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.

DVD

DVD - Frosty the Snowman/Frosty's Winter Wonderland

Amazon Prime

Family Fun Saturday - Muppets Most Wanted

Disney, 2014

Starring The Muppets, Ricky Gervais, Ty Burrell, and Tiny Fey

Directed by James Bobin

Music and Lyrics by Bret McKenzie and others

The Muppets were riding high after the enormous success of The Muppets. All of a sudden, they were back, seen everywhere from YouTube to the Disney Parks. Trouble was, they couldn't seem to hang on to that momentum. It took three years for Disney to develop another script for them, and when it came out, though it got some critical praise, it didn't do quite as well at the box office as the first film. Did it deserve that fate, or is there more to this goofy crime caper than meets the eye? Let's begin with the Muppets declaring that what we're about to see is a sequel and find out...

The Story: After their successes in The Muppets, the Muppets really don't know what to do next. Enter theatrical manager Dominic Badguy (Gervais), who convinces them to go on a world tour. Turns out he has more in mind for this than sampling the local customs and cuisine. Kermit is ambushed by Constantine, who is his exact double with a spot on his chin. Constantine glues a spot on Kermit's chin and has him arrested and sent to a prison camp in Russia. Nadya (Fey), the head of the camp, insists on him running the prison talent show.

Meanwhile, Walter, Fozzie, and Animal start to get suspicious when "Kermit" lets the Muppets do whatever act they want, turning their shows into even more chaos than usual. Not to mention, they keep playing shows next to museums that are robbed the next day. Constantine and Dominic have been using their shows to rob artworks from museums, including one that could lead them to the British Crown Jewels. Constantine has also proposed to Miss Piggy...but she's beginning to wonder if this is really her frog. Not to mention, FBI agents Sam the Eagle and Napoleon (Burrell) think the Muppets are involved with the thefts and are after them as well.

The Song and Dance: I give them credit for not only going with a more original story this time, but putting more focus on the Muppets themselves. One of my biggest problems with the first movie was it focused a little too much on the humans and not enough on the Muppets. Here, though Gervais, Burrell, and especially Fey are having a lot of fun as the art thief, not-so-super spy, and devoted Russian prison guard, it's the Muppets who really take center stage. Some great costumes and cinematography, too, especially the actual shots at the real Tower of London.

The Numbers: Though we do get a bit of the previous film's "Life's a Happy Song" in the opening, this segways into the massive spoof of sequels and opening numbers in movies, appropriately titled "Let's Do a Sequel." Constantine and Dominic both claim "I'm Number One" as they relate their complicated art theft plot. We get a bit of "The Muppet Show Theme" at each stop, re-written and staged in the appropriate language. "The Big House" is Kermit's big chorus number for the talent show at the Gulag. "I'll Get You What You Want (Cockatoo In Malibu)" is Constantine and Dominic telling the Muppets that they'll give them everything they ever wanted...for a price. 

"Macarena" is Piggy's big, outrageous Spanish number, complete with her in a lacy mantilla. "Interrogation Song" begins with Napoleon and Sam questioning the Muppets, and ends with them concluding that they're all too dumb to mastermind anything more complicated than their numbers for the show. "End of the Road" is an attempt at a big, dramatic number for the prisoners at the Gulag. It's a bit...off-putting, to say the least. Their "I Hope I Get It" is only slightly less weird. The Penguins think they have the "Moves Like Jagger." Piggy's "My Heart Will Go On" at the piano is disrupted by Constantine's sudden proposal of marriage. Piggy and the other Muppets wonder in London how "Something So Right" can feel so off. 

Kermit finally escapes the Gulag via the number "Working On the Coal Mine." The finale at the Gulag gives us a slightly re-written "Together Again" from Muppets Take Manhattan, this time with the Muppets and prisoners joining in.

What I Don't Like: Ok, this is weird even by Muppet standards. It feels like they're throwing together bits and pieces of everything from Muppets Take Manhattan to The Pink Panther and seeing if they'll stick. The new music, while not bad, isn't quite as catchy as the previous movie...and the wacky caper plot lacks the sheer heart of the relationship between Walter and his brother in the previous movie as well. Plus, see the previous movie's complaint about every Muppet project after Jim Henson's death being scrutinized for how it treats the characters.

The Big Finale: While not quite at the heights of the previous film, it's certainly far from terrible, and deserved better than it got at the box office in 2014. Fun for families, older kids, Muppet fans, and fans of the previous film. 

Home Media: Easily found on all formats, including Disney Plus with a subscription. 

DVD

Blu-Ray

Disney Plus

Musicals On Streaming - Hollywood Stargirl

Disney, 2022

Starring Grace VanderWaal, Judy Greer, Elijah Richardson, and Tyrel Jackson Williams

Directed by Julia Hart

Music and Lyrics by various

Disney put a sequel into development almost immediately when they saw how well Stargirl did during the pandemic. Though author Jerry Spinnelli did write a sequel to the Stargirl book, Love, Stargirl, Disney opted to create their own story that followed what Stargirl and her mother did after they left Arizona. So, what did happen after the duo packed up and moved to Hollywood? Let's begin as they're leaving and find out...

The Story: Stargirl (VanderWaal) is thrilled when her mother Ana (Greer) gets a permanent job as the costume designer on a movie and settles them in a Los Angeles apartment building. She manages to befriend gruff old Mr. Mitchell (Judd Hirsch), a former producer who lives downstairs, and Roxanne Martel (Uma Thurman), whom she shares drinks with at table six in a local restaurant. Evan (Richardson) and his older brother Terrell (Williams) are so impressed when she sings at the bar, they ask her to star and write music for the movie they're hoping to make. After Stargirl tells Roxanne her song is one of her favorites, she encourages her to write her own, then records it. Stargirl is thrilled when Terrell gets a deal for his movie...but then Ana's movie shuts down production, and she may have to leave all over again.

The Song and Dance: First of all, kudos to Disney for trying an original story this time. VanderWaal and Greer are the stand-outs as the free-spirited teen who befriends everyone she meets and the mother who thinks she's living her dream, until it turns out to be a lot harder than she thought. Thurman also works well as the one-hit-wonder who sees a protege and a major talent in Stargirl. Gorgeous location shooting in the real Los Angeles and Hollywood is a major plus, giving us all the laid-back, candy-colored west coast hipness.

The Numbers: We open with "Just What I Needed," first performed by Stargirl, then in its original version by the Cars, as her mother drives them to California. "Everywhere" by Fleetwood Mac provides the backdrop for Stargirl's first time exploring her new neighborhood, including making a new friend on the bus. After the director on her mother's film is rude to her, she cheers herself up by playing "Make Your Own Kind of Music" at the apartment. A brother-sister duo perform a nasal "No Myth" before Stargirl gets up to the crowd and sings Brian Wilson's "Love and Mercy." We pick up briefly with the original "Love and Mercy" as Evan and Stargirl admire the view from the hills. 

Stargirl convinces Terrell to let her listen to Roxanne's only hit "Miracle Mile" on the cassette player in his car. Not only does she love it, but the boys are impressed, too. After Roxanne says they can't use "Miracle Mile" on their film, Stargirl writes "Figure It Out," which provides the backdrop for Terrell's initial filming on his phone camera. Roxanne and Stargirl create their own band and play Blondie's "Dreaming" at Roxanne's club. The movie ends with the kids finally making the movie they want to make as Stargirl wonders "Heaven Knows" how their story will end.

What I Don't Like: Stargirl way too easily charms away any conflict. The last ten minutes with her mother leaving comes the closest, but even that is too quickly solved after a long talk between mother and daughter. The director on Ana's movie is the only person who doesn't succumb to her quirks, and we see him for all of five minutes. I kind of wish she had to work a little harder to gain Mr. Mitchell and Roxanne's favor. I highly doubt a major studio would buy the kids' phone-filmed movie, either, which mainly seems to consist of them chasing each other and kissing, let alone offer a million dollars for it. 

The Big Finale: I liked the first movie slightly better, but both are worth checking out for fans of coming-of-age stories or unique teen romances.

Home Media: Same deal. It can be found pretty much everywhere on streaming but Disney Plus.

Amazon Prime

YouTube

Animation Celebration Saturday - The Lion King II: Simba's Pride

Disney, 1998

Voices of Neve Campbell, James Marsden, Matthew Broderick, and Suzanne Pleshette

Directed by Darrell Rooney

Music and Lyrics by various

In honor of the Lion King prequel Mufasa that's currently in theaters, we're jumping back to another attempt to extend the Lion King franchise. Honestly, this follow-up makes more sense than some of the other random direct-to-home-media sequels Disney put out in the 90's and early 2000's. The Lion King is their own material, not a fairy tale that was never meant to be continued, and the original film does end with the birth of a new Lion King. 

