Treasure Planet (2002)

File this latest Disney misfire under the all-too-familiar category of a well-intentioned and potentially neat idea that just doesn’t execute. In many ways, the end result of this film is something of a companion piece to Atlantis: The Lost Empire. The two exceptions to this comparison are that Treasure Planet adapts its story from a literary classic and it is easier to follow.

This film is a sci-fi version of Robert Louis Stevenson’s Treasure Island, where the architecture and clothing resembles that of the 18th century and spaceships look like old-time sailing vessels with rockets. It focuses on a teenager named Jim Hawkins (Joseph Gordon-Levitt), who comes into possession of a map to the hidden Treasure Planet. A friend of the family commissions a spaceship to go in search of Treasure Planet and the crew is a hodge-podge to say the least. Along the way the explorers face many dangers, including a mutiny at the hands of their cyborg cook, John Silver, who wants the treasure for himself.

I read Treasure Island when I was a kid and I recall enjoying it very much. I do not know if it was the full version or the children’s edition but it was exciting nonetheless. The heart of Treasure Island is still very much alive in Treasure Planet and the film could have worked if it had not been adapted so literally. In my mind, there is no reason for the spaceships too look like the sailing vessels of yore. At times that gimmick just doesn’t work. Maybe the science nerd in me is being too picky, but I cannot swallow travelling through deep space without an enclosed spaceship. Give it a Star Wars-esque worn-future look and it just might work.

Some of the animation in this film is pretty spectacular, with 2-D characters worked into 3-D environments. Unfortunately, for every scene where things look spectacular there is a scene where the animation is either unremarkable or the blending doesn’t quite work. That falls far short from the lofty standards set by Disney’s finest films. To top it off, only one song is even memorable from the film and it is not sung by any of the characters. It’s a fine tune by the Goo Goo Dolls but its status as the only noteworthy tune is an indictment upon Disney’s music department.

It’s clear that the Disney Renaissance is a thing of the past. I don’t know if they are just running out of ideas or if their ability to express their ideas is stuck in a lower gear. I appreciate that they try to push the envelope but either Disney is trying to push the wrong envelope or they need to push harder. Too many more films like Treasure Planet and Disney will find itself smack in the middle of a new Dark Age. At least their relationship with Pixar helps even things out.

RATING: 3 out of 5

Hercules (1997)

At this point I have to wonder if the films in the latter half of the Disney Renaissance are considered as such more for their box office returns than for their artistic achievement. Once again, Disney cranks out a film that does a few things right and gets a few things wrong. The difference between this film and its two immediate traditionally animated predecessors is this: Hercules is pretty fun to watch.

The vile and treacherous Hades discovers a way to release the destructive Titans from their ocean prison and overthrow his brother Zeus. The only hang-up? His nephew Hercules needs to be out of the picture. Hades succeeds in banishing the infant to Earth and reducing him to demigod status but his minions fail to kill him. Years later, Hercules learns that he can join his parents on Mount Olympus if he becomes a true hero. As Hades’ plot draws nearer to fruition, plenty of opportunities arise for the young demigod to reach his full potential.

The highlight of this film is James Woods as Hades. His über-aware personality and self-deprecating sense of humor is a breath of fresh air. He is maniacal and powerful but also approachable. He is not consumed by evil, just bitter and carrying the mother of all chips on his shoulders. It’s usually a bad thing when the bad guy is a movie’s best character, but Hades will certainly make the film easier to sit through for any parents with a sense of humor.

The plot is pretty thin but it was a losing battle from the get-go. The mythological Hercules only featured in a series of short tales displaying his awesomeness. The character development and backstory feels understandably forced. Nice try Disney, but it didn’t work out so well this time. On top of it all, sticklers like myself are sure to get hung up on the many mythological liberties taken throughout.

The animation is inconsistent in quality at several times. For much of the film, the animation looks on par with Disney’s TV cartoon shows of the time- very flat, just about everything in focus, but very little by way of fine detail. Every now and again (mostly in epic battle sequences) Disney’s animators throw a little CGI into the mix. After all these years, they still don’t blend well. Is it nit-picky? Maybe a little bit but animated films are Disney’s bread and butter. You’d think they’d have solved this problem with a little R&D by now.

Hercules lags a bit in places and it’s not very engaging for adults (outside of Hades and the flirtatious, suggestive Megara). For the kids though? There is plenty of colorful action and screwball antics from the supporting cast to keep them entertained. It’s not quite good enough to be middle-of-the-pack Disney, but Hercules rises above many of the near-misses in the Disney Vault.

