Sleight of Film

Today’s quick review: All Dogs Go to Heaven 2. Bored with Heaven, Charlie (Charlie Sheen) jumps at the chance to go back to Earth to recover the Horn of Gabriel, which was stolen by Carface (Ernest Borgnine) as part of a plan by Red (George Heam), a demonic cat. With his friend Itchy (Dom DeLuise) in tow, Charlie searches for the Horn, but instead he finds David (Adam Wylie), a runaway boy, and Sasha (Sheena Easton), a dog trying to get David home.

All Dogs Go to Heaven 2 is a family animated comedy about a pair of dogs who return from Heaven on a very important mission. Tempted by the sights and sounds of San Francisco, Charlie puts the hunt for the Horn on hold so he can woo Sasha, profit from David’s performing skills, and otherwise enjoy his time on Earth. All Dogs Go to Heaven 2 is a fun extension of the original story, but it cannot match the original for quality and creativity.

All Dogs Go to Heaven 2 is a step down from the first film in a few ways. The animation lacks the same level of detail, opting for simpler designs and less lavish backgrounds. The story adds a few new concepts to the universe, such as the Horn of Gabriel and the devil-like Red, but otherwise it coasts on ideas from the previous film. The characters are also simplified, with less moral nuance to Charlie and less menace for Carface.

Even with these limitations, All Dogs Go to Heaven 2 makes for a decent family adventure. The heart of the story is Charlie’s decision to help himself rather than return with the Horn, and while the conflict is less poignant than the original, it still serves its purpose. The action scenes don’t break any new ground, but they do keep the adventure moving. The same goes for the songs, which are not outstanding but never distract from the main story.

Overall, All Dogs Go to Heaven 2 has limited appeal. It works well enough as a fantasy adventure aimed at a younger audience, and it avoids the worst pitfalls of animated sequels, but it does not do anything to set itself apart. The focus and the attention to detail of the original film are missing, and there are not great ideas or character moments to fill in the gaps. Those curious may want to give it a watch, but it is an easy movie to skip.

For a more robust take on a related premise, try All Dogs Go to Heaven. For a better animated sequel about animals helping a little boy, try The Rescuers Down Under.

[5.5 out of 10 on IMDB](https://www.imdb.com/title/tt0115509/). I give it a 6.0 to 6.5 for basic but pleasant family entertainment.

Today’s quick review: All Dogs Go to Heaven. Charlie B. Barkin (Burt Reynolds), a dog with a criminal lifestyle, meets a bad end when his partner Carface (Vic Tayback) double-crosses him and kills him. Upon arriving in Heaven, Charlie pulls a fast one and escapes back to Earth. With the help of his friend Itchy (Dom DeLuise), Charlie rescues Anne-Marie (Judith Barsi), a girl who can talk to animals, from Carface uses her for his own profit.

All Dogs Go to Heaven is a family animated crime comedy from director Don Bluth. Burt Reynolds stars as the voice of Charlie, a dog who gives up his place in Heaven to get revenge on his partner. The movie manages to tie together three very different ideas: a fantasy about a man given a second chance at life, a family-friendly tale about a secret world of dogs, and a crime story about a criminal who comes to repent his ways.

All Dogs Go to Heaven is a rarity among family films. Not only does it deal with mature topics like crime and death, it also features a protagonist who is unrepentantly selfish. Unlike other criminals with a heart of gold, Charlie spends nearly the entire movie serving his own interests, even taking advantage of an orphan girl just to make money. As such, his moral arc has more weight to it than characters whose criminal side is just for show.

Still, the movie’s style will not appeal to everyone. The combination of mature conflict and cartoonish comedy can come across as odd. The songs are decent but are an awkward fit for Burt Reynolds’ vocal style. The visuals stike a nice balance between detailed and loose, but not everyone will like their particulars. The story also has a few weaknesses, such as plot elements that are introduced abruptly and fit in poorly.