In fact, considering that film's overwhelming success, it might have been more surprising if they didn't release a sequel to it. Is it worthy of the first film, or should it be banished to the Outlands? Let's begin where the first film left off with the birth of Simba (Broderick) and Nala's (Moira Kelly) daughter Kiara (Michelle Horn) and find out...

The Story: Kiara is tired of her father constantly hovering over her and not letting her leave his sight, so she wanders to the Outlands to escape him and her bodyguards Timon (Nathan Lane) and Puumba (Ernie Sabella). She befriends a smaller cub named Kovu (Ryan O'Donahue) who saves her from a crocodile-filled river. Simba comes to rescue her, only to discover that Kovu's mother is Zira (Pleshette), a follower of Scar. Zira's training Kovu to kill Simba and allow her to regain the throne.

Years later, the adult Kovu (Marsden) once again rescues Kiara (Campbell), this time from a wildfire set by his sister Vitani (Meredith Scott Lynn) and his brother Nuka (Andy Dick). Simba does let Kovu join the Pridelanders, even though he doesn't trust the younger lion. Rafiki (Robert Gulliame), who has been instructed by the spirit of Mufasa (James Earl Jones) to bring Kiara and Kovu together, does his best to introduce them to "upendi" (Swahili for "Love") while Kovu trains Kiara as a hunter.

Their love is challenged when Zira and the Outlanders attack Simba. Simba thinks Kovu initiated it and banishes him. Horrified, Kiara goes off in search of Kovu, while Timon and Pumba follow her. It's the two lovers who finally bring everyone together to show that, no matter whom they follow, they're all still lions deep down and aren't all that different from one another.

The Animation: This isn't bad, per se, but it's far from great. Even The Lion Guard Disney Jr. TV show from 15 years after this had more detail and better movement. Like all of the Disney direct-to-home-media sequels from this period, it looks like a Disney Channel cartoon. It's colorful and the animals still remain very expressive (especially Timon and Pumba), but the backgrounds aren't nearly as detailed.

The Song and Dance: Given its made-for-TV pedigree, this is probably better than it has any right to be. Pleshette is definitely having the most fun as the angry and scheming Zira. Dick is also good as her equally nasty older son who laments that he should have been "the Chosen One" who followed in Scar's paw prints. Broderick is even more interesting here as a Simba grappling with raising a feisty daughter and how to deal with the specter of his past than he was in the first film. The majestic opening number "He Lives In You" is far and above the best song in the score. It was taken from the cassette Rhythm of the Pride Lands and has far more African flavor than anything else in the film. 

The Numbers: And we open with "He Lives In You" as we see Kiara's birth and its aftermath. Simba teaches his daughter how "We are One" after her harrowing adventure in the Outlands. "My Lullaby" is anything but soothing as Zira reminds her children of their place and what she's trained them for. Rafiki teaches Kira, Kovu, and all of the Pridelands about "Upendi" in the film's big chorus number. The other chorus routine is "One of Us" as Kovu is accepted into the Pridelands. Kira and Kovu hope "Love Will Find a Way" and reunite them for good.

What I Don't Like: This is cliched as heck, and nothing you haven't seen before. Timon and Pumba basically have nothing to do besides a few moments chasing Kiara. They don't even get a comic song this time. The delightfully nasty Zira and troubled Simba are shoved aside in favor of the bland Kiara and Kovu. "He Lives In You" and to a lesser degree "We are One" are the only songs of even mild interest. "Love Will Find A Way" is an imitation "Can You Feel the Love Tonight" that's just as dull as the characters singing it.

The Big Finale: Mainly of interest to huge fans of anyone in the cast or the original animated Lion King or Lion Guard. 

Home Media: Easily found on all formats, including streaming on Disney Plus.

DVD

Blu-Ray

Disney Plus

Animation Celebration Saturday - Moana 2

Disney, 2024

Voices of Auli'i Cravalho, Dwayne Johnson, Hualalai Chung, and Rose Matafeo

Directed by David Derrick Jr, Dana Ledoux Miller, and Jason Hand

Music by Abigail Barlow and Emily Bear

Apparently, this one had a bit of a convoluted trip to the big screen. It began as a limited series for Disney Plus, but Disney was so impressed with the animation, they strung the episodes into a full-length movie in February. It's done wildly well against heavy Thanksgiving competition in theaters, but critics aren't as impressed. How does Moana's second adventure in the South Seas come off? Let's begin, not with Moana, but with demi-god Maui (Johnson) in trouble and find out...

The Story: Moana (Cravalho) returns to her beloved island home and her little sister Simesa (Khaleesi Lambert-Tsuda) who adores her. She's about to receive the title of Wayfinder when there's a massive lighting storm. During the storm, she sees a vision of her ancestor Tataui Vasa (Gerald Ramsay) revealing why she's found no other people traveling the seas. Storm god Nalo (Tofiga Fepulea'i) pulled the island Motufetu that connected all islands into the sea, and the people of her island will go extinct if she can't find it. 

Deciding that this adventure is too big for just her, she corrals a crew that includes historian, artist, and Maui fan boy Moni (Chung), craftswoman Loto (Matafeo), and grumpy farmer Kele (David Fane), and sets off across the Pacific to find the island. They're first captured by the coconut pirates from the first film, then by a giant monster clam. They rescue Maui from the clam, and Moana is aided by goddess Matangi (Awhimi Fraser) and encouraged to think outside the box. When Maui insists he can raise the island and Moana should be the first to touch it, she'll need every ounce of intelligence and strength to get to that island...and remember that we're all connected to our past and to other people on their own journeys.

The Animation: This was made for streaming? No wonder Disney wanted to push this on the big screen. It's gorgeous. Every wave glows, every hair and blade of grass looks stunningly real. Everyone moves well, including the gods and other fantasy characters. Maui's famously funny moving tattoo has somewhat less off a role this time, but it's still animated well and has a few good moments.

The Song and Dance: That lovely animation really carries the day here, along with some decent performances and the glimpses of South Seas culture. Cravalho and Johnson have just as much fun this time around. They do especially well in the sequence after they're stranded on the island and Maui finds himself having to cheer up a despairing Moana. Of the newcomers, Matafeo and Fraser come off the best as the quirky boat designer who is constantly trying to take everything apart and the vengeful goddess who is willing to help Moana in order to get out of that clam.

The Numbers: We open with "We're Back" as the villagers await Moana's arrival. Moana describes the world "Beyond" for her little sister before the storm. She insists "What Could Be Better Than This?" to her squabbling crew as they begin their journey. Matangi encourages Moana to "Get Lost" in the center of the clam and not be afraid to make mistakes. "Can I Get a Chee-Hoo?" insists Maui as he attempts to put a smile on Moana's face. "Beyond" is heard again when she finds the island and in the end credits.

What I Don't Like: At times, it's too obvious that this is six episodes of a streaming mini-series strung together. Most of the plot is even more meandering than the first film, and the incidents with the coconut pirates and the clam pop up with no rhyme or reason. Moana's crew doesn't really have all that much to do, either, nor do we get to know them that well. 

It feels like a far more advanced version of the "movies" Disney put direct-to-home-media in the 90's and early 2000's that were episodes of canceled series strung together. While I appreciate Disney using their first all-female songwriting team, I'm afraid the songs they came up with are only so-so, and not nearly as memorable as Lin-Manuel Miranda's music for the first film. 

The Big Finale: Even with the meandering plot and so-so music, it's still worth seeing on the big screen for the stunning animation and some terrific performances, particularly for fans of the first film or those with young girls who are looking for female-oriented action.

Home Media: No listings for the actual film yet, but the soundtrack will be released on physical media in January. 

CD soundtrack

Animation Celebration Saturday - The Hunchback of Notre Dame II

Disney, 2002

Voices of Tom Hulce, Jennifer Love Hewitt, Michael McKean, and Haley Joel Osment

Directed by Bradley Raymond

Music and Lyrics by various

Here's another movie from that period between 1994 and 2008 where Disney made direct-to-home-media sequels for every single animated film it ever did. Critics took shots at them even then, but they were wildly popular with kids who couldn't get enough of their favorite Disney characters. Nowadays, while a few of them are mildly well-regarded, they mostly look like the chintzy cash-grabs they are. Where does Hunchback II fall in the pack? Let's begin back in Paris six years later as the citizens prepare for "Le Jour d'Amour," the Day of Love, and find out...

