Showing posts with label animation. Show all posts
Showing posts with label animation. Show all posts

Thursday, September 24, 2026

Family Fun Musicals - So Dear to My Heart

Disney/RKO, 1948
Starring Bobby Driscoll, Beluah Bondi, Burl Ives, and Luana Patten
Directed by Harold D. Schuster and Hamilton Luske
Music and Lyrics by various

First of all, Musical Dreams Movie Reviews will be going on hiatus next week for vacation. Reviews will resume October 8th with another lesser-known family film, The Magic of Lassie. 

With that out of the way, let's get to our last review before vacation. So Dear to My Heart was dear to Walt Disney in many ways. Its Midwestern setting reflected his own early 1900's childhood in Missouri and brought back happy memories on his family's farm with his brother. He wanted it to be fully live-action, but RKO, his distributor at the time, insisted Disney was too associated with animation. The short cartoon sequences here wound up being the compromise. It was a hit at the time, but how does it look today, when less rosy Disney films - in live-action and animation and both - have come and gone? Let's begin as so many fully animated Disney films do, with a beautiful old book opening. This one is found in a musty, dusty attic, and it's not a storybook, but a scrapbook that once belonged to young Jeremiah Kincaid (Driscoll) filled with all his dreams and hopes as a young lad growing up in early 1900's Indiana.

The Story: One of those hopes is to someday own a champion race horse like Dan Patch. His practical Granny (Bondi) would rather he focus on his chores in the here and now. Jerry thinks he's found a way to make his dream come true when he adopts a black lamb that was rejected by its mother. He even names him Danny. He wants Danny to win a blue ribbon at the county fair, but his grandmother and Uncle Hiram (Ives) don't have the money for a train. He and his friend Tildy (Patten) do manage to find honey to sell for the tickets, but then Tlldy gets lost and Danny runs away. 

Granny scolds Jerry for putting the awards he could win with Danny over the welfare of his friend and his pet. She finally realizes how much he loves Danny when he does find him and claims he'd be ready to give up his dreams to find his pet. Even after they make it to the fair, Danny's still making trouble...but it's the judge at the fair (Harry Carey) who realizes just how special the little lamb is, whether he's black, white, or any color in between.

The Animation: Looks pretty much like the package films released in the late 40's. It's colorful, the owl moves well, and the animation does at least somewhat resemble the cut-out "scraps" in Jerry's book. It's not the most lavish animation they ever did, not even to the degree of their previous live action/animated hybrid Song of the South, but it works with the film. 

The Song and Dance: I don't know why Disney doesn't pay more attention to this one. This is such a charming movie! As adorable as the kids are, Bondi and Ives are the real stand-outs as the crusty old woman who wishes her grandson would focus on practical matters and her laid-back brother. They have so much fun with "Lavender Blue" and dancing with the kids afterwards, no wonder "Blue" was nominated for an Oscar. 

The Numbers: We begin with our first animated sequence, which illustrates the seasons John Beal croons about in the title song via the scraps in Jerry's book. Uncle Hiram briefly sings "Ol' Dan Patch" as he drives the kids home in his wagon after seeing the famous race horse. Our first of three animated sequences with the Old Wise Owl who illustrates sayings is the catchy "It's Whatcha Do With What You Got." The Owl assures the animated Danny by reminding him David once toppled giants despite being smaller. 

Hiram attempts to put his sister in a better frame of mind about the fair with the lovely ballad "Lavender Blue." Granny joins him for "Where Have You Been, Billy Boy?" (in a far more attractive voice than you might think), and they grab the kids for a hilarious square dance around the cabin. When Granny still won't let him go to the fair, he once again imagines Wise Old Owl singing stories. This time, he talks about men with "Stick-it-Tivity" like Christopher Columbus and Robert Bruce. Wise Old Owl also joins the animated bird chorus to herald their arrival at the "County Fair." The film ends with a reprise of "It's Whatcha Do With Whatcha Got." 

Trivia: Last film of Harry Carey. The movie was filmed in 1946, but he was long gone by the time it finally made it into theaters early in 1949. 

First feature-length film to run on The Disney Channel, which is how I heard of this in the first place. I remember it ran a lot on The Disney Channel in the 80's and early 90's. 

What I Don't Like: This is a very sentimental and nostalgic story.  If you don't feel the same way Walt did about sentiment or the rosy past, you probably won't be into this. I don't know how much young kids would be into it today, despite the cute lamb. The animated sequences are cute for what they are, but too brief. Song of the South did far more with its animated characters. The movie also pushes its religious convictions and Danny being an outsider because of his black wool a bit hard, and both might be a tiny bit uncomfortable for some audiences nowadays. 

The Big Finale: A sweet underrated gem from Disney that really should be better-known nowadays. If you think your kids can handle the slow pace and the storm sequence, give this one a try.

Home Media: Alas, to date, the only way you can get this one in North America is on streaming (and surprisingly, not on Disney Plus). The discs were released exclusively through the Disney Movie Club and can be hard to find today.

Saturday, February 21, 2026

Animation Celebration Saturday - Frosty Returns

CBS, 1992
Voices of John Goodman, Jonathan Winters, Brian Doyle Murphy, and Elizabeth Moss
Directed by Evert Brown and Bill Melendez
Music and Lyrics by Mark Mothersbaugh and others

This one has some complicated origins. Frosty's Winter Wonderland was among the specials purchased by Warner Brothers when they picked up the rights to the post-1974 Rankin-Bass catalog, which meant that by the 1980's, CBS couldn't run it anymore. They commissioned the director of the Peanuts specials Melendez and Saturday Night Live producer Lorne Michaels to create their own follow-up to Frosty the Snowman in the early 90's. Is it as much fun as the Rankin-Bass productions, or should it be canned? Let's start as our tiny narrator (Jonathan Winters) floats into Beansborough on a snowflake for their annual Winter Carnival and find out...

The Story: The kids of Beansborough are excited about the huge snow storm that just fell in town. Their parents aren't nearly as amused by all the shoveling and defrosting they have to do. Holly DiCarlo (Moss) and her best friend Charles (Michael Patrick Carter) are more interested in working on Holly's magic act for the carnival. The storm's wind blows Holly's magic hat right onto a snowman, turning him into the wisecracking Frosty. 

The kids are delighted with their new frozen friend (when Holly can convince Charles that Frosty's really moving), but Frosty's nervous. Local businessman Mr. Twitchell (Murphy) is heavily pushing his new product Summer Wheeze in a bid to become king of the Winter Carnival. Summer Wheeze instantly removes snow from any surface, including snowmen. It's up to Frosty and the two kids to remind everyone in Beansborough about how fun winter - and snow friends - can truly be.

The Animation: This definitely screams "early 90's Peanuts special." The zig-zaggy thick lines, large head, and sketchy style all look like the work of Bill Melendez. It could fit right in with the later Peanuts specials if the adults sounded like trumpets. It's a lot more like a Peanuts special than a more playful and anime-esque Rankin-Bass special. 

The Song and Dance: The cast and the catchy songs stand out in this attempt at a more "modern" Frosty story. The two kids are hilarious and get some great lines, especially in the opening. Murphy and Andrea Martin also have a few good moments as the villainous executive determined to become carnival king at all costs (including environmental costs) and the kids' fussy teacher Miss Carbunkle. (Also, as with Frosty's Winter Wonderland, I appreciate that there's no reference to any holidays besides the Winter Carnival. This is another one that can be watched at any time during the colder months.) 

The Numbers: We open with an announcer declaring that there's over two feet of snow on the ground and the kids are out of school. "We Love the Snow," say the kids who are delighted to be out of school. Their parents are more frustrated about dealing with shoveling it and complain "We Can Live Without Snow." This becomes "Let There Be Snow" for Frosty and Holly as they sing about the delights of winter weather. The duo reprise it with the townspeople at the carnival. (They're joined here by Charles, who is such a bad singer, even the animated characters wince.) The cast sings the title song over the end credits.

Trivia: This turned up on CBS occasionally during the Christmas season from 1992 through 2023. 

What I Don't Like: What is this a sequel to again? Despite the title, this is really its own stand-alone story, with nothing whatsoever to do with the two Rankin-Bass Frosty specials. Honestly, it feels like Melendez was trying too hard to be early 90's cynical and "hip." Goodman does make a warm Frosty, but his dialogue is less witty and more annoying. The story is a cross between "Rankin-Bass obnoxious and silly villain does weird mean things to kids" and a typical Peanuts special, without the charming weirdness that made both franchises stand out. 

The Big Finale: The catchy music and nice cast makes this worth seeing at least once this winter with elementary school-age kids who will enjoy Holly and Frosty's antics and ignore the so-so animation and plot holes. 

Home Media: That long run on CBS means it's not currently on streaming, but it can be found paired with Frosty the Snowman on many DVDs and Blu-Rays. 

Saturday, February 7, 2026

Animation Celebration Saturday - Frosty's Winter Wonderland

Rankin-Bass/ABC, 1976
Voices of Jackie Vernon, Shelley Winters, Andy Griffith, and Dennis Day
Directed by Arthur Rankin Jr. and Jules Bass
Music and Lyrics by various

For the next three Saturdays, we'll be looking at vintage winter and Valentine's Day specials from the 70's, 80's, and 90's, starting with this lesser-known sequel from Rankin-Bass. The original Frosty the Snowman was one of their bigger hits in the late 60's, so it was likely inevitable that they would want to follow that up. They got the folksy Griffith to replace original narrator Jimmy Durante, who had a stroke a few years before and had retired, and concocted a story that gave Frosty a wife and a slightly more likely villain than an annoying and rather silly magician. How does all of this look today? Let's begin with Griffith and the kids as they try to build a snowman who'll come to life like Frosty and find out...