All Dogs Go to Heaven is most notable for its premise and its story. Fans of Don Bluth’s work or animated films that touch on more mature themes will find it to be an engaging watch, if not an absolutely spectacular one. Those looking for an animated masterpiece or who simply dislike the genre may want to steer clear.

For a more sober animated movie from Don Bluth, check out The Secret of NIMH. For a story about animals rescuing a little girl, try The Rescuers. For another animated family film about the world of dogs, try One Hundred and One Dalmatians. For an animated film that makes better use of a New Orleans setting, try The Princess and the Frog. For a live action movie about a con man learning to change his ways, try Paper Moon or Matchstick Men.

[6.8 out of 10 on IMDB](https://www.imdb.com/title/tt0096787/). I give it a 7.0 for a a creative fusion of different ideas.

Today’s quick review: Fantasia 2000. In the Arctic, a family of whales frolics under the starlight. In New York, a construction worker, an unemployed man, and a little girl go about their daily lives. In a child’s toy room, a tin soldier falls in love with a music box ballerina. As the rains begin, Donald Duck helps Noah round up the animals for his ark. And in the wilderness, a nature spirit breathes new life into the forest.

Fantasia 2000 is an animated fantasy anthology from Disney. The movie follows the same format as the original Fantasia: a collection of animated shorts set to a selection of orchestral music. Like its predecessor, Fantasia 2000 excels at artistic visuals and creative interpretations of iconic music. Its polished visuals and creativity make it a successful take on the soundtrack, but the nature of the movie means it will not appeal to everyone.

Fantasia 2000’s segments cover a wide variety of styles, both in terms of art and music. The art ranges from snatches of light and color to realistic, richly painted scenes to more stylized, cartoonish pieces. The stories run the gamut from abstract to concrete, and they include both lofty themes and simple comedy. Highlights include a jazzy city piece set to “Rhapsody in Blue” and a funny yet touching Donald Duck short set to “Pomp and Circumstance”.

The anthology format of Fantasia 2000 is also its main weakness. The variety of artistic styles, the limited amount of time allotted for each story, the lack of dialogue, and the disconnected nature of the shorts means that it can be difficult to invest in the movie as a whole. While the shorts are strong enough to win over most viewers, there are bound to be a few that don’t line up with any given viewer’s tastes.

Fantasia 2000 is not a movie for every occasion. It is missing the usual scaffolds of animated stories, such as in-character dialogue and a consistent narrative thread. But for audiences who are willing to bask in its rich animation and iconic song choices, Fantasia 2000 is a welcome experience. Give it a try when you are in the mood to explore the medium of animation. Skip it if you’re looking for something with a cohesive story.

For a more iconic take on the same premise, try the original Fantasia.

[7.2 out of 10 on IMDB](https://www.imdb.com/title/tt0120910/). I give it a 7.0 for fine artistry.

“It’s almost like you should thank Yzma for robbing you of every last cent.” —Kronk

Today’s quick review: Kronk’s New Groove. After stepping down as Yzma’s (Eartha Kitt) henchman, Kronk (Patrick Warburton) has turned over a new leaf. Now working as a fry cook and a delivery boy, Kronk has earned the friendship of everyone in his village. But when he learns that his father (John Mahoney) is dropping by to visit, he scrambles to put together a life his father would be proud of, even if it is just a fake.

Kronk’s New Groove is an animated family comedy that picks up after the events of The Emperor’s New Groove. With Kuzco (David Spade) and Pacha’s (John Goodman) story wrapped up, the movie turns its attention to Kronk, a reformed evil minion with a big heart and a knack for cooking. The story consists of two adventures tied together by Kronk’s father’s visit. Kronk’s New Groove shows flashes of charm but suffers from a weak story and recycled jokes.