The Story: Quasimodo (Hulce) is glad to take care of his friends Esmerelda (Demi Moore) and Phobeus' (Kevin Kline) energetic son Zephyr (Osment), but he's still often alone with his bells. He's especially proud of the largest and most elaborate bell, La Fidelitie, which is gold and studded with gems inside. He'll ring it to begin the Festival of Love.

Zephyr is especially excited when a circus comes to town. Quasimodo is more interested in Madellaine (Hewitt), the beautiful assistant for magician Sarousch (McKean). Madellaine is frightened by Quasimodo at first, but then he shows her around Paris and she sees him taking care of Zephyr and realizes how sweet he is. Meanwhile, Phobeous has been searching for the thieves who have stolen valuables from people all over the city. Zephyr and Quasimodo don't want to believe it when he learns that Madellaine and the circus are involved in the thefts, until Quasimodo realizes that the bell is gone. When Zephyr goes after the thieves, Madellaine has the chance to prove her worth and show that real love requires looking far deeper into a person than what's on the surface.

The Animation: Talk about cheap. It looks like one of Disney's animated TV shows of the time. Most of the characters are off-model. The colors are lovely, but the backgrounds lack the sumptuous details that went into the original. They move stiffly, too, and lack the expression of the original film. 

The Song and Dance: I'm surprised they managed to get such a great cast for this. Not only is most of the original cast back, but they added then-hot child and teen stars Osment and Hewitt and comedian McKean. McKean's making the most of his limited material as the greedy magician who is more interested in making people's valuables disappear than making them happy. Madellaine and Quasimodo's relationship is surprisingly sweet, even when you can see where it's going from a mile away. And while the music isn't great, I do kind of like Quasi's "Ordinary Miracle." 

The Numbers: We open with "Le Jour D'Amour" as Clopin and the cast explains about the festival and its importance. Quasimodo tells Madellaine his feelings about how "An Ordinary Miracle" can change someone's life. "I'd Stick With You" is Quasimoto's buddy song with Zephyr, letting Madellaine see how cute their friendship is. "Fa La La Fallen In Love" turns into a huge chorus number in the rain as the gargoyles gush over Quasimodo's new girlfriend and half of Paris dances around the two in the rain. The movie ends with Hewitt's self-penned ballad "I'm Gonna Love You" over the credits. 

What I Don't Like: This screams "watered-down rehash" at the top of its lungs. Madellaine is neither well-drawn, nor all that interesting despite her troubled past. She looks as bland as she is. The gargoyles don't fit in any better here than they did in the original. Their material is still a little too vaudeville for medieval France. The dialogue is often clumsy, the animation is barely Saturday-morning level, and other than the lovely "Ordinary Miracle," the songs are totally unmemorable, especially Hewitt's too-sugary end title ballad.

The Big Finale: Unless you're a really huge fan of Hunchback of Notre Dame, you can easily pass on this one.

Home Media: Easily found on all formats. It's on Disney Plus with a subscription.

DVD

Blu-Ray - The Hunchback of Notre Dame/The Hunchback of Notre Dame II Special Edition

Disney Plus

Joker: Foile a Deux

Warner Bros, 2024

Starring Joaquin Phoenix, Lady Gaga, Catherine Keener, and Harry Lawtey

Directed by Todd Phillips

Music and Lyrics by various

We leap into rougher territory this week with a mystery and a psychological thriller that explore the darker side of the traditional musical. Joker, with Phoenix as a failed stand-up comedian-turned killer, was not the first movie you'd associate with musical numbers. In fact, DC originally intended it to be a stand-alone movie, though there was talk of it launching a "DC Black" series. Director Phillips was the one who thought there was more to the story and brought in Gaga as Joker Arthur Fleck's love interest and added the dance routines in their heads. Was he right that there's more to Fleck's story, or should he have let sleeping clowns lie? Let's begin in Looney Tunes-style animation as Fleck (Phoenix) tries desperately to avoid his nefarious shadow and find out...

The Story: Fleck first encounters Harleen "Lee" Quinznel (Gaga) in the choir room at Arkham Asylum. They're attracted to each other at the start, despite Harleen lying to him about her home life and where she comes from. Arthur has more problems than her obsession with him, though. His lawyer Maryanne Stewart (Keener) wants to argue that he's mentally unstable and created the Joker personality to cope with his abusive childhood. Lee insists that he IS the Joker, and so does devious district attorney Harvey Dent (Lawtey). 

The media hype and clown-masked fandom surrounding Arthur's trial is so intense, it's one of the first to be broadcast live. Under Lee's influence, Arthur briefly reverts to his Joker persona, leading a revolt at Arkham and firing Maryanne. The guards at Arkham, however, are not amused. Their damaging attack makes Arthur wonder if Lee really wants to build a mountain with him...or only wants to be entertained by the Joker.

The Song and Dance: And that and the genuinely cool opening cartoon sequence are the highlights here, along with Lady Gaga and Phoenix's intense performances as the troubled pair in question. The lounge acts and R&B songs parody both the cheesy scarlet and gold variety aesthetic of the movie's 70's-early 80's setting and the cheerier numbers from 50's and 60's musicals like The Band Wagon (which is seen twice, including when Lee sets Arkham on fire) and Sweet Charity. The terrific period-appropriate costumes add a much-needed shot of color to the depressing gray sets and dark score.

The Numbers: We open with a medley of "Slap That Bass," "Get Happy," and "What the World Needs Now" in the cartoon sequence as the Joker tries to dodge and fights with his shadow, who ultimately takes over his act. Our first number proper is "For Once In My Life," as Arthur revels in Lee's attention to him. They perform "Get Happy" with the choir after he's declared sane enough to join. Lee is thrilled as they dance for the first time, literal sparks coming from the fire as she crows "If My Friends Could See Me Now." Lee also gets Lady Gaga's own "Foile et Deux," written directly for the film and performed during the sequence when Arthur imagines them dancing in the moonlight Fred Astaire and Ginger Rogers style, with him in his Joker costume. 

Arthur goes into the Rogers and Hart standard "Bewitched, Bothered, and Bewildered" during a talk show interview to explain his feelings for Lee. Lee sings "That's Entertainment" twice, the first time after the show. "When the Saints Go Marching In" is heard three times, notably as Arthur leads his revolt in the cafeteria, dancing on tables. Arthur sings the standard "When You're Smiling" on his way to the trial, revealing how happy he is with Lee. They do the R&B standard "To Love Somebody" on a stage surrounded by musicians, with her in ruffled early 70's garb and him in his Joker outfit...until she shoots him in the gut. 

She sings "Close to You" when she comes to see him at Arkham; he joins in, but it doesn't seem to reach his eyes like before. He laments being "The Joker" in a shadowy night club act parody. They're "Gonna Build a Mountain" in a huge variety act that includes her on the piano while he tap-dances in his big clown shoes for the crowd. Lee and his follower at Arkham claim "I've Got the World On a String" after Arthur fires his lawyer and returns to his Joker persona. "If You Go Away" is Joker's song after he's attacked and he's decided who he really is. "That's Life" is heard twice, earlier in a montage at Arkham performed by Frank Sinatra, and near the end by Lee. Arthur finishes with "True Love Will Find You In the End."

What I Don't Like: For a flashy musical inspired by cheesy variety shows, this is one depressing as heck movie. Lee and Arthur's colorful fantasies and the terrific music aren't enough to offset the dull sets and relentlessly grim outlook. The ending isn't much fun, either. Though I do appreciate that Lee and Arthur's relationship isn't as abusive as it tends to be elsewhere, I also fully agree with Lee and think Arthur should not have renounced his Joker persona. It doesn't suit the character or, from what I gathered, the first film. 

In fact, I haven't seen the first movie, but apparently a lot was changed between films, including some plot threads there that aren't picked up here. There's also the fact that, despite being second-billed, Lady Gaga simply doesn't have quite as much to do as Phoenix, and the movie runs way beyond too long and should have left some of those numbers on the cutting room floor. 

The Big Finale: There's a reason this is flopping big-time right now. Good numbers aren't enough to offset the grim plot, obnoxious characters, and a movie that is as confused about its identity as Arthur is. For major fans of Lady Gaga or DC Comics only. Everyone else can look for the soundtrack or Lady Gaga's album "inspired" by this film, Harlequin. 

Home Media: It's currently available for pre-order at Amazon.com.