The Story: Frosty (Vernon) is glad to be back with the kids, but he's lonely when they're not playing with him. Since he can't go inside with them, they make him a wife to be his friend and partner. Trouble is, they can't figure out what will make her "all livin'" at first. Meanwhile, Jack Frost (Paul Frees) is jealous that the kids associate Frosty with winter more than they do him. He tries to blow Frosty's magic hat away, but gets a substitute. Frosty is the one who finally figures out what will bring Crystal (Winters) to life...and she saves him in turn after Frost returns and does get his hat. Frosty and Crystal want to be married, but they end up needing a snow priest (Day) to do the job. 

The Animation: As a later Rankin-Bass special, this absolutely shows the hand of Paul Coker Jr. It's much more rounded and anime-like than the original special (as per its Japanese origins), and definitely looks like it was designed by the man who would later do artwork for MAD Magazine. 

The Song and Dance: Vernon and Winters make an adorable couple in one of the better Rankin-Bass specials of the 70's. This is one of the few times the weirdness that marks their later efforts really works. Winters' crusty demeanor compliments Vernon's innocent cheerfulness well, and Frees makes a perfect impish Jack. I also like that this may be the only Rankin-Bass special that doesn't needlessly attempt to tie a holiday in. It doesn't mention Christmas, Valentine's Day, or even Groundhog's Day. It's just about the wonders of winter, making it perfect to watch during the colder months when other Rankin-Bass specials are sitting on the shelf. 

The Numbers: Griffith performs "Frosty the Snowman" in the opening as the kids build their new wintry friend and wish for Frosty's return. They sing it again when they're out skating and sledding with Frosty and realize that Frosty really isn't very good at counting. Day and Griffith share "Winter Wonderland" later on, during Frosty and Crystal's wedding. It really is very sweet, with the animals carrying Crystal's train and the snowman that no one has to pretend is Parson Brown.

What I Don't Like: Er, what is this a sequel to again? There's no mention of Karen, the little girl from the first special, though they do continue the running gag with the kid wrapped in that huge scarf and his weird snow people names and the cop who swallows his whistle at the sight of the snow people. While this does make more sense than such late 70's and 80's Rankin-Bass specials as The Leprechaun's Christmas Gold or Rudolph and Frosty's Christmas In July, it's still a little strange. The kids make Frosty a wife, and Jack Frost is jealous because they aren't paying attention? Sometimes I wonder what the writers at Rankin-Bass were on in the 70's and early 80's. 

The Big Finale: One of the better Rankin-Bass specials from the mid-late 70's deserves a look during the winter months for its unique story and charming performances.

Home Media: Easily found on DVD and streaming.

Saturday, January 24, 2026

Animation Celebration Saturday - Dot and Keeto

Yoram Gross Films/Hoyts Distribution, 1985
Voices of Robyn Moore and Keith Scott
Directed by Yoram Gross
Music by Guy Gross, Bob Young, John Levine, and John Zulaikha; Lyrics by John Palmer

Let's return to the Australian outback this weekend for the next film in the long-running Dot series. After Dot and the Koala ended up being something of a cross between a typical Saturday morning cartoon of the 80's and Animal Farm, the next film returned to the original format of Dot encountering Aussie animals in the real outback. This time, the theme is the Australian insect world, including a few most people don't really think of as heroic or friendly. How well does Dot do in her time among the insects? Let's begin in the outback, as a live-action Dot (Ashley Ayre) tries to keep her brother Simon (Leaf Nowland) from harming ants and caterpillars and find out...

The Story: Dot (Moore) eats a magic root in order to explain to the insects that she tried to help them, but she eats the wrong root and shrinks to their size. She first befriends Keeto (Scott), a sweet male mosquito who agrees to help her find the root. Dot tries to go inside to find her mother, but she encounters cockroaches who don't take too kindly to her. Militaristic ants who think she's the one who destroyed their home like her even less. Their queen (Moore) looks down on her. She almost becomes food for a nasty wasp (Moore) and befriends a hungry caterpillar (Scott). Meanwhile, Dot's old friend the kangaroo shrinks down and goes looking for her.

The Animation: Same as most of the other movies in this series. After the weird and too-cartoonish Dot and the Koala, it's almost refreshing to see this one go back to drawing the animals more realistically. They're still not that well-integrated with the actual environments, but they look like the animals they're representing and they move well enough.

The Song and Dance: Like I said, after the preachy environmental message and odd Saturday morning vibe of the previous film, it's rather a relief to see this one return to formula. Good-natured Keeto is at least somewhat more tolerable than annoying Funny Bunny from Dot and the Bunny, and we get to see the mother kangaroo and a bit of her close relationship with Dot again this time, too. It's also fascinating to learn more about both insects that are native to Australia, and ones like mosquitoes and caterpillars that most of us have in our own backyards. 

The Numbers: Our first song goes to Dot as she explains why the "Little Things" of nature mean so much. "Cockroach" and his brethren sing to Dot about how they've managed to survive for so long, while the "Work Ant" marches its way to its home carrying a screaming, furious Dot. "Queen Ant" sings about how she's on top of the heap in her ant hill. Butterwalk the Caterpillar (Scott) tells Dot how he'll become a "Butterfly." There's also talk of the fearsome "Spider." We end with a reprise of "In the Kangaroo Pouch" from Dot and the Kangaroo as the Kangaroo takes Dot home.  

What I Don't Like: Honestly, this one shares most of the same problems as the rest of the series. The animation, though it's improved since the previous entries, still isn't great. The story meanders and wanders along with Dot. It's not for someone who is looking for a more straightforward plot. 

The Big Finale: Honestly, if you liked the other films in this series, you'll enjoy Dot's visit with the Australia's smallest residents just as much. 

Home Media: YouTube only at the moment. 

Saturday, January 3, 2026

Animation Celebration Saturday - A Little Princess (1996)

GoodTimes Entertainment, 1996
Voices of Melissa Bathory, Lawrence Bayne, Desmond Ellis, and Katherine Giaquinto
Directed by Laura Shepherd
Music and Lyrics by Mark Shekter

Animated films weren't the only movies that had cheap animated knock offs made of them in the 1990's. Almost anything family-oriented that was popular in the era had six hour-long cartoon "movies" released to the direct-to-video market based on it. A Little Princess, based on the beloved children's novel by Frances Hodgson Burnett, was a hit movie in 1995. This animated version debuted less than a year later. How does it compare to the book and film? Let's begin as a carriage takes little Sara Crewe (Bathory) and her father (Bayne) to the Minchin School for Girls and find out...

The Story: Sara's father is extremely wealthy and gives her everything she wants, but she's far from spoiled. On her first day, she helps out plump, shy Ermengarde (Marieve Herington) when she forgets an answer and is kind to the servant Becky (Giaquinto). Miss Minchin (Nonnie Griffin) is only interested in the money Sara's father is paying for her lavish lifestyle. 

On Sara's eleventh birthday, a lawyer arrives and tells Miss Minchin Sara's father has died without a penny to his name. Furious, Miss Minchin forces Sara to work as a servant with Becky to pay off her debts. Sara tries to be cheerful, including telling a story based around her predicament to Ermingarde and Becky and attempting to make friends with spoiled Lavinia (Sarena Paton) when her family can't come to Parents' Day, but it's hard in that cold attic. Even with her mother's "magic" doll Ami Lu, it's hard to believe that things can get better...until she and Becky flee the house and discover a miracle has occurred. and that maybe magic isn't as far away as it seems.

The Animation: Bright and rather sketchy, almost looking like it was made in the 60's rather than the 90. At least the characters have more than one facial expression (as is often a problem in these cheap 90's animated knock offs) and the colors are bright primaries and stark black and whites that pop off the screen. The sketchiness manages to be both charming and annoying, feeling more like a Saturday morning cartoon from this era than this classic novel.

The Song and Dance: Actually, I like some of the things they do here. My favorite change involves the doll. In the book and most movie and TV versions, Sara's doll is named Emily, and she's just a toy she and her father buy at a store before he leaves. Here, Ami Lu is an Indian doll that had belonged to Sara's mother and is believed to be magic, making it even more special and meaningful to her. Sara may even be sweeter here than in the book. She never even attempted to make friends with Lavinia or forgive Miss Minchin. The way they wind the segments from Sara's story (obviously based on what Sara herself is going through) throughout the narrative is creative, too. 

The Numbers: Miss Minchin gets a big goofy solo on how much she loves (and will chase after the symbols of) "Money." Shut up in the attic, lonely and scared, Sara looks out to the London night and performs "Somewhere Far From Home" as she wishes for a better place where someone could love her. 

What I Don't Like: This has more in common with the 1995 movie and the Shirley Temple version from 1939 than the book. Several major characters, including Miss Minchin's nicer sister Amelia and the servant Ram Dass who helps Sara, are eliminated all together. As in the other film versions, it's Sara's father who finally gets her out of Miss Minchin's clutches, not his repentant partner. He doesn't buy the school in the end in the book, and Becky is Sara's servant, not a student. Not to mention, there's the cheap animation and two dull songs. 

The Big Finale: If you have little princesses of your own who might enjoy the story and don't mind or care about the cheap animation and changes from the book, this is an enjoyable bit of fluff to warm you up on a cold winter's afternoon.

Home Media: Your best bet on this one is streaming. It can be found for free with commercials pretty much everywhere, including Tubi.