Kronk’s New Groove has some of the same problems as other animated sequels. Kuzco and Pacha were the heart of the original film, but they are reduced to cameos here. Putting Kronk and some of the supporting characters in the spotlight throws off the movie’s balance. The story is bland and relies on stock morals about being yourself and telling the truth. Finally, the humor has an excessive number of callbacks and has a hard time standing on its own.

Even with these impediments, Kronk’s New Groove still manages to capture some of the spirit of the original. The voice acting is fantastic, showing off the talents of Patrick Warburton, Eartha Kitt, and the others. The story is cute whenever it’s trying something original rather, although it flags when it relies on contrived drama. Kronk’s New Groove never quite comes together, but it does have the makings of a proper sequel.

How much you get out of Kronk’s New Groove will depend on how exacting you are as a viewer. Those looking for a worthy sequel that shows off the same creativity as The Emperor’s Groove will find it sadly lacking. Those looking for a chance to spend more time with the characters and experience a light, energetic story will find it to be a fun experience. Most viewers will want to skip it, but those who are curious should give it a try.

For an animated comedy with a richer story, higher production values, and the same talented cast, try The Emperor’s New Groove. For an animated sequel from Disney that follows a similar formula, try Atlantis: Milo’s Return.

[5.8 out of 10 on IMDB](https://www.imdb.com/title/tt0401398/). I give it a 6.0 to 6.5 for light fun with a shaky foundation.

“You know, if you’re going to let every little thing get to you, it’s going to be a very long night.” —Prince Naveen

Today’s quick review: The Princess and the Frog. After years of hard work, Tiana (Anika Noni Rose), a New Orleans waitress, has almost saved up enough money to buy her own restaurant. Her plans hit a snag when she meets Naveen (Bruno Campos), a prince who was turned into a frog by Dr. Facilier (Keith David). Naveen offers her a handsome reward if she helps him return to human form, and together they embark on a journey to break the curse.

The Princess and the Frog is a family animated fantasy romance set in New Orleans. A hard-working waitress and a carefree prince set out to undo a voodoo curse and restore the prince to his rightful place. The Princess and the Frog is a fun adventure with a jazzy soundtrack, likable characters, and dynamic animation. It does not do much to change up the Disney formula, but its craftsmanship and enthusiasm make it an enjoyable watch.

Motion is what brings The Princess and the Frog to life. The art style only really comes together when the characters are in motion, dancing across the screen or bouncing around the bayou. The love story clicks when Tiana and Naveen are challenged, are forced to work together, and come to see each other in a new light. On the other side of the plot, Dr. Facilier leaves a lasting impression despite only having a modest amount of screen time.

The drawback to The Princess and the Frog is that its down moments are not that impressive. The humdrum of Tiana’s life, the moments when the plot pauses to shift gears, and several of the supporting characters are not as enchanting as they could be. The Princess and the Frog has some of the magic it needs, but it only works when the story is moving forward. Likewise, the soundtrack is solid and varied, but outclassed by the best of the genre.

The Princess and the Frog is a pleasant watch that fans of the genre will enjoy. Give it a shot if you are interested in animated musicals, fairy tale adaptations, and family-friendly adventures. However, those who dislike the genre will not get much out of the movie, and critical viewers should note that the movie is missing some of the superlative quality seen in Disney’s best. Anyone interested should try it out.

For another animated movie about an unwanted transformation, try Shrek, Brave, or Spies in Disguise. For a similar style of storybook romance, try Beauty and the Beast. For another fairy tale adaptation, try Tangled.

[7.1 out of 10 on IMDB](https://www.imdb.com/title/tt0780521/). I give it a 7.0 for lively animation and a charming story.

Today’s quick review: Joseph: King of Dreams. Ever since his miraculous birth, Joseph (Ben Affleck) has been the favorite of his father Jacob (Richard Herd). His brothers, led by Judah (Mark Hamill), grow jealous of his treatment and sell him into slavery. Taken to Egypt, Joseph toils for years as a slave until his ability to interpret dreams earns him an audience with the Pharaoh (Richard McGonagle).

