Almost There" is its highlight. Returning to the musical formula that worked so well during the Renaissance, Tiana proclaims to the world what she really wants. She wants her own restaurant, and she is almost to the point where she can have it. It is a wonderfully upbeat tune, an ode to hard work, determination, and dreaming. Anika Noni Rose steals the entire film, but with this song, she becomes a bonafide superstar and elevates Tiana to legendary status. As if the song wasn't enough, the animation on display here is absolutely breathtaking. Taking place inside Tiana's expansive imagination, this sequence showcases exactly how she pictures her life playing out as owner of Tiana's Place, and it is a spectacle to behold. This scene is so unique and creative that I usually find myself simply watching in amazement. It is the perfect backdrop for such a perfect song.

Updated Ranking: With the third Golden Age arriving, expect some shifting taking place near the top of the leaderboard, and that shifting begins today.

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. The Princess and the Frog
13. Hercules
14. Mulan
15. The Emperor's New Groove
16. Tarzan
17. Pinocchio
18. Lady and the Tramp
19. The Many Adventures of Winnie the Pooh
20. Alice in Wonderland
21. Dumbo
22. Bambi
23. 101 Dalmatians
24. Pocahontas
25. Treasure Planet
26. The Great Mouse Detective
27. Fantasia
28. The Adventures of Ichabod and Mr. Toad
29. The AristoCats
30. Fantasia 2000
31. Meet the Robinsons
32. The Rescuers Down Under
33. Fun and Fancy Free
34. The Fox and the Hound
35. Robin Hood
36. Bolt
37. Dinosaur
38. Melody Time
39. The Three Caballeros
40. Saludos Amigos
41. Brother Bear
42. Oliver & Company
43. The Rescuers
44. Atlantis: The Lost Empire
45. The Sword in the Stone
46. Make Mine Music
47. The Black Cauldron
48. Chicken Little
49. Home on the Range

Tomorrow, Pixar reduces every human being with a fraction of a soul to tears with Toy Story 3!

-Cody Fleenor

Summer of Magic- "Up"

Throughout the history of the studio, Pixar has possessed the unrivaled ability to elicit a wide array of emotions in their feature films. There are moments that make us laugh until it hurts (Buzz and Woody's first encounter in Toy Story, for example). There are also moments that cause us to watch in sheer amazement (the "Define Dancing" sequence in Wall-E comes to mind). Furthermore, there are moments that make us bawl our eyes out ("So long, partner" in Toy Story 3, anyone?). In Up, Pixar takes these emotions to a whole new level, deftly blending them together to create yet another cinematic masterpiece. What they have crafted with this film is nothing short of extraordinary, telling a story that will soon become legend in the pantheon of Hollywood classics.

We can probably all remember where we were when we first experienced Up's opening twelve-minute sequence. It is truly a life-defining moment because we have never witnessed anything like it. The story is set-up with Carl Fredricksen falling for the energetic Ellie in their adolescence. As this scene opens, we are initially anticipating a nice scene from our main character's childhood before soon jumping to the actual time period of our story. However, in hindsight, we should have known better because this is Pixar we are dealing with; they thrive by doing the unexpected. Upon setting up the relationship, the scene that follows may just be Pixar's crowing achievement. With simply Michael Giacchio's award-winning score accompanying, the life story of Carl and Ellie unfolds from marriage until death do they part. For a studio that has created classic scene after classic scene in their films, the opening sequence of Up is not only Pixar's best scene to date; it is one of the greatest scenes in the history of animation and Hollywood in general. I truly cannot overstate my immense adoration for this scene. I have watched Up more times than I can count, and this scene still brings tears to my eyes (And I've only ever cried in two films, folks: Up and Toy Story 3).

We quite literally live life with Carl Fredricksen in Up, and what a wonderful life it is! As is normally the case, Carl's life is filled with ups and downs, but one aspect of his life is persistent everyday, and that is his amazing devotion to his wife, Ellie. This dedication drives the film's heart and soul, and it is a spectacle to behold. Carl's characterization had the potential to be rather unremarkable, but somehow, Pixar was able to turn Carl into one of their more complex and fascinating creations to date. Ed Asner provides the perfect voice for Carl as you can feel the emotion with every word Asner utters. In addition to Carl, Jordan Nagai's Russell is an absolute show-stopper. Russell comes along at the most opportune moment to give Up that signature Pixar humor and charm. This is the character you will leave quoting without question. Russell is downright hilarious, but he also drives the heart of the film alongside Carl. Russell's dad is out of the picture, so when he is afforded the opportunity to assist the elderly in the form of Mr. Fredricksen, that relationship blossoms into an unlikely familial bond. Carl and Russell's evolution throughout the film is what elevates Up to the masterpiece level.

If you don't leave quoting Russell, odds are you will probably be quoting Dug instead. The talking dog comes on the scene and proceeds to interject some classic humor into the film ("Squirrel!"). Yet again, though, Dug is not just the comedic character of the film; Pixar miraculously gives dimension to a talking dog! Dug simply wants to prove himself worthy of being in the company of his fellow technologically-advanced canines. He knows and understands that he is essentially an outcast, but that doesn't stop him from tracking down Kevin (a beautiful creation and great character, by the way) and attempting to bring him back to his masters. When Dug decides to aid Russell and Carl, therefore, it is a rather powerful moment. Also, our villain, Charles Muntz, is voiced by Christopher Plummer, and I am fairly certain that it is impossible for Plummer to hurt a film. He joins the story late, but Muntz makes his presence felt in an ingenious twist that only Pixar could pull off.