Saturday, December 27, 2025

Animation Celebration Saturday - The Twits

Netflix, 2025
Voices of Margo Martindale, Johnny Vegas, Maitreyi Ramakrishnan, and Natalie Portman
Directed by Phil Johnston
Music and Lyrics by David Byrne and others

Our last animated review of 2025 takes us back to streaming for something that's been a long time coming. The Twits, the 1980 Roald Dahl children's book about a nasty couple who played pranks on each other and other people, had originally been optioned by Vanguard Animation back in 2003 as a live action/animated hybrid. It moved with Vanguard to Universal from Disney in 2006. There were mentions of it until around 2012, but it seemed to stall there until Netflix bought the Roald Dahl Story Company in 2022. How does this tale of a gruesome twosome who learn a lesson about meanness from a group of orphans look now? Let's begin as a mother firefly named Pippa (Emily Clarke) tells their story to her son Jeremy (Sami Amber) and find out...

The Story: Mrs. Credenza (Martindale) and Mr. James (Vegas) Twit are the proprietors of Twitlandia, an amusement park that is the only thing they love. After it's shut down on opening day for health violations, the Twits spitefully fill the water tower of the town Tripelot with liquid hot dog meat. This causes a massive explosion that floods the town and damages its reputation as the go-to place for fun.

Orphans Beesha (Ramakrishnan) and Busby (Ryan Lopez) have their own score to settle with the Twits. Busby was about to be adopted when the flood caused the couple who were interested to back out. Beesha takes Busby to Twitlandia, where the Twits gleefully admit to everything they did. Beesha also encounters a group of colorful monkeys called the Muggle-Wumps, who are being kept as the main attractions. The kids aren't able to rescue them right away, but Beesha does record the Twits' confession. The Twits are arrested, but are released by a family who desperately wants their help in making the town a center for fun again.

After they discover that the children have freed the Muggle-Wumps, the Twits chase them to the orphanage. Beesha won't let them in, claiming the orphanage belongs to the city. The Twits run for mayor, convincing everyone that they'll make them billionaires. When they trick Beesha into thinking her parents are coming for her, Mary Muggle-Wump (Portman) reminds her that family isn't always the one that's related to us. Sometimes, it's the one we create...and that there's a lot of people out there who are willing to help fight our battles. Beesha and all of the orphans learn their own lesson in empathy when they play the ultimate joke on the Twits to get them to admit they had no intention of helping the town...but it costs them their ability to understand the Muggle-Wumps.

The Animation: Though likely computer animated, it has the look of a jerky stop-motion animated film of the 80's and 90's like The Nightmare Before Christmas. Everything is all sharp angles, bushy, kinky hair, or squashed ovals. This adds to the unsettling story and the obscene and outrageous gross-out gags. The fact that most of the colors are fairly subdued makes the things that are more colorful - the Muggle-Wumps, Mrs. Twit's green hair - stand out all the more.

The Song and Dance: I give them credit just for getting this weird. Most animated musicals intended for kids don't go in for gross-out gags and strange scatological humor, which makes this almost oddly refreshing in that respect. Roald Dahl's trademark wacky-dry weirdness comes across loud and clear in Martindale and Vegas' appropriately loud and obnoxious performances. Ramakrishnan doesn't do too badly as the kid who wants to prove how "good" she can be so her parents will come back for her.

The Numbers: We begin with the Twits singing about how "We're Not Like Everyone Else" as they fill the water tower with liquid hot dog juice after their amusement park is condemned. Mary Mugga-Wump performs a "Lullaby" for the orphans to show how wonderful their dreams can be. The Twits claim that "The Problem Is You" as they campaign for mayor. We get an almost operatic "Twitlandia" over the destruction of their amusement park, then "Trick Me." The movie ends with "Open the Door" on being willing to grow and learn.

What I Don't Like: See the "gross-out gags" mentioned up there? What audience did Netflix intend this for again? It gets too weird and scary for younger kids, while older kids may be turned off by the cute kids and fantasy sequences with the Muggle-Wumps, and their parents my be too grossed-out to care. There's also that "inspired by" credit. Apparently, the book version of The Twits were a hateful couple who did make bird pie, use a special super-sticky glue to catch them, and own a group of colorful monkeys called Muggle-Wumps, but they intended to start a circus with the Muggle-Wumps, not an amusement park. There were four boys who scared the birds away, but they don't end up saving the Muggle-Wumps. The Muggle-Wumps were the ones who came up with the idea of gluing the Twits' furniture on the ceiling, not the kids. The whole subplot with the liquid meat and tricking the townspeople was invented for this movie.

The Big Finale: Definitely not for younger kids despite the PG rating, but older kids and pre-teens who like their humor rude and their action frantic and can tolerate a little sentimentality may find a lot more in this weird gross-out tale than I did. 

Home Media: It's currently a Netflix exclusive.

Saturday, December 20, 2025

Animation Celebration Saturday - Santa and the Three Bears

Tony Benedict Productions, 1970
Voices of Hal Smith, Jean Vander Pyl, Christina Ferra-Gilmore, and Bobby Riha
Directed by Tony Benedict and Barry Mahon (live-action segments)
Music by Joyce Taylor; Lyrics by Doug Goodwin

This charming short film was originally pitched as an animated TV special. Apparently, networks at the time wouldn't buy a cartoon with no villains, so this ended up as a theatrical release instead. It later became a public domain staple, seen frequently during the holidays on independent stations throughout the US, and then on family cable networks. How does the charming tale of two bears who learn about Christmas from a well-meaning park ranger look today? Let's begin with two live-action children (Beth Goldfarb and Brian Hobbs) as their retired park ranger grandfather (Hal Smith) tells them the story of how three bears discovered Christmas and find out...

The Story: Mr. Ranger (Smith) tells the story of Christmas and of Santa to baby bears Nikomi (Ferra-Gilmore) and Chinook (Riha). They're so excited about Christmas and everything they'll get from Santa, they even get a tree for their cave. Their mother Nana (Vander Pyl) wishes they'd just go to sleep for the winter. She's not happy when she confronts Mr. Ranger and discovers Santa isn't real. Mr. Ranger decides to dress as Santa to make Christmas happy for the cubs. He's waylaid by a violent snowstorm, but someone else still gets through...

The Animation: You can tell this wasn't originally made for the big screen. The animation is no different from your average Hanna-Barbara TV show from this time period. In fact, I thought it was Hanna-Barbara until I checked Wikipedia. Admittedly, the bears look fairly realistic for a kids' cartoon - no exaggerated Yogi and Boo-Boo here - and they move pretty well. There's some pretty colors, too, especially during the cubs' dream sequence.

The Song and Dance: This ended up being much better than I thought it would be for a low-budget cartoon from the early 70's. Like This Christmas, it's charmingly low-key for a holiday that doesn't usually do quiet and sweet. The cubs are adorable, Smith is lovely telling them the story of Christmas and Santa, and Vander Pyl makes a nice concerned bear mother. It has a cozy, gentle air to it that's quite lovely and very welcome. 

The Numbers: The animated segment opens with "When Winter Comes" as the animals around Mr. Ranger prepare for colder weather. "Wintertime" provides the backdrop for the cubs' antics as they play and slide in the snow. The cubs learn about "The World of Toy People" as Mr. Ranger tells them the story of Santa and his elves and reindeer. The chorus lulls the cubs to sleep next to Nana with the "Sleepytime Song," with their pastel dreamscapes and hopes to see Santa. The credits end with "The Wonder of Christmas Time" after the cubs get their gifts, but before we see the live-action children again.

Trivia: Most TV versions (and some older streaming copies) delete the opening and closing live-action sequences.

Movie parody group Rifftrax spoofed it in 2023.

What I Don't Like: This might be a little too quiet for people expecting a noisier, better-animated show. It's just two cubs and their mother learning about Christmas from an elderly ranger with a slightly sentimental twist in the end. To be honest, though the gentle ballads are pretty, they do seem a bit out of place in the calm, laid-back story. It moves a bit on the slow side for something that runs for 45 minutes, too. 
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The Big Finale: Not the greatest thing ever, but it's worth your time this holiday season if you want to show your littlest ones something relatively calm and adorable. 

Home Media: In the public domain, so it's easily found anywhere.

Saturday, December 13, 2025

Animation Celebration Saturday - The Nutcracker (1995)

Jetlag Productions/Goodtimes Entertainment, 1995
Voices of Andrea Libman, Tony Ail, Nathan Aswell, and Kathleen Barr
Directed by Toshiyuki Haruma and Takashi Masunga
Music by Nicholas "Nick" Carr, Ray Crossley, and Andrew Dimitoff; Lyrics by Joellyn Cooperman

Our last review for the year of a low-budget animated knock-off from the 90's is actually much better than you might think. Though there was an Canadian animated Nutcracker film that came out in 1992, most previous versions of The Nutcracker were short subjects or live-action recordings of the ballet. That and the fact that this sticks more to the original story The Nutcracker and the Mouse King by E.H Hoffman than to the ballet makes this unique among Nutcracker adaptations, and gives it a stronger plot than most of the Jetlag films as well. How well does this do with the whimsical story? Let's begin as Marie (Libman) and her brother Fritz wait to see their tree and open presents and find out...

The Story: Marie and Fritz love their presents, especially his toy soldiers and the Nutcracker she found on the tree. Their Godfather Drosselmeyer brings them a special present - a castle with figures that really move in an endless loop. Fritz is quickly bored with it, but Marie thinks it's lovely. 