DVD

Blu-Ray

4K

Animation Celebration Saturday - The Fox and the Hound 2

Disney, 2006

Voices of Patrick Swayze, Reba McEntire, Jonah Bobo, and Harrison Fahn

Directed by Jim Kammerud

Music and Lyrics by various

Even Fox and the Hound got a sequel during the late 90's and 2000's, when Disney was obsessed with giving every movie in its back catalog a direct-to-home-media follow-up. Critics complained that they were cheapening the brand, but they were consistent money-makers. This one came out during the tail-end of that era, when the quality had started to improve slightly. Was it enough to help this tale of Tod and Copper's adventures with a country band at the local carnival? Let's begin with Tod and Copper playing together on a summer's day, chasing crickets, and find out...

The Story: Tod and Copper are excited when the fair comes to town, especially with a group of dogs known as the Singing Strays. Copper gets a chance to join the group after diva dog Dixie (McEntire) refuses to go on. He's such a hit, head dog Cash (Swayze) fires her and hires Copper on the spot after Tod lies and says he's a stray. Tod's so disappointed when his friend spends the whole day with Cash and the Strays, including the fireworks, he tells Dixie Copper has an owner. 

Dixie thinks this is a way to get back with the band, but Tod's attempt to bring Copper's owner Amos Slade (Jeff Bennet) to the performance ends up driving off the Grand Ol' Opry talent scout (Stephen Root) who was supposed to come see them sing. After Tod ends up with the scout's hat, he gets Copper to use his tracking skills and bring Dixie and Cash back together...and make them understand that their relationship and love of singing is more important than any fame.

The Animation: Lovely, warm fall colors almost make up for a distinct lack of detail. In fact, in some ways, this looks a bit better than the rough animation from the original. They were just starting to phase out the Xerox process when they made the 1981 movie. This came long after that had been retired, and it doesn't look half-bad for one of these cheap transfers. The characters look decent and move pretty well, though you do miss the lovely woodsy backgrounds of the original.

The Song and Dance: This wound up being a lot more fun than I expected. As I mentioned last week, The Fox and the Hound was never my favorite Disney movie to begin with, and this does correct some of my problems with that film. Dixie, Cash,  and the Singing Strays are far more interesting characters in the side plot than the two birds chasing a caterpillar in the first film. The country music fits the rural milieu better than Pearl Bailey and her languid ballads did, too. Frankly, the music always did seem a bit out of place in the first film. Tod and Copper have slightly more to do, especially Copper, and Bobo and Fahn are adorable. Swayze and McEntire are the stand-outs as the two dogs who get so caught up in chasing fame, they forget that their true loves are performing and each other.

The Numbers: We open with "Friends for Life," performed by country group One Flew South as Tod and Copper romp and play with the cricket in the beginning. Copper breaks into "We're In Harmony" and becomes an instant sensation. Swayze and the chorus sing about him being a "Hound Dude" at the fair. Frustrated Dixie tells Tod how she's been constantly told "Good Doggie, No Bone!" and that life as a musical act is no bed of dog bones. Trisha Yearwood sings the dark "Blue Beyond" as Dixie realizes all the trouble she's caused and Tod realizes he's ready to make up with Copper. "We're In Harmony" is heard twice in the ending, when Dixie and Cash get together and the group shows the talent scout how good they are, and in the finale as Tod and Copper hear them over the radio. The movie ends with Lucas Grabeel singing "You Know I Will" over the credits.

Trivia: This would be the last Disney film to feature the blue and white castle logo they'd used for over twenty years.

What I Don't Like: At times, it's a lot more apparent that this is a direct-to-DVD sequel to a movie that wasn't all that great to begin with. While it is nice to see Tod and Copper having fun before their break-up, you barely see Amos Slade or the Widow Tweed, Slade's older dog Chief has maybe two lines, and Big Mama and her two bird friends are gone all together. It's hard to see how this upbeat little romp fits into the original dour, dark story. It feels more like a stand-alone movie than any kind of sequel. 

The country music may suit the setting, but it still isn't all that great. Dixie and Cash can be unbearably self-centered, especially Dixie, and their quest for fame seems petty and cliched. The remaining three strays aren't nearly as fleshed out, though Vicki Lawrence has her moments as the eldest member Granny Rose. 

The Big Finale: I consider this to be less of a sequel and more of a stand-alone story that happens to feature Tod and Copper. If you have country fans or younger kids who will enjoy the music and Tod and Copper's antics, this is mildly worth checking out once for the cast and decent numbers. 

Home Media: Easily found on disc packaged with the original and on Disney Plus with a subscription.

DVD

Blu-Ray - The Fox and the Hound/The Fox and the Hound 2

Disney Plus

Animation Celebration Saturday - Rio 2

20th Century Fox, 2014

Voices of Jesse Eisenberg, Anne Hathaway, Andy Garcia, and Jermaine Clement

Directed by Carlos Saldanha

Music and Lyrics by various

Rio was a smash in 2011, one of the biggest animated films of that year. It was likely inevitable that it would get a follow-up, especially after "Real In Rio" was nominated for an Oscar. This one proved to be an even bigger hit, one of the biggest of 2014. Is it as much fun as Rio was, or should this one get cut down? Let's begin back at Rio as everyone prepares to celebrate the New Year and find out...

The Story: The birds are celebrating when Linda (Leslie Mann) and Tulio (Rodrigo Santoro) are exploring the Amazon. After a close encounter with a waterfall, they discover a Spinx Macaw feather, proving there's more out in the wild. After hearing about it on TV, Jewel (Hathaway) thinks she and her family should search for their relatives in the Amazon. Blu's not crazy about the idea, but their children love it. They're joined by Rafael (George Lopez), Nico (Jamie Foxx), and Pedro (will.i.am), who are scouting performers for their big Carnival showcase. 

They eventually discover the Macaws living in an uncharted part of the Amazon. Jewel's father Eduardo (Garcia) is happy to see his daughter again, but thinks Blu is too domesticated and tries to teach him the ways of the jungle. He doesn't trust humans after loggers destroyed their original home. Blu being so close to Linda makes him suspect, especially after he accidentally causes a war with their rivals the Scarlet Macaws. Blu's knowledge of human technology is more useful than Eduardo wants to admit when they're attacked by the same loggers who burned their original home. Nigel (Clement) is still out there, too, looking for revenge with poison dart tree frog Gabi (Kristen Chenoweth) and anteater Charlie.

The Animation: Just as gorgeous this time around, and probably the best thing about this. The musical numbers, with the many birds in Busby Berkeley formations, are beautifully rendered. There's gorgeous details in the Amazon and in Rio as everyone celebrates the New Year. The birds flying to the Amazon is especially lovely as they soar around familiar landmarks and shining waters.

The Song and Dance: Once again, it's the supporting cast who really shine. Bruno Mars is usually a singer, but he manages to acquit himself relatively well here as Jewel's macho childhood friend whom her father wishes she'd married. Garcia also does well as Jewel's militant father. The three kids are hilarious, especially when talking their father into going on a jungle trek. There's some nice action sequences, too. The finale with the birds helping Linda and Tulio attack the loggers is well-composed and genuinely exciting.

Favorite Number: We open with a huge New Year's celebration in Rio to "What Is Love," with the cast dancing and Blu trying to stop his kids from shooting off fireworks (and not succeeding). "Let Me Take You To Rio" gives us a creative montage of the birds flying to the jungle via Blu's GPS and creative pop-up pictures from his daughter's book. "Poisonous Love" is Chenoweth's big solo as Gabi trills to the Nigel, the object of her affection (and obsession). Mars gets to pour his voice into "Welcome Home" as Roberto, Jewel's childhood friend, does just that. 

"Beautiful Creature" is the flock's song, apparently one that they've performed so often, "it's in our blood." This is where the Busby Berkeley comes in as we see the birds flying in lavish formations. Nico and Pedro's attempts at finding an act dig up everything from a mosquito orchestra to a capybara who sings "Memory," but each and every one gets eaten or killed. Gabi and Nigel have far more luck with their more dramatic "I Will Survive." "Bola Viva" is the big soccer match between the birds for their home. The movie ends with a reprise of "What Is Love," this time performed with all of Nico and Pedro's discoveries in the jungle.

Trivia: Disney supposedly has a third movie in development. 

What I Don't Like: Can we say "cliched?" Basically, this is mining any fish-out-of-water tropes they didn't hit in the first movie. I don't know why Jewel had such a hard time respecting Blu's wishes and treated him so badly after they found her family. The Macaws were no prizes, either, especially Eduardo. They barely let the guy have the chance to explain anything. 

The side stories with Pedro and Nico looking for talent and Nigel's revenge plot are shoved in to give those characters something to do and have nothing to do with anything. In fact, Nigel is reduced to a goofy comic relief character here with the annoying Gabi after being one of the scarier villains in the first film. They probably could have eliminated Gabi, Charlie, and Nigel all together with no one the wiser. There's also all the violence in the finale and with the gruesome deaths of the animals who sing for Pedro and Nico in the jungle being a bit scarier than the "G" rating warrants. 