The animation found in Up is some of Pixar's best work (I feel as if I write that for every Pixar film, but it is so true!). Every sequence that takes place while the flying house is in the air is sensational, especially when an unexpected storm hits. The character animation is superb as well, highlighted by the tremendous work done with Kevin and the legion of Muntz's dogs. Also, I do not think that words could adequately express how perfect Michael Giacchino's spellbinding score is in Up. We have grown accustomed to Giacchino crafting legendary scores for Pixar, but in Up, he steps up his game in a remarkable way. That music being played during those opening twelve-minutes never ceases to give me an ungodly amount of chills. The way he is able to then weave that theme throughout the rest of the film is quite glorious. In a film packed with highlights, Giacchino's score may be the true standout.

There are simply not enough adjectives in the English language to properly project how much I love Up. Its artistry is inspirational; its characters are legendary; its story is wholly original, and its messages are needed. Up is a film that will stay with you long after the credits roll. It will forever challenge, entertain, and inspire, the true pillars of Pixar Animation Studios.

Rating: 10/10

Historical Significance: The villain for this film being named Charles Muntz is no accident. The name was inspired by Charles Mintz, who hardcore Disney fans know all too well. Mintz was the Universal Picture executive who, in 1928, used a loophole in a contract negotiated with Walt Disney to steal the rights of Oswald the Lucky Rabbit, Walt's first highly successful character. During a meeting in which Walt intended to ask for more funds to support further Oswald cartoons, Mintz informed Walt that he was cutting his pay and claimed ownership of the character. Walt was devastated that he had to give up the rights to Oswald, but as we all know, this misfortune eventually led to Walt's greatest triumph and creation: Mickey Mouse. Disney would re-acquire the rights to Oswald in 2006. The Up villain was slyly named in Mintz's "honor." Up saw great success at the Academy Awards in 2010, becoming the first film to ever be nominated for Best Picture and Best Animated Feature (the Best Animated Feature category was not created until 2001, a decade after Beauty and the Beast was famously nominated for Best Picture). The film won Best Animated Feature and Michael Giacchino's score won Best Original Score, becoming only the ninth score to win a Grammy, a Golden Globe, and an Academy Award in the same awards cycle (Beauty and the Beast and Aladdin also accomplished this feat).

Behind the Scenes: Up was the first animated film to ever open the legendary Cannes Film Festival in France. As the film concluded, the audience was completely silent. In 2011, at the D23 Expo, John Lasseter revealed that the silence was finally broken by Academy Award winner Tilda Swinton who initially applauded and began a triumphant standing ovation. Furthermore, Jordan Nagai provides the voice of Russell, a role he was originally not suppose to audition for. In fact, he was simply accompanying his brother, Hunter, to his audition for the role. It was estimated that four hundred children came out to audition for the part, but Nagai stood out because he would not stop talking in line, an obvious characteristic of Russell. Director Pete Docter later stated, "As soon as Jordan's voice came on, we started smiling because he is appealing and innocent and cute and different from what I was initially thinking." Russell went on to become Pixar's first Asian-American character voiced by an Asian-American actor.

Favorite Character: Carl Fredricksen becomes my favorite character in about twelve minutes flat. That iconic, studio-defining opening sequence in which Carl and Ellie experience every emotion from love found to love lost is a cinematic hallmark, and it also expertly develops Carl as a character while also setting him nicely for the rest of the film. In this scene, we clearly see that Carl is head over heels for Ellie, willing to do whatever it takes to ensure her happiness. The simple action of crossing his heart as he promises Ellie they would venture to Paradise Falls one day is such a exquisite detail that is then woven into the very fabric of this legendary story. As the couple journeys through life throughout the remainder of this scene, we witness Carl's undying affection and unwavering love for his soulmate, and upon this scene's conclusion, Carl is a character that we find ourselves cheering for in unprecedented fashion. We desperately want to see him make it to the Falls, and when the inevitable obstacles start stacking up against him, we genuinely worry that this dream may truly never come true, but when he is encouraged to go have a new adventure with Russell and Dug, boy, do we rejoice. Carl is a testament to the magic and greatness of Pixar as they take a potentially unlovable grump and turn him into one of their greatest creations.

Favorite Scene: There shouldn't be much suspense going into my reveal for my selection here. By far, my favorite scene in Up is the story of Carl and Ellie told in the film's first twelve minutes. Throughout Pixar's illustrious history, they have created so many iconic scenes in each of their films, and I firmly believe that this scene is Pixar's best scene to date. Not only is it obviously emotionally investing, but it features tremendous character development with ingenious animation (and editing) and the highlight of Michael Giacchino's career. His track entitled "Married Life" is absolutely iconic, eventually becoming the film's theme as the story progresses. As the dialogue is stripped away, Pixar relies solely on their animation and Giacchino's music, and as he is afforded the opportunity to take center stage, Giacchino crosses over from being an excellent composer to being my favorite composer outside of John Williams. Up accomplishes in twelve minutes what most romantic films fail to do in two hours. It establishes the story, develops the characters, and literally allows life to be lived, and the incredible part about Carl and Ellie's life is that Pixar pulls no punches. They show a life that is certainly filled with ups, but as is the case with everyone's reality, they are unafraid to show the downs as well. For everyone almost fully funded excursion to Paradise Falls, there is bound to be a blown tire. It is a marvelous sequence that I could literally write about forever, but I shall end by saying this: thank you, Pixar, for making me proud to be an emotional wreck.

Updated Ranking: I have now reached the point in ranking these Pixar films that I am basically splitting hairs. It is impossible to rank one over the other, but this is the burden I have placed on myself, so here it is.

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

Tomorrow, the third Golden Age of Disney arrives as the studio returns to their Renaissance roots in The Princess and the Frog!

-Cody Fleenor