RATING: 3.25 out of 5

Aladdin (1992)

I’m pretty sure it is politically incorrect to enjoy this movie anymore. Some Disney films are timeless wonders, never losing their magic. Others are near-hits that have short-term staying power but lose their touch after a generation or two. Fewer still are the misses that are quickly forgotten about. Then there is Aladdin. It gets high marks for being extraordinarily fun to watch, but will all the Middle Eastern stereotypes put the brakes on this film’s longevity in a post 9/11 world?

The evil sorcerer Jafar is looking for a ‘diamond in the rough’ to snatch a magic genie’s lamp from the Cave of Wonders. He finds just the person he needs in a young street beggar named Aladdin but the plot goes awry. Aladdin and his pet monkey Abu befriend the zany genie and they embark on a journey to pass off Aladdin as a prince to woo the lovely and headstrong Princess Jasmine.

This film is so much fun to watch. That fact alone makes up for a lot of little quibbles here and there. The animation is simplified many times throughout, looking more like The Rescuers Down Under than Beauty and the Beast. Some of the more textured and detailed stretches of animation come when the filmmakers use their hybrid CGI-traditional animation technology. This technology has not aged well and you can really tell where it’s used. Other than that, the color palette is bright and exotic and fits the story well.

The music of Aladdin is hit or miss. Sure, there are the two or three big hits but there are only five songs in total. The incidental music is largely forgettable, as if Disney knew it needed a handful of catchy tunes to appease the masses and put as little effort as possible into exceed the bare minimum. Those hit songs though? Boy, will they stick in your head afterwards!

The characters of this film are an interesting mix as well. Aladdin and Jasmine are all fine and dandy but fail to make much of an impression- he’s the petty thief with a heart of gold and she’s a post-feminist era woman fighting against a male-centric society. The supporting characters steal the show but I’m not sure why Jafar needed to be so effeminate. Granted it makes his arrogance and cockiness more humorous, but it causes viewers to not take him seriously even though he wields extraordinary power. His bird sidekick, Iago (voiced by Gilbert Gottfried) helps keep him in check and sets up plenty of gags.

The real show-stopper here though is Robin Williams as the Genie. His character has all the best lines, the best antics, and the best personality. The Genie is so off the wall and makes many non-contextual jokes, allusions, and impersonations. This non-contextual humor usually bothers me, and I’ll admit that I’m not crazy about it in Aladdin, but the Genie’s charm and pizazz makes this movie worth watching. Without all the wackiness Aladdin would probably have been forgotten about by now.

This brings me back to my initial question- how much longer will Aladdin be remembered? Disney has gotten some serious mileage hawking Princess Jasmine dolls to little girls. The character is a boost to Disney’s commitment to diversity in its princesses even though the story presents some harsh stereotypes about the Middle East. Yet, for those who want to complain about politically incorrect content, I say this- the story takes place in the distant past. If you think it reflects poorly on the modern day Arab world, lighten up and enjoy the magic carpet ride. This is one of the most start-to-finish fun Disney movies out there.

RATING: 3.75 out of 5

The Little Mermaid (1989)

Talk about your comebacks!  After the disappointing Oliver & Company, Disney returns to top form in a big way.  This film marks the start of the Disney Renaissance- an 11-year span of commercial and critical success for the animation juggernaut.  Clearly the creative juices were flowing like a raging river, because everything clicks, making The Little Mermaid one of the greatest Disney movies of all time.

Ariel is the youngest daughter of King Triton, who reigns over the sea and his kingdom of merpeople.  Despite living a life of privilege, the young princess dares to dream of a life outside of the world she has known.  Fascinated with humans and smitten with the handsome Prince Eric, Ariel is lured into a deal with a dangerous sea witch, who offers to turn her into a human for three days in exchange for her beautiful voice.  If Ariel can receive a true-love kiss from the prince before sunset on the third day, she will stay human forever.  If she fails to woo the prince, she will become one of the sea witch’s minions.

At one time, Disney could get away with sweet, innocent princesses who wandered through the land naïvely giggling and singing a happy tune.  Such a princess would not be appreciated in a post-feminist movement world.  Ariel may be naïve enough to fall in love with a total stranger, but she’s got plenty of fire and spirit to make up for it.  Take the subtle sass of Cinderella, multiply it by at least five, and you’ve got Ariel.  She may make foolish or even bad decisions, but her unprecedented independence and determination make her a truly modern princess.