That night, she sees the Nutcracker and toy soldiers fight an evil seven-headed Mouse King. She throws her shoe at the Mouse King to distract him and save the Nutcracker, but hits her head while doing so. She wakes up with a bump on her head, in her bed with her parents worried. Godfather Drosselmeyer tells her how the Nutcracker had once been his handsome young nephew who cracked a nut for the Princess Pirlipat. The princess was cursed into ugliness by the Mouse Queen when her parents trapped the Mouse Queen's children. The cracked nut changed the Princess into a beautiful young woman, but with her last breath, the Mouse Queen transferred the curse to the nephew and turned him into the Nutcracker.

Late at night, the Mouse King comes to Marie and demands her candy, then her clothes and books, or he'll destroy the Nutcracker. Marie knows she can't keep doing this, but she doesn't want her Nutcracker hurt. She finally gets Fritz to give up a sword, so he can defeat the evil Mouse King once and for all and take Marie to the magnificent Christmas Wood, Candy Town, and the Marzipan Castle. She wonders if it was all a dream, until Godfather Drosselmeyer comes and introduces his very familiar nephew...

The Animation: Not the greatest thing ever, but not bad for Jetlag. Everyone has the same enormous blue eyes, but at least the humans have more than one expression. There's some wonderful details on the colorful Christmas Woods and Marzipan Castle in the second half. I do wish they hadn't made the Mouse Queen and Mouse King look so cute and cuddly! It belies their roles as terrifying villains. 

The Song and Dance:  This wound up being a rather big surprise. There couldn't be a greater contrast between this and our previous direct-to-video animated review, The Hunchback of Notre Dame. Here, the whimsical comic tone is appropriate for a satirical fantasy. It even uses the entire backstory with Princess Pirlipat that most ballet-centered versions leave out. Marie is adorable, Fritz is funny, and Godfather Drosselmeyer is appropriately roguish, especially insisting that Marie's dreams are true.

The Numbers: We open with "The Season of Love" as unnamed singers tell us what's to come over scenes of people preparing for Christmas. Marie, dressed as a princess, enjoys "Dancing Through the Night" with the Nutcracker near the end of the film. It ends with "A Dream Come True" as Drosselmeyer's nephew and Marie return to the Marzipan Castle, this time to dance forever. "Season of Love" is reprised over the credits.

What I Don't Like: Though it has a better story and script than most of the Jetlag animated movies, it's still a cheap animated knock-off from the 90's. The animation is colorful but stiff, the few songs are tinny and unmemorable ballads, and the Mouse Queen and King are much too cute and cuddly-looking to be believable as villains. You wonder why Marie believed this seven-headed cutie would ever hurt anything, let alone her Nutcracker. 

The Big Finale: Actually, this isn't a bad introduction to the original Nutcracker and the Mouse King for elementary school-aged kids who will enjoy the story and action and be able to overlook the cheap animation and songs.

Home Media: Easily found on DVD and on streaming, the latter currently for free with commercials at Tubi.

Saturday, November 15, 2025

Animation Celebration Saturday - The Hunchback of Notre Dame (1996)

Golden Films, 1996
Voices of Susan Silo, Charles Martinent, Jeff Bennett, and Cam Clarke
Directed by Diane Paloma Eskanazi
Music and Lyrics by various

Though Golden Films did occasionally dip into original material, like every other direct-to-video animation studio in the 90's and early 2000's, they mostly put out imitations of whatever Disney movie was out at the time. This may have been one of the most unlikely. People at the time were shocked that Disney put out an animated version of this dark, religion-soaked story...and then every direct-to-video studio in existence started doing their versions. Given that the original novel is pretty heavy-going and doesn't even have a happy ending, how does Golden Films deal with those dark themes? Well...they pretty much ignore them. Let's see how different things are in this retelling, starting with a song about spring in Paris...in a story set in the early 1800's...

The Story: Melody (Silo), her mother, and their fellow gypsies are persecuted by the handsome but greedy Jean Claude (Martinent), who has eliminated all magic and music from Paris. Melody and her singing and dancing musical instruments are forced to flee for Notre Dame. There, she falls in love with shy Quasimodo (Bennett) the bell ringer. Melody and the instruments leave when Jean Claude takes Melody's mother hostage, but Melody ends up captured herself. The instruments are the ones who must warn Quasimodo and encourage him to put aside his shyness and rescue his beloved Romani girl.

The Animation: Same as all the other Golden Films productions. The colors are gorgeous, bright and saturated, but the characters all have the same pale blue eyes and no expressions whatsoever. They don't even have the lavish costumes worn by characters in some of the other Golden productions. Everyone wears the same clothes throughout the movie.

The Song and Dance: Well...as out of place as they are, some of the songs are mildly catchy. Bennett at least sounds appropriately gentle and kind as Quasimodo, and there's those bright colors. They help bring a lot more zip to this otherwise pedestrian retelling.

The Numbers: We open with "Dance to the Music of Paris," in which the gypsies celebrate every Parisian stereotype that likely didn't exist in Paris in the early 1800's, including cafes and can-can dancers. "When I'm Looking at You" is the jaunty love song Melody and Quasimodo perform with the bats and mice who live in Notre Dame as Quasimodo rings the bells. Melody turns her prison into a beautiful room in the upbeat and completely inappropriate "When the Magic Is In Your Heart." "It's Like We're Alive" sing the people of Paris after Quasimodo rescues Melody. The movie ends with a reprise of "When I'm Looking at You" over the end credits.

What I Don't Like: What in the heck is this? Disney's version has its fair share of problems and flaws, but at least they retained the book's somber tone and dark look at religious hypocrisy. "Upbeat Broadway musical" does not suit this story or these characters. This feels more like Beauty and the Beast with a hunchback beast, up to and including the Gaston-like Jean Claude. Did Jean Claude and Quasimodo need to be brothers? They did nothing with that after Jean Claude's info dump in the opening. 

The bats, mice, and talking instruments are even more worthless as sidekicks than the annoying talking gargoyles in the Disney film. The instruments admittedly do help rescue Melody, but the bats and mice are useless beyond the "When I'm Looking at You" number. Every single song is an upbeat dance number, even ones like "When I'm Looking at You" and Melody's prison number that are performed during romantic or somber moments. In fact, they totally ruin the impact of those moments. 

How about all those anachronistic Paris stereotypes in the opening, or the dated depiction of the Romani, or the random scene where Melody's mother makes all the animals on the farm dance that's there for no reason, or Quasimodo is less frightening and more "shy, slightly hunched over good looking guy." And even Disney didn't marry him off to the Esmeralda character, something that definitely did not come from the book. 

The Big Finale: This is by far the worst and most ridiculous of the Disney imitations of the 90's and early millennium I've seen. Don't even bother with this one unless you have very, very bored younger children who want to watch something online and won't mind the lack of book-accuracy, dull characters, and out-of-place songs.

Home Media: If you absolutely must see this, it can be found on DVD paired with four other Golden Films titles and solo on streaming. 

Saturday, November 8, 2025

Animation Celebration Saturday - The Sneeches (2025)

Netflix, 2025
Voices of Amari McCoy, Sophie Peterson, Christopher Fitzgerald, and Cristina Valenzuela
Directed by Bronah O'Hanlon
Music and Lyrics by Greg Nicolett

This isn't the first time we've met the Sneeches, the class-conscious yellow critters with stars on their bellies who live at the beaches, at this blog. I reviewed the half-hour anthology special they debuted in, Dr. Seuss on the Loose, last year. Netflix got the rights to make children's cartoons from beloved Seuss characters who hadn't turned up as often in animation. They already did One Fish, Two Fish, Red Fish, Blue Fish and Horton the Elephant as children's shows. This is their first special, and the first Seuss special since Daisy-Head Mayzie in 1995. How does this class-war parable look on streaming? Let's begin with the pelican Daniel (Fitzgerald) and the story of how the Sneeches fractured into two warring groups and find out...

The Story: The Sneeches make up two groups, the star-bellies and the moon-bellies, each of whom believe their tummy symbol to be the better one. The star-bellies live in trees, while the moon-bellies make their homes by the ocean. That's the way it's always been, until imaginative star-belly child Stella Sneedly (McCoy) takes her many creative ideas to the beaches. There, she meets moon-belly Pearl Puddlesnuff (Peterson), a shy young miss who can build everything Stella comes up with. They become instant best friends, sneaking away to see each other whenever they have the chance.

Stella insists on meeting Pearl's parents and seeing her world. Given the animosity between the star and moon-bellies, this is impossible, until Stella invents and Pearl builds a machine that can erase and change symbols. Now the girls can visit each other's worlds...but Stella has no idea about living on the seas, while Pearl is upset and offended by the star bellies' Star Festival with speeches that verbally attack the moon bellies. When a huge storm threatens both groups, it's up to Stella and Pearl to come up with a way of protecting everyone and proving that "no Sneech is the best on the beaches."

The Animation: Colorful, rounded, and utterly charming. Netflix really had fun with this. You can see every bit of fur on the girls and every line of those green symbols that cause so much trouble. There's so much detail the girls' worlds, especially by the ocean, that you wish you had more time to explore it all. Honestly, it seems a little bit too soft and round for the bright, sketchy world of Dr. Seuss...but it works fine for a young children's show.

The Song and Dance: Divorced from its source material, this is a charming and lively little parable about two very different kids who become friends and just want to see how the other lives. McCoy is a sweet ball of energy as Stella, while Peterson's more nervous energy is adorable. The colorful animation is another plus, with it's incredible attention to detail. 