The Big Finale: Same deal here. If your older kids love animal stories or birds or are interested in learning about other cultures, these are worth checking out once for the songs and animation alone.

Home Media: Easily found on all formats, this time including Disney Plus.

DVD

DVD - Rio 2-Movie Collection

Blu-Ray

3D

Disney Plus

Happy 4th of July! - Lady and the Tramp II: Scamp's Adventure

Disney, 2001

Voices of Scott Wolf, Alyssa Milano, Jeff Bennett, and Chazz Palminteri

Directed by Darrell Rooney and Jeannine Roussell

Music by Melissa Manchester; Lyrics by Norman Gimbel

It's time to celebrate the 4th with friends, fireworks, and a reminder of how important our families are. This came out during the run of animated sequels Disney released on video from 1994 through 2008. Unlike most of these films, this one is not without precedence. Lady and Tramp's son Scamp and his three puppy siblings were familiar characters in comic books and strips from shortly after the release of the film in 1955 through 1988. This would be their first appearance in a movie since their brief cameos at the very end of the original film. How well do they work out in this story of how Scamp wants to break out and lead the wild life? Let's begin as the residents of their sleepy New England town welcome us to their homes and find out...

The Story: Scamp (Wolf) is tired of all the rules imposed on him by his parents and their owners, especially his worried father (Bennett). He wants to run wild with the stray dogs in town and have the same freedom they appear to. After he slips his chain, he falls in with a group of tough junkyard dogs. Their leader Buster (Palminteri) had once been Tramp's best friend, but he now resents him for having left his buddy for Lady. He gives Scamp a series of tests to prove he's worthy of being a junkyard dog. Scamp's delighted at first, until he falls for the gang's sole female member Angel (Milano) and his father confronts Buster, and he starts to wonder if freedom is really all it's cracked up to be.

The Animation: A major come-down. The characters move all right and have the same expressive faces as the original, but the backgrounds lack the detail that made the original so wonderful to look at. It looks more like the Mickey Mouse Works TV shorts of this time period than a feature-length animated film from the time. That's appropriate for its low-budget origins, but is disappointing compared to the exquisite animation of the original.

The Song and Dance: For all the familiar story, there are a few good things here. Milano makes a funny and charming Angel, while Bennett does well as the concerned Tramp. For all the cheap animation, they do manage to give it the same feel of elegance as the original, and it has a slightly slower and gentler pace that's actually rather charming. Angel's story - she's been adopted five times, only to be abandoned - is sweet and even sad. The music for the most part manages the appropriate period air, especially "Junkyard Society Rag." 

Favorite Number: We open with the residents of the New England town where the characters live as they tell us about their lives and the big 4th of July picnic coming up in "Welcome Home." Scamp (dubbed by Roger Bart) sings about a "World Without Fences" after he ends up on the chain, imagining himself roaming free with the strays who pass his home. "Junkyard Society Rag" is for the strays as they sing about their supposedly free life with no masters. 

"I Didn't Know I Could Feel That Way" is the big romantic duet for Scamp and Angel (dubbed by Susan Egan). They even end up eating spaghetti at Tony's like Lady and Tramp. "Always There" is the heartfelt trio for Angel, Scamp, and Tramp after Scamp ends up in the pound as Angel wishes she had a family, Tramp wishes he could talk to his son, and Scamp wishes he'd never left home. The movie finishes with a reprise of "Welcome Home" as Jim Dear (Nick Jameson) and Darling (Barbara Goodson) finally wash Scamp and Angel is officially welcomed into the family. "Belle Note" plays over the credits.

What I Don't Like: My biggest beef with this, other than it more-or-less being a gender-reversed rehash of the original, is the finale. We do get a good action sequence with Tramp breaking Scamp out of the pound, but...nothing really happens after that. They barely confront Buster in the end, and I think he could have gotten into a lot more trouble than just his gang walking out on him. 

There's also the ridiculous dogcatcher who keeps chasing the strays. He's drawn to look like - and Bennett makes him sound like - Don Knotts. Hardly the intimidating dog catchers just barely glimpsed in the original. His antics are annoying and are basically filler. "Didn't Know I Could Feel That Way" stands out as an out-of-place late 90's power ballad amid the relatively period numbers, and none of the songs are especially interesting or memorable. And what age are Scamp and Angel supposed to be again? They're small like puppies, but Wolf and Milano make them sound like adults, and the falling in love thing doesn't help there either. 

The Big Finale: While not great, the heartfelt story and some decent characters help make this one of the more tolerable of the Disney direct-to-home-media sequels from the 90's and 2000's. Worth a look before your own 4th of July picnic for fans of the original or kids who love animal stories. 

Home Media: While it is on DVD and Blu-Ray, your best bet will likely be Disney Plus if you have a subscription. 

DVD

Blu-Ray

Disney Plus

Animation Celebration Saturday - Tom & Jerry: Back to Oz

Warner Bros, 2016

Voices of Grey Griffin, Joe Alasky, Jason Alexander, and Michael J. Gough

Directed by Spike Brandt and Tony Cervone

Music and Lyrics by various

I was actually looking forward to this one. I've wondered why the many sequels to The Wizard of Oz aren't adapted more often. Disney's delightfully macabre Return to Oz is one of my favorite movies. Perhaps that movie's failure in the mid-80's scared filmmakers away from diving further into the Oz mythos than the first book, or they believe it's impossible to compete with the still-popular 1939 version. Warners decided to give it a shot with their own version of several follow-up Oz novels, once again featuring Tom & Jerry. How do they do with another Oz tale? Let's begin back in Kansas and find out...

The Story: Dorothy wishes someone would listen to her when she tells them about Oz. Her aunt, uncle, and the farmhands think she's just talking about her dream. There's a lot more trouble than her wanting more responsibility when Mr. Bibb (Alexander) comes with his barbecue truck and tries to take their animals. Dorothy wants to help, but her aunt and uncle say she's too young and leave her behind while they try to figure out what to do.

Turns out the Gale Farm isn't the only place under siege. Oz was attacked by the Nome King (Alexander), who wants to use the magic of the Ruby Slippers to take back the emeralds from the Emerald City. The Scarecrow (Gough), Tin Woodsman (Rob Paulsen), and Cowardly Lion (Todd Stashwick) make their way to Kansas via a mole tunnel, but it collapses before they can return. They get the Wizard (Alaskey) to take them back via balloon instead. When he and Glinda are taken prisoner, it's up to Dorothy, her friends, and their new companions the Mouse Queen (Amy Pemberton) and the Hungry Tiger (Andrea Martin) to save Oz before the Nome King sends the entire country down to his realm.

The Animation: Same deal as last time. It looks like an MGM/Hanna Barbara short of the 1940's and early 50's. The Nome King and his people are drawn a bit more modern and cartoonishly compared to them, though. The Winged Monkeys have wide, evil grins that bring the Tom & Jerry and Dr. Seuss cartoons directed by Chuck Jones to mind. 

The Song and Dance: This is more like it. Tom and Jerry do better when they have a story that fits them, not just one they're randomly inserted into. There's some creative gags and delightfully energetic music here, including "The Jitterbug," a song that was notoriously cut from the original Wizard of Oz film. Alexander has an absolute ball as the obnoxious barbecue owner and the Nome King, while James Monroe Iglehart is a riot as Calvin Carney at the Kansas State Fair and the Jitterbug. 

Favorite Number: We start off once again with "Over the Rainbow" as Dorothy wishes someone would believe her about Oz. "There's No Place Like Home" turns up twice, for Dorothy and the farm hands in the beginning as they admit the farm took a licking in the tornado, and near the end by Dorothy as she wishes to go back. We also hear "Off to See the Wizard" again, this time as Dorothy and her Oz friends head to the Kansas State Fair to find the Wizard. Calvin Carney happily claims the fair is "A Mighty Fine Affair" as he touts its many delights. 

The Nome King's men immediately go into "All Hail" whenever he's in their sights. His big villain song is "What's Mine Is Mine" as he explains why he wants the Ruby Slippers and the Emerald City. The Lion and the Hungry Tiger share "Oh My, Oh My, Oh My" as they argue over who is the better ruler of the jungle. "The Jitterbug" sends everyone into dancing frenzies whenever he flies over them. 

Trivia: Dedicated to Joe Alaskey, who died during production. 

The first (and to date, only) Tom and Jerry movie to be a sequel to a previous film.