Joseph: King of Dreams is a family animated musical drama based on the tale from the Bible. The story follows Joseph, a man with a glorious destiny, as he works to overcome his brothers’ betrayal. Joseph: King of Dreams is a straightforward adaptation of its source material, drawing its strength from the reversals the story contains and the way it humanizes its characters. However, it’s missing some of the qualities it needs to stand out.

The main shortcoming of Joseph: King of Dreams is its pacing. Out of necessity, the story skips past large portions of Joseph’s life, relying on a few brief scenes and montages to convey his childhood, his years as a slave, and what comes after. The format works well enough for the subject matter, but it still leaves the story feeling something like a summary. The story also lacks any subplots or embellishments, making it a linear progression.

The rest of the movie is serviceable but not outstanding. The art style is realistic with a few quirks, such as painting-like dream sequences. The characters are drawn in broad strokes, but they manage to capture human emotions like jealousy and regret. The songs are pleasant but not memorable. They serve more as literal descriptions of the situation that help bridge time jumps rather than the artistic flights of fancy seen in other musicals.

Overall, Joseph: King of Dreams is a decent family movie that conveys everything it needs to about its subject matter but lacks the artistic vision to go further. How much you get out of it will depend on your taste in stories and musicals. Fans of either biblical retellings or grounded musicals will find something to like. Viewers looking for something with more entertainment value may want to look elsewhere.

For a more elaborate animated adaptation of a tale from the Bible, check out The Prince of Egypt.

[6.5 out of 10 on IMDB](https://www.imdb.com/title/tt0264734/). I give it the same for an iconic story with few frills.

“Who’s bad? Sinbad!” —Sinbad

Today’s quick review: Sinbad: Legend of the Seven Seas. Sinbad (Brad Pitt), a daring pirate, faces execution when Eris (Michelle Pfeiffer), the goddess of chaos, frames him for stealing the Book of Peace. Sinbad’s friend Proteus (Joseph Fiennes) steps in to save his life, buying him ten days to recover the stolen book. Accompanied by Marina (Catherine Zeta-Jones), a diplomat who dreams of the sea, Sinbad sails to Tartarus to confront Eris.

Sinbad: Legend of the Seven Seas is an animated family fantasy adventure. The story follows a dashing but self-centered pirate as he embarks on a dangerous journey to save his friend. The movie features swashbuckling action, a solidly constructed story, and a setting assembled from the myths and places of the ancient world. It also benefits from top-notch voice acting from Brad Pitt, Catherine Zeta-Jones, and especially Michelle Pfeiffer.

Sinbad: Legend of the Seven Seas hits the nail on the head with its characters, setting, and story. The core of the movie is the question of whether Sinbad is actually a good man or as selfish as he appears to be. This provide the glue that holds together his quest to steal the Book back from Eris, his long-dormant friendship with Proteus, and his budding relationship with Marina. The result is a simple but effective tale of friendship and loyalty.

The setting drips with adventure. Set in a fictionalized version of the ancient Mediterranean, Sinbad: Legend of the Seven Seas takes place in a world where magic is a fact of life, monsters devour unwary sailors, and the open sea is always calling. The action plays into this theme quite nicely, with whirling choreography that makes great use of the swords, knives, ropes, and improvised weaponry Sinbad and his crew have at their disposal.

The one thing Sinbad is missing is a defining feature to call its own. Everything the movie gets right fits a little too neatly into the whole. There is no breakout character to shake up the formula, no set piece to put a new perspective on the genre, and no comedy sequence that stands out from the rest of the movie. As such, it is hard to latch onto anything particular about the film, ultimately making it less memorable than its quality deserves.

