The Land Before Time (1988)

In 1979, Don Bluth quit his job at Disney and convinced a number of animators to come with him to start their own animated film production company. Their first two films garnered critical acclaim and success at the box office while Disney was seemingly stuck in a rut of films that failed to connect with audiences. Disney had to be sweating bullets when Oliver & Company opened against The Land Before Time and for good reason. Bluth’s liberation allowed him to tap into everything that Disney was lacking in the 80s until The Little Mermaid came along.

As water and food become scarce, a young Apatosaurus named Littlefoot and his family head out in search of the Great Valley- a land rumored to be untouched by the growing drought. Along the way, Littlefoot and his family are separated by a massive earthquake. Though dealing with grief, loneliness, and fear, Littlefoot commits himself to reuniting with his family. He soon picks up a hodge-podge of other young dinosaurs, forming a unique caravan. As the youths wander the wastelands for clues leading to the Great Valley, a dangerous predator is hot on their tails.

This film continues the success of Don Bluth’s animation team. Most of this film is full of crisp animation, rich colors, and a style that bests most of what Disney produced in the 80s. Each of the young dinosaurs is animated with just the right amount of anthropomorphism in that their dinosaur nature is never truly betrayed. The blend of two-legged, four-legged, and a winged dinosaur injects a nice sense of variety. There are a few moments of less sophisticated animation, where dimension lines are drawn over a splotch of one color. This was used during Bluth’s time at Disney in the 70s and, though I cannot blame him for falling back on a familiar technique, it still bugs me a little as it did with those Disney flicks.

The story is sweet and provides a good message to the target audience. The band-of-misfits-accomplishing-something-amazing storyline was used to death in children’s and young adult films in the 80s and is now terribly cliché but The Land Before Time rises above. Perhaps it is because our main characters are not people. Perhaps it is also because the only great thing the young dinosaurs do is fight to survive. Sure, they get creative in scaring off a group of aggressive pachycephalosaurids and come up with a plan to take on a T-Rex, but it’s never anything that seems too over the top.

Back in the day, The Land Before Time was a heartwarming tale of persistence and innocence. Millennials born after 1990 may not see much magic in the story but for those of us 80s babies, this is a joyful romp in childhood nostalgia. It may not be the masterpiece I grew up thinking it was but this film is still a winner and helped show other studios that Disney did not control the market on quality animated films.

RATING: 3.75 out of 5

Lilo & Stitch (2002)

Modern, real world settings seem to work for Pixar but Disney’s track record with them is spotty. Lilo & Stitch does not improve that assessment at all. While it has a fresh setting for a Disney flick and a few decent elements, the film largely misses the mark.

In another part of the galaxy, a dangerous experimental creature escapes custody and hijacks a spaceship. Crash landing on earth, the creature winds up in an animal shelter and is adopted by Lilo (Daveigh Chase) and her older sister Nani (Tia Carrere). Nani tries hard to take care of her sister but struggles to satisfy the disapproving social worker Cobra Bubbles (Ving Rhames). The creature, now named Stitch, doesn’t make life any easier on anyone between his wild antics and a team of aliens trying to hunt him down.

I don’t come from a broken home or one that was monitored by social services, so I cannot relate at all to Nani’s struggles. While I understand that her role as a caretaker eliminates the need for parents in the film, it’s a bit of a drag. In some ways it feels too modern, as if Disney let in a little too much of the ugly side of the real world into their end product. It certainly helps balance out the ADHD, kid-centric zaniness that erupts whenever Stitch gets going.

Stitch himself is a pretty interesting character and very funny but he alone is not enough to carry a film that features some real downer elements. While the animation is adequate and quite colorful at times, it is pretty much on par with Disney’s TV cartoons of the day. There’s not enough dynamism and magic in all the pretty colors. The same goes for the music. The Hawaiian setting isn’t taken advantage of enough (though I did enjoy Lilo’s affection for Elvis). Just with the animation, there are no memorable original songs or music sequences.

I still maintain that Disney movies live and die by the story, the animation, and the music. While Pixar has had luck with bypassing the movie-musical format, Disney seems to falter when they veer away from it. Heck, they even hit a rough patch with the format in the latter half of the Renaissance. Lilo & Stitch has enough wacky action to keep the kids content for an hour and a half but Disney’s secret sauce is missing. Until they get back that right balance for all members of the family, I will continue to shrug my shoulders. This feels more like Disney spinning the tires and trying to use their past products to score some easy money than an attempt to create something lasting and meaningful.

RATING: 3 out of 5

Short Circuit (1986)

This film is a classic. By classic I mean that it was on weekend movie marathons often enough while I was growing up for me to fall in love with it. This was, however, my first time watching the film in its entirety and uncensored. It’s still a loveable little flick and worth popping in for purely nostalgic purposes but even I have to admit that Short Circuit is little more than a fun guilty pleasure.

When a bolt of lightning scrambles the programming of a secret military robot, Number 5 becomes self-aware and escapes his military home base in a quest for knowledge. Upon meeting Number 5, Stephanie Speck (Ally Sheedy) thinks he’s an alien and feeds his request for input by allowing Number 5 to go on an all-night information bender of encyclopedias and late-night TV. When the military comes looking to find and destroy Number 5, Stephanie teams up with two of Number 5’s sympathetic creators (Steve Guttenberg and Fisher Stevens) to save the robot and help him find his place in the world.

This film has 80s guilty pleasure written all over it. Steve Guttenberg? Check. Humorous science-fiction? Check. Subtle anti-Reaganist sentiment? Check. I do have to say though that more than a few elements of Short Circuit just wouldn’t be tolerable anymore. Hollywood probably wouldn’t dare make a comedy about weaponized technology these days. That’s best left to doomsday-cautioning anti-military industrial flicks with bad acting and spooky music. And let’s be honest- it’s a wonder that Fisher Stevens’ (a white Jewish guy) portrayal of an Indian guy (with tan makeup no less) wasn’t decried back in the 80s.

Short Circuit spins a yarn that is cute but not very believable. Who in their right mind would hide and protect a lethal government robot? Why wouldn’t the government have an internal tracking mechanism on the unit rather than one that can be removed? On top of it all are action-comedy clichés like the good guy disappearing at the right moments to sneak up perfectly on the bad guys. If not for the sass and spunk of Number 5, this film would have been dead on arrival.

But Number 5 looks awesome and has the right blend of innocence and sarcasm to his personality to make him endearing. Once his circuits fry, he ceases to seem dangerous or threatening to our protagonists. You never truly believe that he is alive but he certainly puts himself on the line of potential sentience. Number 5’s construction also helps blur the line between human and machine, with features that mimic eyelids and movements oftentimes precise enough to almost be human.

As flawed as this film really is, the character of Number 5 carries the whole thing on his mechanical back effortlessly. Steve Guttenberg’s presence tells you the film will be corny but it also turns out to be a lot of fun. Hitting the right blend of one part drama and two parts comedy makes this film work. Too much drama and it would seem ridiculous and stupid. Too much comedy and it would be too cheesy even for a guilty pleasure. Dated as just about everything is in this film, I will always have a soft spot in my heart for Short Circuit.

RATING: 2.75 out of 5