What I Don't Like: First of all, I kind of wish it actually adapted the books, instead of choosing random characters and creating a plot around them. The books flesh out a lot more about the Mouse Queen and the Nome King and many others. Second, the animation suits the time period but isn't that great, and while Griffith does better this time around, she still isn't going to make anyone forget Judy Garland. Andrea Martin's Hungry Tiger doesn't really do much besides argue with the Cowardly Lion. 

The Big Finale: If you're a fan of the Oz books or Tom & Jerry, or you must see one of Tom and Jerry's crossovers, make it this one. It's worth seeing for the decent music and performances alone. 

Home Media: Also easily found, often for under $10. 

DVD

DVD - Tom & Jerry: The Wizard of Oz/Tom & Jerry: Back to Oz

Amazon Prime

Animation Celebration Saturday - The Return of the King (1980)

ABC/Rankin-Bass, 1980

Voices of Orson Bean, John Huston, Theodore Bikel, and Roddy McDowell

Directed by Jules Bass and Arthur Rankin Jr.

Music by Maury Laws; Lyrics by Jules Bass

After the success of The Hobbit, Rankin-Bass set about making a sequel. Ralph Bakshi's Lord of the Rings debuted in 1978 as Rankin-Bass prepared storyboards for their film and proved that there was ample interest in the material. How well did they do adapting the final Lord of the Ring novel to animation? Let's begin as Frodo (Bean) explains to his uncle Bilbo (Bean) what happened with him getting rid of the Ring of Power that led to him losing his finger and find out...

The Story: Frodo and his friend Samwise Gamgee (McDowell) are charged with traveling to Mordor to destroy the Ring of Power that Bilbo once stole from little green frog-like monster Gollum (Brother Theodore). Sam first must rescue Frodo from the Orcs at Cirith Ungol. Sam's briefly tempted by the Ring, but he does manage to get Frodo away. They disguise themselves in Orc armor to infiltrate their army and get past to Mount Doom. They're first attacked by Gollum, who badly wants his "precious" back, and then Frodo seems to go crazy with the strain of being the Ring Bearer.

Meanwhile, their friend Pippin (Sonny Melendrez) warns Gandalf (Huston) about the impending invasion of the Orc army. Pippin tries to warn King of Rohan Denethor (William Conrad), but he's already gone mad. The Witch-King of Agmar (John Stephenson) and his forces seem to have the upper hand in battle after he slays King Theoden (Don Messik). What he never expected is for his boast that no man can kill him to be challenged by Eowyn (Nellie Bellflower), who is "no man," and then for the king of Middle Earth, Aragorn (Theodore Bikel), to return at last.

The Animation: Decent for them, especially at Mordor as Gollum, Sam, and Frodo fight for the ring and in some of the battle scenes. The end, with the White Ship riding off into the horizon, and the arrival of Aragon also manage to drum up the appropriate majesty. The bleak, earthy color scheme reminds us that this is no Christmas special and definitely gives the sense of Middle Earth's dark worlds. 

The Song and Dance: Rankin-Bass really went all-out with this one. There's a few career-best performances from voice actors who are known for lighter material. Kasem does well with Merry's heartbreak at the loss of Theoden and how he ends up helping Eowyn, Conrad makes the most of his brief role as the mad king Denethor, and Bean and McDowell beautifully portray how the two young Hobbits get caught up in the ring's temptations. Messick shows why he played so many Hanna Barbara characters over the years by making The Voice of Sauron and Theoden two entirely different personalities with different voices. 

Favorite Number: We open with the Minstrel (Glenn Yarborough) explaining "The Ballad of Frodo" and what ultimately transpired that ended with the loss of Frodo's finger. The booming choral number "Wearer of the Ring" is heard three times, notably in the beginning where Sam is tempted by the ring's power, and in the end, when Frodo has seemingly succumbed to it. Sam finally breaks himself of the ring's hold by reminding himself that "Less Is More," and he prefers the simple life. The chorus briefly warn "Beware the Power," then admonish that "It's So Easy Not to Try" when they follow the Orc Army. 

The Orcs treat all their slaves, including Hobbitts, the same, as they remind them "Where There's a Whip, There's a Way." The hobbits wish they were at home and imagine what'll happen "'Till Yesterday." "Standing Underneath the Towers" and "Return of the King" are the big chorus numbers at the battle before and during Aragon's return. The title number shows  how he finally defeats the Orcs and reclaims his throne. The film ends with the haunting "You Will Never Say Goodbye" as the remaining three Hobbits watch the White Ship carrying Erond (Paul Frees), Gandalf, Bilbo, and Frodo over the horizon.

What I Don't Like: Yeah, this has a lot of the same problems as its predecessors The Hobbit and Lord of the Rings. There's just too much story (and too much in the stories that isn't exactly family-friendly) to compress into an hour-and-a-half animated film. A ton was dropped to make this more accessible at the time, including most of the first half of the book. You don't really feel Sam and Frodo's friendship like you should, or care who kills the Witch-King or know who Aragon even is. Bikel barely appears in the last 20 minutes and doesn't have enough to do; Bellflower doesn't give Eowyn nearly the passion she needs. 

The Big Finale: Older elementary schoolers who are too young for the live-action movies but are still fans of fantasy may be intrigued by this earlier and slightly more kid-friendly visit to Middle Earth.

Home Media: Currently hard to find and pricey on DVD. Your best bet is to check used venues and look for uploads online.

DVD

Internet Archive

Family Fun Saturday - Monster High 2

Nickelodeon/Paramount, 2023

Starring Miia Harris, Nayah Damasen, Cici Balagot, and Salena Qureshi

Directed by Todd Holland

Music and Lyrics by various

The first Monster High movie was a roaring success, the number one family film on Nickelodeon and Paramount Plus during its debut week. It was such a massive hit, Nick greenlit a second film within weeks of the first film's release. Is this movie just as much fun as the first, or should it be cast out of school? Let's begin with "EekTok" videos relating the previous movie and how Clawdeen (Harris) has become famous since saving the school and find out...

The Story: On the first day back at class, were-cat Toralei Stripe (Qureshi) returns from a year-long trip to Scaris, France. She's stridently against witchcraft and non-monsters attending Monster High, having been attacked by witches while in Scaris. Clawdeen stands up to her, but she insists on protecting one's pack. Headmistress Bloodgood (Marci T. House) nominates Clawdeen and Toralei for prefect, the head of the school who sets an example for everyone else. Toralei intends to run on a platform of inclusiveness, but Clawdeen insists the school is for everyone.

Meanwhile, Draculaura (Damasen) has fallen for a handsome vampire named Ellis (Bonale Fambrini) who also does witchcraft. Witchcraft, however, is banned at the school after two witches attack Draculaura in her room. Clawdeen is now nervous about including witches in her campaign, offending Draculaura. Ellis turns out to have his own secrets. He asks Draculaura to join his coven. It's really his mother Zamara (Ana Ortiz) who is after Draculaura, hoping to use her and her magic to eliminate every vampire in the monster world!

The Song and Dance: I have to admit, I'm enjoying these films. They're a little bit better than Disney's similar ZOMBIES and Descendants, thanks to enjoyable characters and their detailed world. Qureshi is the best addition as the sassy Toralei, who having been burned by witches, believes they're all out to attack monster-kind. Frankie is just as adorable trying to control their newly downloaded powers, and Deuce, his fire-powered friend Heath (Justin Derickson), and Cleo DeNile (Jy Prishkulnick) all have more to do. The costumes and especially the makeup continue to do a decent job making the kids look like their toy counterparts.

Favorite Number: We open at school with "My Heart Goes Boom, Boom" as all of the kids describe being back after the summer. Draculaura and Ellis happily claim that the "Reason We've Got Magic" is to bring their warring clans together and make the monster world a better place. Clawdeen and Toralei claim "You Don't Know" what it's like to be an outsider. The three best friends come together to claim this is "Not How Our Story Goes," and if they fight, they fight together. "Monsters Are" is the big final number, as everyone embraces monsters and humans of all stripes and admits that one can find a friend anywhere.

What I Don't Like: The cliches run just as heavy here as they did in the first movie. You can predict pretty much everything that happens from a mile off, including what Ellis turns out to be, what Zamara's plot is, and who becomes prefict. Other characters still get short shrift, including zombie Ghoulia, Abbey Bomible the daughter of the Abominable Snowman, and half-ghost, half-human Demi Boovais, who adores Clawdeen. The "be yourself" morals continue to be pushed too hard; once again, this is not the place for subtlety.

The Big Finale: This is great Halloween party fare for 8 to 14-year-olds who are horror fans, collect the dolls, or are fans of Disney's ZOMBIES or Descendants. 