The Numbers: We open with Stella's "Something Wonderful" as she dances among the star-belly Sneeches, creating new inventions and pointing out how much fun something different can be. She reprises this after arguing with her family over the Star Festival and her inventions. Pearl and Stella say "Me Too!" when they realize how much they have in common when they first meet. "Look at This!" says Stella as she and Pearl explore the moon-bellied Sneeches' ocean-going world. "Something Wonderful" is reprised in the finale when all of the Sneeches come together to admit that being different can be pretty cool.

What I Don't Like: Um...what does this have to do with The Sneeches? In the original story and the 1973 special, there were only star-bellied Sneeches and Sneeches with nothing on their bellies. The star-bellied Sneeches snubbed the ones with no stars. Sylvester McMonkey McBean was a con-man monkey, not a kid's pet, and the original inventor of the symbol-removing machines. In the book (and a subsequent Russian short based on it), the Sneeches never do learn their lesson. The 1973 version comes a little closer to this, with the Sneeches realizing that "no Sneech is the best on the beaches." All of this is cute, but it's not nearly as memorable as the rather cynical original story or the slightly-more-hopeful 1973 cartoon.

The Big Finale: Great for families with young kids who'll appreciate the story and the engaging central best-friend pair and won't care about the lack of book-accuracy. 

Home Media: This is currently a Netflix exclusive. 

Tuesday, November 4, 2025

Election Day Special - I Go Pogo

21st Century Film Corporation, 1980
Voices of Skip Hinnant, Johnathan Winters, Vincent Price, and Bob McFadden
Directed by Marc Paul Chinoy
Music by Gary Baker; Lyrics by Tom Flora

Our first review this week is so obscure, I never even heard of it until last week. I have, however, heard of the comic strip it's based on. Walt Kelly's Pogo started in 1948 and became one of the most popular comic strips of the 1950's and 60's. Its homespun characters, creative use of language, and spot-on political satire made it a favorite of kids and adults alike. The comic had already begun falling out of favor when Kelly passed away in 1973. There had already been two attempts at putting the strip on TV, but this would be its first and only movie outing. How does this laid-back stop-motion comedy compare to the much-loved strip? Let's begin in Georgia's Okefenokie Swamp as the title song introduces our main premise and characters and find out...

The Story: Everyone in the swamp is bound and determined for Pogo (Hinnant) to run for president...except Pogo himself. Pogo would rather be fishing and thinks the entire process is nonsense. Molester Mole (Winters), Deacon Mushrat (Price), Albert Alligator (Stan Freberg), and Howland Owl (McFadden) in particular are determined for Pogo to win the nomination for the presidency. They think of everything they can do to force him to campaign, from painting him as part of "Mount Rushmore" on a fence (his head gets stuck) to attempting to marry him off to skunk Mis Mam'selle Hepzibah (Ruth Buzzi) so he'll have a first lady. Molester and Mushrat even call on the unreliable Wiley Katt (Winters) at one point. In the end, as Pogo and the narrator point out, the more they try to fix things to their own ends, the more of mess they make of it all.

The Animation: The stop-motion has been criticized for not looking much like the characters in the comics. Not having read the comics, I can't make the comparison there. I can say that, though they move decently enough for the time and their facial expressions are occasionally hilarious, they're all so rounded and undefined, it's hard to tell what animal most of them are supposed to be. (I would not have guessed "possum" for Pogo, for instance, or muskrat for the Deacon.)

The Song and Dance: I will give them credit for assembling such a wonderful all-star cast. Hinnant is a charming Pogo, while Price actually manages a decent southern accent as the conniving Deacon. Freburg and McFadden also make the most of the twisty and frequent dialogue. Buzzi does well by her two very different characters, making Hepzibah sweet and silky and motherly Miz Beaver warm and no-nonsense.

The Numbers: We open with the title song as we see the locations that will later turn up in the film. Porky Pine (Winters) laments that "It's Hard to Be a Friend" when the others are all busy with the campaign and he has no one to fish with. It's "Convention Time," and the animals cheer Pogo on. "Pogo In Desperation" is an attempt to point out to the others that he's not suited to the candidacy. The others would rather give "Hail and Cheers" at the rally. "The Chase!" is on as everyone goes after their candidate in the finale.

Trivia: 21st Century Film Corporation pulled a little chicanery of their own when they told the animators they would get this national distribution in time for the 1980 election, with a one million promotional budget and a "Pogo for President" write-in campaign. They ended up sending it straight to video instead. It was only available through Fotomat's rental service.

An edited version with added narration would eventually turn up on cable, including HBO, Showtime, and The Disney Channel. This version would also be re-released on video by Disney in 1984 and 1989. (It's this version that I based my review on.)

Skip Hinnant's last theatrical film.

Among the later cartoonists Kelly's work inspired were Gary Trudeau (Doonsbury), Bill Watterson (Calvin and Hobbes), and Jeff MacNelly (Shoe). 

What I Don't Like: For all the great characters, first of all, there's too much talk and way too little action. Three fourths of the movie is just characters plotting and plotting with very little to show for it. The narration they added for cable only makes things more confusing. The plot is barely existent, and is mainly there to show off the cast and Walt Kelly's trademark unique words. And once again, I've never read the comics, but some comments online say this lacks it's charm and wordplay. I have to agree with another comment that the stop-motion doesn't really seem to suit the characters. They would have been better off in regular 2D animation. 

The Big Finale: Only for the most ardent fans of the Pogo comics or the cast. Everyone else can leave this one alone in the swamp.

Home Media: This is so obscure, it's never been on DVD, to my knowledge. The only way you can find it is in the cable-edited version with the narration on YouTube.

Saturday, November 1, 2025

Animation Celebration Saturday - Willy McBean and His Magic Machine

Magna Pictures Distribution Corporation, 1965
Voices of Billie Mae Richards, Larry Mann, Alfie Scopp, and Paul Kligman
Directed by Arthur Rankin Jr. and Kizo Nagashima
Music and Lyrics by Edward Thomas, Gene Forrell, and James Polack

We kick off November with Rankin-Bass' first foray on the big screen. Rudolph the Red Nosed Reindeer had just been a sensation about six months before they released this. Unfortunately, Rankin-Bass doesn't seem to have ever had the same luck in the theaters that they did on TV. All of their theatrical films were eventually relegated to children's matinees and after-school showings on local stations, but does that mean they're without merit? To find out, we begin not with the title character, but with the evil Professor Von Rotten (Mann), who is gloating about his inventions to the talking monkey Pablo (Scopp).

The Story: Professor Von Rotten has invented a magic time machine that'll allow him to change history and become the first to do something great. Pablo breaks loose and runs off to find help. He ends up at the home of Willy McBean (Richards), a young boy who loves tinkering with his own inventions and finds studying history to be boring. He gets an eye-opener when Pablo tells him about the Professor's plan. Willy is able to create his own "magic machine," allowing him and Pablo to go back in time and stop the Professor and discover that history is a lot more exciting than it looks in school books.

The Animation: Actually a bit disappointing for Rankin-Bass. You can tell this one of their earlier efforts. The characters aren't as expressive as they are even in Rudolph. They move jerkily, and sometimes limbs or pieces will be missing or in the wrong place. That said, everything is fairly detailed, especially the backgrounds in the Wild West and Camelot.

The Song and Dance: Decent first movie effort from Rankin-Bass is anchored by some really fun performances. Mann in particular has a blast as the overly dramatic Professor, who is less evil than determined to be the first at something, anything, and leave a lasting legacy to history. Richards has some funny moments as skeptical Willie, while Kligman and Claude Rae throw themselves into their many characters with relish. And yes, that is a young James Doohan, just a year prior to Star Trek: The Original Series, as the voices of General Custer and Merlin. 

The Numbers: The chorus begins and ends the movie by describing "The Magic Machine" and what it can do. "Professor Rasputin Von Rotten" introduces himself and his desire to be remembered through history for something major shortly after the opening credits. Sitting Bull (Kligman) and Pablo admit "We Got Showbiz." Christopher Columbus (Kligman) and the sailors claim "Gotta Go West to Go East." The Professor tells Queen Isabella "I Am For Hire." Arthur (Claude Rae) and his men introduce themselves as "We're Knights of the Round Table (Not the Square)." The dragon (Scopp) they're supposed to fight claims "I'm the Most Exciting, Horrible Dragon In All of Camelot"...but he's really far from it. King Tut (Bunny Cowan) listens to his chorus girl queen (Corinne Conley) complain about being the "Poorest Queen" in all of Egypt. "A Caveman's Lot" is a difficult one for the neanderthals Willy and Pablo encounter.

What I Don't Like: First of all, this hasn't dated well at all, and not just the jerky animation. Name your stereotype, from Italian to Native American to Chinese, and it's probably here. Not to mention, I think this is intended to be a spoof of history. People knew the world was round years before Christopher Columbus, his men mutinied because he was a lousy sailor and a bad captain despite his ambitions, and though the Arthur legends may have their basis in fact, they're really more myths than history. 

Second, the whole idea is just too bizarre for words. Couldn't the Professor have found a far more evil reason for wanting to go back in time than just being first at something? Like most Rankin-Bass villains, he's rather easily reformed in the end, too. Pablo and his silly Mexican accent get really annoying really fast, too. 

The Big Finale: Bizarre bit of lunacy is mainly for Rankin-Bass completists and those trying to amuse their elementary-school age children for an hour and a half online.

Home Media: Which makes it just as well that, to my knowledge, this has never been released on disc in North America. The only way you can currently find it is on YouTube. 