The Little Mermaid is not a one-trick pony though.  Many of the supporting characters shine throughout the film.  Prince Eric and King Triton?  Yeah, they’re both pretty flat and entirely vanilla characters.  Sebastian (a crab), Scuttle (a seagull), and Flounder (a fish) make for a hilarious trio that provides more than just comic relief.  With Ariel unable to speak, her three friends help provide the soul of the film, enhancing the innocent, tender, and tenacious moments.  Ursula (the sea witch) is one of Disney’s better villains, broadcasting the heights of her evilness with every gesture, expression, and even with her posture.

I cannot provide a review for a Disney movie without commenting on the animation.  This film is a feast for the eyes.  Backgrounds are packed with layers of detail and the seafloor settings provide audiences with a whole new world to discover.  The animators do a fantastic job of making the merpeople and aquatic life look believable as they float and swim through their underwater surroundings.  If I am not mistaken, I could have sworn I caught a little multi-plane camera trickery as well.

Yet another example of why this film earns a spot near the top of all things Disney is the music.  Eschewing the sweet, classical music-inspired songs of old, The Little Mermaid goes full-on Broadway.  Strong lyrics are coupled with bombastic accompaniment, whether it’s a full orchestra or a calypso-based jam.  The music pops, the lyrics stick in your mind, and the animation that goes along with it is engrossing.

Watching The Little Mermaid again assures me that I do not love this film simply because I grew up watching it dozens of times.  Nor do I love this film because I’ve always had a thing for redheads.  I love The Little Mermaid because it is a fantastic film.  Musically, it’s a bold departure from the Disney formula.  Animation-wise, it is a triumphant return to form.  Everything clicks here and in the best possible ways.  It may not be as stunning as Snow White or Pinocchio, but it’s not too far behind them.

RATING:  4.25 out of 5

The Great Mouse Detective (1986)

After the undelightful wash that was The Black Cauldron, Disney needed a win. They got one and then some with this charming play on Sherlock Holmes. Everything in the Disney mold comes out fresh and clean here- music, animation, and characters. In the annals of Disney animated films, The Great Mouse Detective could easily be labeled as one of the studio’s most under-appreciated works.

When her father is abducted, young Olivia Flaversham turns to Basil of Baker Street for help. The cocksure yet oftentimes oblivious sleuth accepts the task of finding the young girl’s father when he realizes the abduction is connected to the evildoings of his arch nemesis, Professor Ratigan. With the help of Dr. David Q. Dawson, Basil scours the streets and sewers of London in a desperate attempt to stop Ratigan once and for all.

If it hadn’t been for Cinderella and The Rescuers, you’d swear the Disney crew was crazy for using rats and mice as their main characters. They’re not normally likeable creatures but The Great Mouse Detective lives up to its titular superlative. Not once did I find myself rejecting the film because of the use of mice. Kudos to the source author, the writers, and the animators for creating a world where Basil and friends are not just believable, but acceptable too. I’m not very familiar with Sir Arthur Conan Doyle’s tales of Sherlock Holmes, but I found the character of Basil to be a breath of fresh air. It’s been far too long since a Disney character possessed the confidence and swagger Basil exudes. Granted, these qualities tend to get him in over his head but that’s part of the fun of it all.

Another thing this film has going for it is some terrific animation. The colors and crispness call to mind the Disney Renaissance of what most people recall as the 1990s. That renaissance actually started in 1989 with The Little Mermaid. Guess what film that production and animation team worked on prior to rejuvenating Disney animation? If you guessed The Great Mouse Detective, you must be paying attention. While there had been some animated-over CGI in The Black Cauldron, the CGI foundations are more noticeable here. The crème de la crème is the chase through the gears of Big Ben. CGI modeling gives that sequence a unique sense of depth beyond the screen unseen in prior Disney films.

There is something delightful about the music in this film. The title music comes at you fast and fierce. Well, fierce for an era- and location-appropriate film about crime-solving mice. The playful tones not only match the action, it accentuates the tension, action, and/or silliness occurring on screen. Disney has had great music in many of their films but that music usually comes in the form of songs. The Great Mouse Detective is fairly light on the songs but you wouldn’t know it by the strength of the incidental music. Avoiding too many songs is a blessing in disguise for this film because the story doesn’t really require song-and-dance numbers.

It may not have all the bells and whistles of Disney’s greatest animated tales, but The Great Mouse Detective is a marvel compared to the films filling the gap between it and The Jungle Book. I don’t mean to put them all down, because some of them had a few unique qualities to boast of. None of those films exude the same amount of magic as this charmer though. Incremental steps evidence progress in the other 80s Disney flicks but it feels like the all the creative departments hit their strides here. It’s a shame this film got stuck between two duds. Otherwise, it might be remembered by more people.

RATING: 3.75 out of 5