Home Media: Currently streaming only. Free on Paramount Plus with a subscription

Paramount Plus

Amazon Prime (Buy Only)

Down to Earth (1947)

Columbia Pictures, 1947

Starring Rita Hayworth, Larry Parks, James Gleason, and Roland Culver

Directed by Alexander Hall

Music by Doris Fischer; Lyrics by Allan Roberts

This week, we move from 20th Century Fox to Columbia for two of Rita Hayworth's lesser-known vehicles. Fantasy was all the rage in the 40s as people looked to escape from World War II and the escalating Cold War tensions after it ended. One of the first of these fantasies was the comedy Here Comes Mr. Jordan, about a prize fighter who is sent back to Earth in another body by the angel of the title. 

It made sense at the time to do a follow-up with Columbia's biggest star. Hayworth was known as "The Love Goddess" to her many fans, who made her the number one star and top pin-up girl in the world. How does this movie manage to cross angelic Jordan and her unearthly charms with a decidedly less heavenly story of a muse who takes over a Broadway show? Let's begin with that show, Swinging the Muses, in rehearsal and find out...

The Story: Muse of Dance Terpsichore (Hayworth) is appalled at the show, which depicts her and her sisters as man-hungry bimbos fighting over two pilots who crashed on Mount Parnassus. She begs Mr. Jordan (Culver) to take her down to New York and let her deal with the play's director and writer, Danny Miller (Parks). Jordan agrees to send her down with his assistant Messenger 7013 (Edward Everett Horton) to keep an eye on her. 

In New York, Terpsichore goes under the name Kitty Pendleton. She lands the part, then convinces former boxing agent Max Corkle (Gleason) to represent her. Danny falls hard for her charms, and she does manage to convince him to change the play from a low-down farce to a high-brow ballet. That doesn't go over well with audiences. Not only is the cast furious, but it turns out Danny convinced gangsters to finance his show, and they'll kill him if it's not a success. Now Terpsichore has to give up her high-handed reputation in order to save the man she loves and prove that the Muses are neither bimbos, nor forces to be reckoned with.

The Song and Dance: This one is all about Hayworth and the gorgeous production. The Technicolor is absolutely stunning, showing off fiery Hayworth with her rich scarlet lips and ginger hair to best advantage. She's backed by the stunning sets and glorious jewel-toned costumes, especially for the show itself. Horton and Gleason come off the best of the supporting cast as the dithering assistant angel who wishes this muse would inspire less trouble and the agent who gets mixed up in the insanity. 

There's also the mild turn into film noir territory the film takes mid-way through when Kitty realizes just what Danny's really gotten himself into. It's surprisingly dramatic for the light film that came before it and is handled relatively well. In fact, I give them credit for going with a very original twist on the backstage story, even if it is a sequel. 

Favorite Number: We open with "Kiss of the Muses," as those heavenly ladies in vibrant purple with the strange bulbous headgear singing of how desperate they are to land a man, any man. "The Can't Convince Me (You're Not a Dream)" Danny croons to Kitty in the prop department after he's been smitten with her. "This Can't Be Legal" is the bizarre dance number with the on-stage Terpsichore deciding to keep both of her mortal pilot suitors. The big ballad "Let's Stay Young Forever" is heard several times, notably by Kitty at rehearsal. Kitty also gets a big instrumental dance routine with the chorus at the rehearsal that's so spirited, it convinces Danny to make her Terpsichore on the spot. 

The major numbers here are a study in contrasts between the two styles of dance routines in musicals of the 40's and 50's. "The Greek Ballet" is airy, arty posturing showing Terpsichore's idea of what really happens on Mount Parnassus. It may put the audience in the film to sleep, but the dancing is well-choreographed and the costumes are gorgeous. "People Have More Fun Than Anyone" is the show's big finale. The muses literally let their hair down as they join their now-deployed suitors in a make-believe Grammercy Park, riding down slides and tossing fall leaves everywhere. 

Trivia: Horton and Gleason reprise their roles from Here Comes Mr. Jordan. Culver replaces Claude Rains as Jordan.

What I Don't Like: I appreciate the originality...but this is ultimately even stranger than the movie it later inspired, Xanadu. It also shares some of the same problems as that film, starting with a leading man who is totally at sea and can neither sing, nor dance - Parks was dubbed by Hal Derwin. Hayworth is dubbed by Anita Ellis, leading to a rare situation where both leads in a musical are dubbed. The songs are dull, and in the case of the ballet and "This Can't Be Legal," truly bizarre. 

The movie makes even less sense than Xanadu. Terpsichore comes off as a bit of a witch until Jordan gets through to her that Danny won't live long if she doesn't go with what he wanted. Speaking of, as intriguing as the gangster plot in the second half is, it comes out of left field and seems to be there only to give Terpsichore a real reason for staying besides romance. Platt was an excellent dancer who could have been given a lot more to do than just pointing out to his best friend that changing the show because a lady said so wasn't in his best interest. 

The Big Finale: Mainly recommended for huge fans of Hayworth, the Technicolor fantasies of the 40's and 50's, or those who want to try something a little different in their splashy 40's musicals. 

Home Media: The solo DVD is in print, but pricey. You're better off streaming this one or picking it up as part of the Mill Creek 20 Musicals collection.

DVD

DVD - Musical 20 Movies Collection

Amazon Prime

Musicals On TV - Return to Oz (1964)

Videocraft (Rankin-Bass)/NBC, 1964

Voices of Susan Conway, Larry D. Mann, Alfie Scopp, and Carl Banis

Directed by F.R Crawley, Thomas Glynn, and Larry Roemer

Music and Lyrics by Gene Forrell, Edward Thomas, and James Pollack

This started life as the second Videocraft TV show and the first in traditional animation, Tales of the Wizard of Oz. The series only ran for four months in 1961, but reruns proved to be strong enough for Videocraft to make a follow-up their first hour-long special. How does it look nowadays? Let's start with a little paper airplane as it soars through Kansas to a certainly little girl and find out...

The Story: That paper airplane delivers a message from Socrates the Scarecrow (Scopp) to Dorothy (Conway) inviting her back to Oz. She finds her silver slippers and is whisked away in another twister, this time while sitting in an apple tree. Glinda the Good Witch (Peggy Loder) explains to Dorothy that the letter was written by a revived Witch of the West (Mann) and all isn't as she claimed. She destroyed the Tin Man (Mann)'s heart, the Scarecrow's brains, and the Lion's (Banis) courage. The Wizard (Banas) once again sends them off to defeat the Witch and get their hearts' desires back...but he's not what he seems, either. The Witch has to get those silver shoes, or she'll lose her powers all together!

The Animation: If this doesn't look much like any other Rankin-Bass special, it was actually done by F.R Crawley's own studio and merely released by Videocraft. Very sketchy and limited, as per the animation on TV at the time. The backgrounds are often two colors and simple shapes; the characters move a bit stiffly. They do have some funny expressions on occasion, especially the Wizard and Witch. The odd teardrop-shaped Munchkins look more like the "Mr. and Mrs." characters from the little books that teach manners than the Munchkins in the books or any other adaptation. 

The Song and Dance: In a way, this one is more important for the history than for the content. This is the first hour-long show made by Rankin-Bass, who would specialize in them from the mid-60's through the early 80's. At the least, it does have some interesting touches. Dorothy wears the silver slippers from the books (the ruby ones may be trademarked), and there's the occasional unique character or design like the flying alligators. We also get to see at least one sequence from the book that didn't make it into the 1939 movie, when the scarecrow has them remove his hay to hide from an enemy. And I have to admit, I like how Dorothy's friends are insinuated to have really earned what they wanted, instead of being given the objects representing them as in the film and book. 

Favorite Number: The special opens and closes with Dorothy claiming how "I Wanna Go Back" to Oz, and then home to Kansas. "In the Wonderful Oz" is performed by a chorus over the beginning and end credits as they describe all the delights we're about to see. Dorothy sings about how the little people are "Munchkins, Naturally" when she arrives. The Tin Man laments how "I'm Heartless" when Dorothy runs across him. The Scarecrow tumbles and falls as he complains that "You Can't Build a Brain." They make fun of "Dandy the Lion" when he's obviously cowardly again. 

The Wizard and Witch claim that "I am Better Than You" after she's captured him. When the Scarecrow claims no one has magic anymore, Dorothy counters with the ballad "Wonderful Magical Ways" that there's magic everywhere. 