Saturday, October 11, 2025

Animation Celebration Saturday - Once Upon a Forest

20th Century Fox, 1993
Voices of Michael Crawford, Ellen Blain, Benji Gregory, and Paige Gosney
Directed by Charles Grosvenor
Music by James Horner; Lyrics by Will Jennings and others

Concern for the environment was so prevalent during the early 90's that it even seeped into animation. Having had mild success with Ferngully: The Last Rainforest the year before, Fox returned to the well with an even more emotional story about taking care of our earth. It wasn't a hit at the time, but is it worth checking out 30 years later? Let's begin with dawn at a lovely meadow called Dapplewood, as the animal residents are starting to awaken, and find out...

The Story: Cornelius the badger (Crawford) mentors four little "Furlings," Abigail the energetic mouse (Blain), Edgar the sweet and shy mole (Gregory), Russell the always-hungry hedgehog (Gosney), and his sweet little niece Michelle (Elizabeth Moss). One day, poison gas from a ruptured truck leaks into the forest. The children are with Cornelius and are unharmed, but Michelle loses her parents and inhales the gas. Cornelius sends Abigail, Edgar, and Russell to retrieve Lung-wort and Eye-bright, the only herbs that can save the little badger. The trio learn to work together to avoid a barn owl, cross a construction site, help a wren (Rickey D'Shon Collins) get unstuck from the mud, and retrieve the lung-wort from a cliff, and discover their own hidden talents in the process.

The Animation: Extremely Disney-esque and very typical of this time period and of Hanna-Barbara. The woods are beautiful, with their sun-dappled forests and blooming plants...but then you get the ultra-realistic construction site and the devastation wrought by the poison gas. The animals look like a cross between The Secret of Nimh and some of the cutesier Hanna-Barbara TV shows of the 1980s like The Biskitts or Shirt Tales. They're designed to be adorable, especially little Michelle, but they can get some darker expressions out of them - check out when they realize Michelle is sick.

The Song and Dance: I do give Hanna Barbera some kudos for daring to go this dark. Even Ferngully: The Last Rainforest didn't kill off characters or completely destroy the forest. This is darker than some Disney movies of the 90's. Crawford makes an appropriately gruff mentor, and Ben Vereen does get into his big number with the birds and the Furlings after they rescue the wren from the mud. 

The Numbers: Our first number isn't until 15 minutes in, but it's the devastating "Please Wake Up," sung by Cornelius to the comatose Michelle after she's gassed. Even Crawford had a hard time performing this emotional ballad of love and loss. "He's Gone" is the birds' number when they think they're losing the wren to the mud. They change this to the joyous "He's Back" after the kids get him out. Florence Warner Jones performs the gentle "Once Upon a Time With Me" over the closing credits.

Trivia: This would be the last Hanna-Barbera movie released to theaters.

What I Don't Like: See that "dark" thing above. Um, what audience did Hanna-Barbera intend this for again? The cutesy kid animal characters and bucolic setting indicate a children's movie, but the poison gas, construction site, and bird stuck in the mud mourned by his family at a funeral are more likely to give them nightmares, or at least upset them quite a bit. No wonder it was a massive flop in 1993. Some audiences today might not know what to make of this, let alone then. The sequence with the birds and the wren is totally out of left field and feels like it was dropped in from another movie entirely to give Vereen something to do. 

The Big Finale: That said, there are quite a few people who saw this on video in the 90's and found it profoundly moving. Frankly, while it can be moving, the clash of tones and utterly depressing plot was a bit too much for me. Your mileage may vary on whether your elementary school kids are up to this one; might actually be better for tweens if you can get them past the cute animals.

Home Media: Easily found on DVD and streaming.

Saturday, September 20, 2025

Animation Celebration Saturday - Plankton: The Movie

Netflix/Nickelodeon, 2025
Voices of Mr. Lawrence, Jill Talley, Tom Kenney, and Bill Fagerbakke
Directed by David Needham
Music and Lyrics by various

We're remaining at Netflix, but going to a whole different franchise. SpongeBob SquarePants is the story of a very enthusiastic sponge who lives in under the sea and has some of the most peculiar friends in all of animation. Plankton is technically one of the show's villains, a tiny one-eyed creature with an ego three times the size of his body who is married to a computer and thinks stealing the formula for Krabby Patties will help him take over the world. Although the film revolving around SpongeBob's squirrel friend Sandy Cheeks wasn't well-received critically, it was popular enough on Netflix for them to go ahead with this one. How well does music fit with SpongeBob's oddly sunny world? Let's begin with SpongeBob as he introduces us to the world of his home Bikini Bottom and find out...

The Story: Plankton (Mr. Lawrence) is furious when his computer wife Karen (Talley) tries to make over his dreary restaurant, the Chum Bucket, to be more cheerful and "contemporary" and actually get customers. Him destroying the restaurant is the last straw. She turns into a larger robotic form with three heads and claims she'll take over the world without him. Her new fortress magnetizes the Chum Bucket, stealing it and other buildings in Bikini Bottom.

Plankton wants to get to the bottom of why Karen's behaving badly, so he lets SpongeBob (Kenny) hypnotize him to recall his past. This leads him to remember Karen's previous form as a calculator attached to a potato, which he upgraded at Bikini State University. They built their first machine to take over the world there. That didn't work, but it led Plankton to the Chum Bucket and to overhearing Mr. Krabs (Clancy Brown) jokingly say that the Krabby Paddy formula will help him take over the world is what made Plankton want it for his own. It's not until he encounters Karen's "Gal Pals" Sandy Cheeks (Carolyn Lawrence), Mrs. Puff (Mary Jo Catlett), and Pearl Krabs (Lori Alan) that Plankton realizes what he'd been missing...and downloads her empathy chip into his own brain to see that what she really wanted all along was to be acknowledged as his favorite partner in crime.

The Animation: The SpongeBob movies have been done in 3D for several years now. This is...just ok. Everything looks the way it should, including Plankton and Karen's many forms, but it doesn't always move as smoothly as it could. Some of the 2D and 3D isn't very well-combined, either. It looks more-or-less like the TV show, which is really all this franchise needs in the end. In fact, the film looks better when it gets away from computer animation, including the psychedelic sequence where Plankton experiences empathy for the first time. 

The Song and Dance: SpongeBob was always a bit...strange...and this movie is no exception. Kudos to them for doing something a bit different with this material. To my knowledge, the other SpongeBob films are all straight action comedies. This is the first time they've done a film musical...and it's not bad. Mr. Lawrence and especially Talley have a lot of fun with the spoofs of 80's movie musical tropes, and Kenny's attempt to hypnotize and understand Plankton's overwhelming ego is hilarious. This goes slightly darker than usual for SpongeBob, which doesn't often go into complicated marital relationships or why empathy is so important for humans and AI alike, and it's rather refreshing for the show. 

The Numbers: We open with SpongeBob cheerfully introducing us to life in the colorful undersea world of "Bikini Bottom." "I'm Plankton" introduces Plankton, Karen, and Plankton's usual desire to take over the world. Karen insists that her husband "Say My Name, Karen" when she suddenly turns into a monstrous version of herself. "I Made a New Friend" says Plankton when he creates Karen as a child. He finally admits "I'm a Jerky-Jerk" to Karen by way of an apology. "Taking Over" brings everyone together to fight Karen's new forms. "Welcome Back to Bikini Bottom" is SpongeBob's big chorus finale as the underwater world is restored. We end over the credits with "You and Me."

What I Don't Like: Start with the so-so animation mentioned above. There's also the cliched plot points...and the fact that, if you don't know the show all that well, especially in its later seasons, you might be slightly confused. There are times when, despite being the title character, you wish they actually focused more on Plankton and a bit less on SpongeBob. 

The Big Finale: Highly recommended if you're a fan of SpongeBob or Plankton, or just want a unique animated musical to watch with your older elementary school-age kids. 

Home Media: This is a Netflix exclusive at the moment. 

Saturday, September 13, 2025

Animation Celebration Saturday - KPop Demon Hunters

Sony (Columbia)/Netflix, 2025
Voices of Arden Cho, May Hong, Ji-young Yoo, and Ahn Hyo-seop
Directed by Maggie Kang and Chris Applehaus
Music and Lyrics by various

This review is dedicated to the children in the after-school and summer camp program I work for. KPop Demon Hunters was all the older kids at the summer program could talk about all summer long. The girls admired the young women band and warriors. The boys drew artwork of the imaginative demons. Their teachers and caretakers constantly played the catchy soundtrack on their speaker and let the kids dance along. I'd only vaguely heard of this before it caught on in a big way. I'm not the biggest fan of Korean pop. It always seemed so cutesy, regardless of what part of the world it came from. This is about as far from cutesy as you can get. What is this, and why are all the kids into it? Let's head to a concert with Korean pop group Huntrix and find out...

The Story: Huntrix is in reality the most recent incarnation of three female demon hunters who stopped demons from taking human souls for their leader Gwi-Ma (Lee Byung-hun) by creating a barrier from communal energy known as the Honmoon. They're also a wildly popular Korean rock trio, at least until the Saja Boys turn up on the scene with their smash hit "Soda Pop." Their rise coincides with their leader Rumi's (Cho) voice fading. Rumi herself is part demon, but she was raised to hide her demon marks and what she is by former demon hunter Celine (Yunjin Kim). 

The girls quickly figure out that the Saja Boys are demons, but after Rumi has an encounter with their leader Jinu (Hyo-seop), she begins to question what she is and her role in the group. Everything comes to a head at the Idol Awards, where the girls are to perform their new anti-demon song "Takedown." They decide it's too inflammatory and substitute their hit "Golden" instead...but then it seems like Rumi's fellow Huntrix Mira (Hong) and Zoey (Yoo) are against her. Rumi confronts Jinu, then Celine...but she finally learns that the best way to rescue her friends and everyone's souls is to love herself the way she is, demon marks and all.