Sinbad: Legend of the Seven Seas is a simple, refreshing adventure that makes great use of its animated medium. It is missing the standout qualities of some of its animated rivals, but it still manages to find a niche of its own as an optimistic, action-packed adventure with a fair amount of fantasy. Give it a shot if you have a taste for earnest adventure. Steer clear if you’re looking for something unexpected.

For another animated adventure in the same style, try The Road to El Dorado. For an animated fantasy movie with a focus on mythology, try Hercules. For a life-action pirate adventure with an elaborate world, swashbuckling action, and a dash of comedy, try Pirates of the Caribbean: The Curse of the Black Pearl. For another mythological adventure, try Clash of the Titans.

[6.7 out of 10 on IMDB](https://www.imdb.com/title/tt0165982/). I give it a 7.0 for polished animation and an adventurous story.

Today’s quick review: Osmosis Jones. Frank (Bill Murray), a slovenly zookeeper, puts his life in danger when he eats an egg tainted with Thrax (Laurence Fishburne), a deadly virus with a plan to kill its host within 48 hours. Osmosis Jones (Chris Rock), a disgraced white blood cell, teams up with Drix (David Hyde Pierce), an over-the-counter cold medication, to stop Thrax’s plan and save Frank’s life.

Osmosis Jones is an animated family crime comedy set in a fictionalized version of the human body. Anthropomorphic cells work hard to keep Frank up and running, in spite of his atrocious diet and bad lifestyle choices. Osmosis Jones follows the buddy cop formula, with Frank’s immune system serving as the police department. The movie has a clever premise that serves as a fruitful source of humor, but its offbeat style and shallow plot hold it back.

The best aspect of Osmosis Jones is its setting. Every scene shows off a new part of Frank’s body, from the new arrivals at the stomach to the control center in the brain. The movie has a knack for matching up the locations in a city with Frank’s organs, and it delivers a constant stream of puns, medical humor, and sight gags. And while the action is not a major selling point, Jones’ amorphous body leads to some creative chases and fights.

However, Osmosis Jones has a few things holding it back. The movie is crude by nature, packed with bodily humor and adult references. The art style and subject matter have none of the cuteness seen in other family films; the animation is mainly there for sight gags and cartoon physics, not to capture something beautiful. Meanwhile, the plot never ventures far from the buddy cop formula, and its emotional arc falls a little short.

Osmosis Jones is a curiosity that the right viewer will find entertaining. It does not have the sharp writing, elaborate plot, or emotional depth of the best family films, but it does bring to life a fairly original premise. Fans of the offbeat side of the genre will find that it’s worth checking out. But those looking for a more fulfilling, family-friendly adventure may want to approach with caution.

For an animated family comedy with a similar flavor of humor, try Robots or Shark Tale. For a more emotionally laden depiction of the inner workings of a peron, try Inside Out. For a live action cop comedy with a bit more punch, try Lethal Weapon or Beverly Hills Cop.

[6.3 out of 10 on IMDB](https://www.imdb.com/title/tt0181739/). I give it a 6.5 for a creative premise with some rough edges.

“Why does magic have to smell so awful?” —Earwig

Today’s quick review: Earwig and the Witch. Earwig (Taylor Paige Henderson), a girl who was left at an orphanage by her witch mother (Kacey Musgraves), finally gets adopted by Bella Yaga (Vanessa Marshall), a stern witch who needs an assistant to help her brew potions. Worked hard and treated cruelly, Earwig searches for a way to escape. Meanwhile, she tries to learn more about the house’s other magical inhabitant: the Mandrake (Richard E. Grant).

Earwig and the Witch is a Japanese animated family fantasy adventure from Studio Ghibli. The movie tells the story of a spirited girl who gradually learns more about her magical heritage. Earwig and the Witch trades Studio Ghibli’s traditional hand animation for CGI. The movie’s bright colors and cheerful attitude make it a pleasant watch, but issues with its story, characters, and visual details make it a step down from other Ghibli films.