What I Don't Like: Can we say "rehash?" This is basically just a repeat of the original book with aspects of the 1939 film mashed in for good measure and the Witch outright attacking the Wizard. Apparently, the TV show this is based on had more unique stories. I have no idea why the Scarecrow and Tin Man are so nasty to the lion. In the book, they tease him about his cowardice on occasion, but here, they're downright mean. Dorothy does call them on it, but there's really no reason for it. It's also insinuated that the Wizard has real magic here, instead of being just a huckster. The animation is stiff and limited, the songs dull and unmemorable. (Bass would write better music himself for later specials with Rankin and Murray Laws.)

The Big Finale: This makes Filmation's 1972 attempt at an Oz sequel, Journey Back to Oz, look like a masterpiece by comparison. Only recommended for the most ardent Oz and Rankin-Bass fans. 

Home Media: DVD is in print, but fairly expensive. You might be better streaming this one. 

DVD

YouTube

Family Fun Saturday - Huckleberry Finn (1974)

United Artists, 1974

Starring Jeff East, Paul Winfield, Harvey Korman, and David Wayne

Directed by J. Lee Thompson

Music and Lyrics by Richard M. and Robert B. Sherman

The Reader's Digest musical version of Tom Sawyer was so well-received in 1973, they started production on this one before the first movie was even finished. Unfortunately, they ran into trouble even Huck and Jim couldn't predict. Winfield didn't want any singing slaves and was treated poorly by the Missouri police. Roberta Flack's insisted on having guitars in the song "Freedom" and threatened to sue if she couldn't, which led to the soundtrack album going unreleased. One of the producers passed away before filming. Thompson had trouble with the musical direction, and Robert B. Sherman had a knee operation in the middle of filming. There's also the story of Huck and his adventures with runaway slave Jim on the Mississippi River being controversial to begin with. How does it fare in this version? We open with a montage of life in Missouri in the 1850's and find out...

The Story: Huckleberry Finn (East) is tired of being coddled by the two kindly widows who took him in. He's tired of their fussing and wishes he could escape for some adventure. He gets a lot more adventure than he bargained for when first his mean drunk of a Pap (Garry Merrill) kidnaps him to steal his money, and then the old ladies' slave Jim (Winfield) runs away after hearing they may sell him to get the ransom. Huck fakes his own murder, but Jim is accused of the crime. The two finally set off down the Mississippi together on a home-made raft, meeting many different people from all walks of life, foiling the plots of swindlers The Duke (Korman) and The King (Wayne), dodging slave traders, and learning a lesson about the true meaning of freedom. 

The Song and Dance: Winfield and East work well together as the escaping pair in this down-home epic. You really feel their chemistry, especially towards the end, when the duo tangle with the slave traders. I also like Korman as the flamboyant flim-flam man who is determined to become rich by any illegal means necessary and Merrill as Huck's nasty drunk of a father. Once again, we have splendid cinematography in small towns on the real Mississippi River, with some gorgeous shots of the river itself. The music is a delight, too, making it even more of a shame that Flack made all the fuss that halted the release of the soundtrack album. 

Favorite Number: Even without the guitars, "Freedom," the ballad that accompanies the montage of daily life on the Mississippi in the opening credits, is absolutely gorgeous. The Sherman Brothers were masters at writing slow numbers for family movies without traditional girl-meets-boy plots, and they demonstrate it well with this lush, lovely salute to independence.  

Winfield isn't the best singer, but he does tell his wife (Odessa Cleveland) how "Someday, Honey Darlin'," they'll be free, and covers his part of his rousing duet "Cairo, Illinois" with East well enough. Merrill growls and complains about his "Rotten Luck" that he never gets old ladies who give him big inheritances. East isn't a great singer, either, but he does well enough by his solo near the end when he asks "What's Right, What's Wrong?" The daughters of the rich plantation owner who briefly takes Huck in flutter fans and simper about "A Rose In a Bible" at a family get-together. 

Korman and Wayne get three big numbers highlighting their ability to take a crowd for everything it's got. Korman roars  "The Royal Nonesuch" to introduce their non-existent European play and "In Their Hands" to the grieving young women whose money they want. They introduce themselves to Huck and Jim as being "Royalty!" 

Trivia: An unrelated stage Huckleberry Finn adaptation, Big River, went over far better with critics and audiences in 1985. 

What I Don't Like: They actually stick to the book pretty well...until the finale. In the original book, Huck learned that his father and the sisters had died, and the sisters set Jim free in their will. Huck went west to Indian Territory (Oklahoma) before the family that adopted Tom Sawyer could take him in, too. Not only is the action finale with the slave traders badly done, it's awkwardly staged. It's assumed that Jim does take his freedom, but the movie ends before we find out what happened to Huck. It also eliminates Tom Sawyer and his family. Perhaps they couldn't get Whittaker back?

This is also a good time to discuss the language and themes in this movie. Like Minstrel Man, this is set in a time and place where the N word was bandied about quite a bit. It depicts slavery in the pre-Civil War south, including the slave catchers who treat the men like property. Winfield requested that the language be toned down, but some of it does remain. There's also a fair amount of violence, from Pap's abuse of Huck to most of the men at the antebellum house dying under the guns of their rivals.

The Big Finale: Critics and audiences have been divided on how well this represents the book for years, and whether it should have been a musical at all. I think the terrific music and some decent performances are the best things about it. Not a bad choice for families with older kids and young teens who have read the book and understand the violence and language that comes with it. 

Home Media: Easy to find on all major formats. The Twilight Time Blu-Ray bundles it with Tom Sawyer and is a tad expensive. It's currently running for free with commercials on Tubi. 

DVD

Blu-Ray - Tom Sawyer/Huckleberry Finn

Tubi

Animation Celebration Saturday - Dot and the Bunny

Yoram Gross Films/Warner Bros, 1983

Voices of Barbara Frawley, Robyn Moore, Drew Forsythe, and Ron Haddrick

Directed by Yoram Gross

Music by Bob Young; Lyrics by AB "Banjo" Paterson and John Palmer

Dot and the Kangaroo was such a sensation in 1977, particularly in its native Australia, Gross would eventually make no less than six sequels. This is the third, and a return to form after Dot went around the world with Santa Claus in her second film. Once again, an animated Dot searches the real Outback, searching for a joey with the help of a native animal. How well does it work when the animal is a bunny who wants to be a kangaroo? Let's start in live-action as a little girl (Anna Quin) reads about Dot's previous adventure and find out...

The Story: Dot (Frawley) once again ventures into the outback to find the mother kangaroo and her lost joey. After encountering a grouchy koala (Forsythe) who doesn't understand why she doesn't like eucalyptus leaves, she runs across a lost bunny (Moore) who claims he's a joey. He really just wants attention and someone to look after him, since he lost his family. They go off in search of the mother kangaroo and the joey, once again encountering many different animals native to Australia on the way...including a pack of hungry crocodiles!

The Animation: Same deal as the last one. It's often stiff and awkward (Dot sometimes looks like her eyes are on the side of her head when she turns), and not terribly well integrated with the live-action backgrounds. You still don't believe Dot or any of the animals really inhabit the world they're in. On the other hand, they all more relatively well, and the animals at least somewhat resemble their real-life counterparts.

The Song and Dance: After varying the format a bit in Dot's around the world Christmas story, she's back in Australia here. Her interaction with the animals are just as funny this time around; the crocodiles who try to take a bite out of Funny Bunny and the grouchy koala who sets Dot off in the beginning rate special mention. The music remains catchy, too. There's even a bit of Australian military history when Dot and Funnybunny come across debris from what I suspect was the Anzac campaign in World War I and Dot tries to explain war to her friend. 

Favorite Number: We kick off with Dot and Funny Bunny "Roaming Free" as they sing about traveling in a nifty, very 80's four-screen neon number. "Benjamin Bandicoot" reveals why he's a shy fellow, while the echinda and wombats sing about their love for "Termites." Funny Bunny claims he's "The Kangaroo That Never Grew," but neither Dot nor the real kangaroos believe him for a second. "The Crocodile Song" explains why they love their lives eating and catching animals. With his red crest, Dot thinks the woodpecker resembles "The Postman of the Birds."

What I Don't Like: Dot's touching relationship with Mother Kangaroo really made the first movie, and it's sorely missed here. Funny Bunny is nowhere near an adequate substitute. He spends most of the movie being annoying and silly and trying to pass himself off as a kangaroo, and his tragic backstory comes too late to make anyone feel sympathy for him. And we never do find out what happened to the girl dreaming of Dot in the opening sequence. 

The Big Finale: While not quite as good as the first movie, there's still a lot to like here if you enjoyed the first one or are interested in animation from down under.

Home Media: All of the Dot films are easy to find just about anywhere, thanks to their uncertain copyright situation. (That's probably why they ran so much on cable in the 80's and 90's, too.) This one can currently be found for free on Tubi. 

DVD

Tubi