The Animation: Wow. Done in a style similar to the Spider Man Spiderverse films, replacing that series' palate of primary colors with the bold black, white, gold, and neons of concerts and music videos. It's blocky and sketchy, computer animation that's made to look like hand-drawn, and it's most effective. The demons in particular are really creative, both in design and movement. No wonder the boys wanted to draw them.

The Song and Dance: Ok, I can see why the kids are into this. The action-packed story is very much in tune to Korean culture and the music that's wildly popular right now - and not a bit of it is cutesy. Cho and Hyo-seop are the stand-outs in the voice cast as the young woman who finds her voice when she accepts all of what she is and the man who gave himself to save his family, only to lose his soul. The music is genuinely catchy and well-done. They say as much in the film about "Soda Pop," but that applies to "Takedown," "Golden," and "What It Sounds Like," too. 

The Numbers: We open after Huntrix finally arrives at the last leg of a major concert tour with their confidant "How It's Done" and see just how much their fans adore them. "Look Back at Me" and "Strategy" show us more of Huntrix and their demon hunting past. "Golden" is first their big "I want" single, then Rumi's attempt to shine at the Idol Awards. They're outdone by the Saja Boys and their silly, simple, and totally earworm-worthy hit "Soda Pop." The members of Huntrix respond with "Takedown," their attempt to expose the demons and reveal their true natures to their fans. The Saja Boys replace the effervescent fizz of "Soda Pop" with the moody, eerie "Your Idol" at the Idol Awards. Rumi sings "What It Sounds Like" as she claims her own truth about being part demon. Mira and Zoey join in for the end of that song and a reprise of "Takedown." 

What I Don't Like: For all of their fidelity to Korean music and culture, the story isn't the most creative. You've seen something similar in a thousand sci-fi and superhero movies before it, including the Spiderverse films. Rumi and Jinu are the only characters we really get to know well. Even Mira and Zoey are more archetypes than actual characters, and the other Saja Boys aren't even that. The girls' manager Bobby (Ken Jeong) can occasionally bend into annoying stereotype territory.

The Big Finale: No wonder the kids love this. Stunning animation, admirable fidelity to Korean culture, and terrific music more than make up for the unimaginative story and characters. If you have kids ages 6 on up and a subscription to Netflix, you've probably already seen this. Even if you're an adult, it's still recommended for the animation and music alone. 

Home Media: It's a Netflix exclusive at the moment.

Saturday, July 26, 2025

Animation Celebration Saturday - The Smurfs (2025)

Paramount, 2025
Voices of James Corden, Rhianna, John Goodman, and Nick Offerman
Directed by Chris Miller
Music and Lyrics by various

I grew up watching The Smurfs. Those little blue people from Belgium were everywhere in the 80's, including an animated series on NBC that ran from 1981 to 1989. We had Smurf comics and Smurf dolls. There were linens and gift wrap and records. They've had mixed success in the US since then. The first live-action film in the US had the animated Smurfs ending up in the live-action world and helping a young couple. It wasn't popular with critics, but wound up being one of the biggest hits of 2011. Though a sequel and a subsequent all-animated film didn't do nearly as well, a hit cartoon from France revealed there was life in the franchise yet. Does this film reach the same heights, or is it more Smurf-bound? Let's begin at Smurf Village, as one little unnamed Smurf (Corden) tries to figure out where his real talents lay, and find out...

The Story: No-Name Smurf, who is new to Smurf Village, would give anything to have a talent like the other Smurfs. One afternoon, he wishes on a star for a talent of his own...and suddenly, he can shoot like and make anything appear. He shows off his newfound magical abilities at Smurf Village, only for them to attract evil sorcerer Razamel (JP Karliak) and his nerdy assistant Joel (Dan Levy). Joel creates a portal that allows them to capture Papa Smurf (Goodman). The remaining Smurfs, including No Name and lone female Smurf Smurfette (Rhianna) follow them to find Ken (Offerman), Papa Smurf's brother.

They end up in the real Paris, where they're found by the International Neighborhood Watch Smurfs. Moxie (Sandra Oh), Ken's daughter, brings them to him. Ken wants them to get to Razamel's castle as soon as possible, but it's not that easy. No Name tries to use his magic to transport them, only for a force field on Razamel's castle to send them into the Australian outback. They get help here from Mama Snooterpoots (Natasha Lynne) and her fluffy Snooterpoots. She tells them that the Intergalactic Evil Wizard Alliance intends to use four magical books, including Jaunty (Amy Sedaris), the one who gave No Name his magic, to strip the entire universe of its joy. It's up to Smurfette and No Name to join Gargamel (Karliak), rescue their friends, and reveal that the real magic comes when we use all of our talents together, no matter what they are.

The Animation: This is one of the film's highlights. For one thing, unlike the 2011 versions, the Smurfs actually resemble their counterparts from the comics and TV shows, with rounded heads and long, lanky bodies. The blending of live-action and animation is far more seamless, especially in the French disco as the Smurfs maneuver their way around the dancers and the glasses on the bar. That last sequence in the inter-dimensional portal is a stunner, with some incredible glittering effects animation. The alt-universes is where this really stands out. They have a ton of fun with animation from different eras, from genuinely good Gumby-esque clay stop-motion  to 8-bit sprites out of 1985. 

The Song and Dance: At the very least, this is a lot more fun than the Smurfs wandering around New York City, helping an obnoxious modern couple. Corden's very sweet as poor No Name, and Goodson is a wise and gentle Papa Smurf. Oh has so much fun as tough little Moxie, one wishes she and the Watch Smurfs were in more of the movie. Lynne's a riot as no-nonsense Mama Snooterpoots, too. Karliak is hilarious as both the more ambitious Razamel and Gargamel, who only cares about finally capturing those darn Smurfs. I also appreciate the Aesop that kindness is one of our greatest strengths, not a weakness. 

The Numbers: We open with "Everything Goes With Blue" over the opening credits as we're introduced to the Smurfs and their world. No Name laments that he's "Always On the Outside" while walking in the forest. "Up" takes the Smurfs into the real world. "Don't Stop the Music" is the big chorus number at the French disco, as the Smurfs navigate around all those stomping human feet. "Anyone" is Rhianna's big number as she encourages No Name to find his talent. She gets a second one later in the portal, "Friend of Mine." 

What I Don't Like: Um...what does all this have to do with the Smurfs? While it's a better story than the 2011 movie, it still doesn't have much to do with either the comics or the original show. We barely hear from any of the original Smurfs besides Papa and Smurfette. All of the added characters just make the story feel bloated; Joel in particular is a silly and annoying geek stereotype, and Jaunty is more shrill than funny. The songs are cute but not only not memorable, are mostly out-of-place R&B and dance tunes. 

The Big Finale: If you or your kids are fans of any animated versions of the Smurfs, this has enough good points to check out in the theater on a rainy or too-hot day. 

Home Media: Currently available for pre-order on Amazon, though there's no release date as yet.

Saturday, July 19, 2025

Animation Celebration Saturday - The Prince and the Pauper (1995)

Golden Films, 1995
Voice of Elizabeth Daily
Directed by Diane Paloma Eskanzi and Hazel Morgan
Music and Lyrics by various

While most Disney imitators stuck to adapting whatever Disney was doing at the time, Golden Films occasionally branched out into other properties. Disney had done Prince and the Pauper twice, as a live-action TV movie in 1962 with Guy Williams and a Mickey Mouse half-hour special in 1990. Golden Films went back to the source and, at least during the first half, stuck a bit more to Mark Twain's original novella. The second half...well, let's head to merry old England and see how things are different in this version...

The Story: Tom Clancy (Daily) is a poor beggar boy living in London who pretends to be a prince with his friends. He'd much rather live in a fine home than deal with his abusive father, who forces him to beg. Prince Edward (Daily) wishes he could get out and live wild and free, away from the restrictions of royal living. The two meet when Edward sees Tom being abused and lets him in the castle. They realize how identical they are, and decide to switch places, just for fun. It stops being fun when Tom's father mistakes Edward for his son and drags him away. He's rescued by Miles Henderson, a far kinder thief than most of the men Edward encounters. It's he who helps the boy regain his throne when his father dies. Meanwhile, Edward gets lessons in royal deportment when magical objects show him how to be king.

The Animation: Par for the course with Golden Films, it's very limited. There's actually a rather lovely color palette, with bright reds, golds, and greens out of a Technicolor film, but the characters have the same pale blue eyes and no expression whatsoever, and the backgrounds have little detail.

The Song and Dance: Not the best Golden did, but far from the worst. At least they went with less-obvious subject matter. The boys and their antics are relatively funny, especially Edward's attempts to convince everyone he's king. Some of the songs, while not great, are catchy as well, notably the drinking number "Drink to the King."

The Numbers: We open and close with the title song, describing the story we're about to see and how "a pauper can be a prince." The boys sing the "so bad, it's adorable" "Let's Change Places" when they're about to do just that. The enchanted objects in the castle encourage Tom to "Do Like a Prince" when they try to teach him how to behave like royalty. Tom's father and the louts in the tavern "Drink To the King" when they taunt Edward over his father's death. 

What I Don't Like: The first half is a relatively straightforward adaptation of the book. The second half is where this gets weird. Did we really need the singing, talking royal jewels and objects? A servant would have worked just as well for the "Do Like a Prince" number. Other than one of them is important to the coronation in the finale, most of them are just kind of there. Tom's father disappears without explanation near the end, too, and never gets punished for treating his family so badly. 

The Big Finale: Young kids may enjoy this as filler for an hour on a summer's day. Everyone else can pretty much avoid it, unless they grew up renting the Golden movies on video in the 90's.

Home Media: The DVD for this one is relatively hard to find and expensive. You're better off streaming it; it can be found for free just about everywhere, including YouTube. 

Saturday, July 12, 2025

Animation Celebration Saturday - The Little Mermaid: Ariel's Beginning

Disney, 2008
Voices of Jodi Benson, Samuel E. Wright, Jim Cummings, and Sally Field
Directed by Peggy Holmes
Music and Lyrics by various

By 2008, Disney's series of direct-to-home-media "sequels" had entertained children for fourteen years..but they made a lot of other people less than happy. Most critics complained that the stories were rehashes, the animation was way under Disney's standards, and they were cheapening the brand. Indeed, this would be the last of those films made, and the last direct-to-home-media animated film that wasn't a Disney Fairies movie. The second Little Mermaid  had done well enough to warrant this "prequel." Is it an improvement on Return to the Sea, or should it be silenced? Let's begin with a younger King Neptune (Cummings), his wife Athena (Lorelei Hill Butters), and their daughters and the merfolk of Atlantica and find out...

The Story: After Athena is killed when a pirate ship crashes into the lagoon, Neptune banishes all music from Atlantica. Ten years later, his daughters live by a strict routine, kept up by the governess Marina Del Rey (Field). Marina really wants to take over the job of attache from Sebastian the Crab (Wright), Neptune's right-hand crustacean. Ariel is frustrated and bored with her father's rules and ends up following sweet little Flounder (Parker Goris) to an underground club, where Sebastian and fish and crustaceans have a band.

Delighted, Ariel brings her sisters to the club to let them enjoy music for the first time in their lives. Unfortunately, Marina catches them and spills the beans to Neptune. He destroys the club, arrests Sebastian and the band, and locks the sisters in the castle. Ariel runs away and frees the band, but she decides to go back after she finds a music box that belonged to her mother. She hopes to remind her father how much fun and happiness music brings, but Marina isn't about to give up her position with the king now and sends electric eels to kill Ariel and her friends.

The Animation: While this is a major step-up from Return to the Sea, it's still not at the level of the original Little Mermaid or what they were doing for the big screen in 2008. The colors are vibrant, the characters have fairly mobile expressions - even on the fish and crustaceans - and the backgrounds are far more detailed than in most of the direct-to-home-media movies.  

The Song and Dance: This actually wound up being rather sweet. At least it isn't a full-on rehash of Little Mermaid this time. My favorite character was by far Benjamin (Jeff Bennett), the gentle and lovable manatee who worked with Marina. He was drawn more like a character from Studio Ghilbi, with his big, soft body and tiny eyes, and was such a gentle dear, he almost seemed to come from another movie entirely. I also like that we finally get to know Ariel's sisters somewhat, or at least that they're a bit less interchangeable than they are in the other two films. Sebastian and especially Flounder have some great moments, notably when he's helping Ariel find the music box and Flounder saves everyone from the eels. 

The Numbers: We open with "Athena's Song (Endless Sky)" as Athena sings and plays with her husband and daughters in the lagoon. "Just One Mistake" is Marina's song. She initially sings it in the hope that Sebastian will drop his guard, and she'll be able to take over. Later, she reprises it after he's arrested and she's hired, to her delight. The standard "Jump In the Line" is the bouncy number for Sebastian and the band at the club. It's reprised by Ariel and the band after they flee the castle. Ariel performs the gentle ballad "I Remember" when she finds the music box and tries to recall all the things she did with her mother as a child. We also hear another Calypso standard, "Man Smart, Woman Smarter." 

What I Don't Like: Though better than Return to the Sea, this still isn't all that great. Not only does the story not align with what we see in The Little Mermaid, it doesn't make much sense. Neptune bans music just because his wife was killed by a pirate ship? His banning his daughters from the surface would make more sense. Field's Marina is more annoying than a real threat; Benjamin being a total sweetheart, too much to be hanging around with her, doesn't help there. The music is once again bland, including two Calypso interpolations that could have been done with original music.

The Big Finale: Mainly worth checking out for major fans of this franchise and little girls who can't get enough Little Mermaid and can handle some of the scarier or sadder moments, especially early-on. 

Home Media: Easily found anywhere, including on individual DVD, packaged with Return to the Sea, and on Disney Plus with a subscription.

Tuesday, July 8, 2025

Animation Celebration for Adults - Rock & Rule

MGM/Nelvana, 1983
Voices of Don Francks, Paul Le Mat, Susan Roman, and Greg Duffel
Directed by Clive A. Smith
Music and Lyrics by various

This week, we dive into the weirder side of the 80's with two cult flops from the decade of decadence that deserve to be better-known. Although most people still saw animation as merely children's fodder, there were attempts in the 70's and early 80's to move it beyond princesses and talking mice. We saw one such example with Ralph Bakshi's historical epic American Pop back in 2022. This one didn't start as an adult action fantasy. Canadian animation studio Nelvana originally intended their first animated film, about a post-apocalyptic world evolved from street animals like dogs, cats, and rats. Somewhere along the line, it turned into a hard-rock fantasy for grown-ups that filmed without a script. How does this singularly peculiar animated rock-and-roll epic look nowadays? Let's begin with a narrator (Chris Wiggins) explaining our story and find out...

The Story: Mok Swagger (Francks) is a legendary rock musician who is seeking "one special voice" that will unlock a powerful demon from another dimension. He and his goons return to the village of Ohmtown to see one last band. Turns out the female member, Angel (Roman), has just the voice he needs for his machine. Mok and his henchmen Sleazy (Brent Titcomb), Toad (Wiggins), and Zip (Duffel) lure Angel and the male band members Omar (Le Mat), Stretch (Duffell), and Dizzy (Dan Hennessey) to his mansion. He kidnaps Angel and traps the other three in an energy ball to force her to sing.

After Omar and the other two are thrown out of Mok's mansion, they steal a police car and follow Mok to Nuke York. The cops catch up with them, and they end up in jail. Dizzy's Aunt Edith (Catherine O'Hara) bails them out. Angel escapes with Cinderella (Catherine Gallant), the eager sister of Mok's goons, but Mok gets his claws on her again. He also makes Omar think she doesn't want to be with him anymore and brainwashes him, Dizzy, and Stretch. They finally come out of when Mok moves his concert to Ohmtown due to the huge need for power. Now, it's a race against time as Omar and his friends try to save Angel from the hideous demon, and discover that it takes more than once voice to take down real evil.

The Animation: While still not at Disney's absolute best, this is light-years beyond anything Nelvana was doing on TV at this point. The designs are appropriately hideous and wildly unique at turns, like an urban 80's fever dream crossed with a faded Art Deco print. The special effects, with all its glitter, light beams, and very early CGI, screams "early 80's." The characters move well enough, but even the "good guys" like Omar can sometimes be a little too grotesque - and there's Mok Swagger and his collection of hairpieces and wildly dramatic expressions, too.

The Song and Dance: Well, you can't say this one isn't original. Canada's first dive into English-language feature-length animation is a really weird blend of the unique butting up against the mythic. Mok Swagger alone is something else, with his bony body and ever-changing headgear. Francks gives him just the right tone of oozing menace. Duffel does especially well with Zip, the sweetest of Mok's goons who questions what they're doing, and Gallant is hilarious as party-hearty Angel. 

The Numbers: We open with Omar and his band's noisy hard rock number "Born to Raise Hell." After they're cut off, Angel manages to sneak in her "Send Love Through" which is enough to impress Mok. Toad catches Angel and Omar making love in their car to "Angel's Song." "Hot Dogs & Sushi" introduces us to Mok's enormous and rather ugly mansion. The flickering beams in Lou Reed's "Triumph" is what hypnotizes Omar and the guys. "I'm the Man" takes Omar and the guys to Nuke York in their stolen cop car.

Cindy and Angel get into the nightclub and on the dance floor with "Dance, Dance, Dance." Mok gives us his big scheme at the first concert, complete with female dancers echoing his name, in "My Name Is Mok." "Ohm Sweet Ohm" is Omar's too-sugary song under hypnosis. Angel is forced to perform the "Invocation Song" while drugged at the second concert. "Pain and Suffering" gets scary - and kind of of gross - with freaky imagery and nasty lyrics. It takes Omar and Angel together to reprise her "Send Love Through" and send that freaky demon back where he came from.

Trivia: MGM had little faith in the film, giving it almost no promotion in the US, recutting it, and replacing Omar's original voice Greg Salata with the better-known Paul Le Mat. Needless to say, it was a monumental failure that remained hard to find for years.

What I Don't Like: Hooo boy, calling this one "weird" doesn't begin to do it justice. Some of the creepy, unsettling, or flat-out gross imagery, especially during the demon's arrival, almost pushes this into horror turf. This is most definitely not kiddie animation. There's sex, exposed rears, fairly strong violence, some suggestive humor. Frankly, neither Angel nor especially Omar are all that interesting. Omar in particular is such a jerk, you don't mind seeing him hypnotized all that much. He certainly can't match Mok's theatrical flair. The story is all over the place and occasionally dips into end-of-the-world cliches. No wonder audiences (and MGM) in 1983 had a hard time figuring out what was going on. 

The Big Finale: This dark dive into a wildly strange future isn't for everyone, but fans of Deborah Harry (who is Angel's singing voice) or those wanting to see some really unique adult animation might be willing to give this early 80's fever dream a shot.

Home Media: The US DVD is wildly out of print (though the Canadian copy is available). The best way to see this one in the US is on YouTube.