Visually, Earwig and the Witch brings a few new things to the table, but it struggles with some of the finer points of the medium. The environments are well-designed and charming, the bright color palette sets the mood nicely, and the CGI works well for cloth and liquids. But the characters themselves are wooden, with none of the subtle touches needed to make them feel alive. Likewise, the presentation never quite finds the right rhythm.

Earwig and the Witch has deeper issues with its story. The movie drags its feet getting around to the interesting parts, focusing on Earwig at the orphanage and her early days with Bella Yaga rather than her attempts to learn magic or the mystery surrounding her mother. Earwig herself is a mixed bag, a bold but manipulative girl who never learns any real lessons. Finally, the story cuts off abruptly without resolving many of its main threads.

The result is a light fantasy movie that’s cute in places but has a lot of missed potential. Earwig and the Witch feels like the beginning of something, both in terms of its incomplete story structure and in terms of the characters and concepts it introduces. But its best ideas are never fully realized, and the movie lacks the richness and sense of adventure seen in its competition. Skip it unless you are truly interested.

For a more charming animated film about a young witch, try Kiki’s Delivery Service or Mary and the Witch’s Flower. For a family comedy with fantasy elements about a plucky young girl overcoming oppressive home conditions, try Matilda. For a live action fantasy adventure about a teenager coming into a magical inheritance, try The Sorcerer’s Apprentice, the Harry Potter series, or The Mortal Instruments: City of Bones.

[4.7 out of 10 on IMDB](https://www.imdb.com/title/tt12441478/). I give it a 6.0 to 6.5 for charming but flawed art and a half-baked story.

“You speak nonsense, I’ll speak truth. We’ll see what comes of it.” —Kyoami

Today’s quick review: Ran. Hidetora Ichimonji (Tatsuya Nakadai), an aging warlord, reflects on his life of violence and decides to give his throne to his eldest son Taro (Akira Terao). But when Taro’s vengeful wife Kaede (Mieko Harada) convinces him to betray his father, Hidetora is cast out. Facing similar betrayal from his second son Jiro (Jinpachi Nezu), Hidetora has no choice but to turn to Saboru (Daisuke Ryu), the third son he banished.

Ran is a Japanese drama directed by Akira Kurosawa. The film is an adaptation of Shakespeare’s King Lear. The story follows a proud lord who loses his kingdom when he entrusts it to his treacherous son. Ran is a tragedy of high caliber. In one fell swoop, Hidetora sees everything he fought for taken away from him. At the same time, he is tormented by the years of bloodshed he inflicted, pushing him to the brink of madness.

Ran draws much of its strength from its plot. What begins as a gesture of good will from an aging ruler snowballs into a tangle of betrayal, revenge, and internecine bloodshed. The situation escalates out of control with shocking smoothness, and the film does an excellent job of capturing Hidetora’s fraying mental state as he’s dragged ever lower. Ran’s themes come across clearly, and its characters are studies in human virtue and folly.

The story also plays well on the screen. The battle scenes are never the main focus, but they serve as a climax to the political drama. The visuals of the film show Kurosawa’s careful touch, and it is packed with minor details that add to the story. The scope of the film may be too grand for those who prefer more personal drama, and the characters are not individually appealing, but taken as a whole, Ran achieves its vision with grace and skill.

Ran represents some of the greatest strengths of its genre. The fate of nations, the ruin of kings, and the tragedy of regret all come together into a powerful whole. Not everyone will enjoy its selfish characters, its dour tone, or the exaggerated nature of its plot. But those willing to fall into Ran’s rhythm will find it to be a finely crafted film that is well worth a watch.

For another Kurosawa adaptation of a Shakespearean drama, try Throne of Blood. For a Kurosawa samurai film with a personal touch, try Seven Samurai. For an epic crime drama with a similarly tragic, tumultuous plot, try The Godfather.

[8.2 out of 10 on IMDB](https://www.imdb.com/title/tt0089881/). I give it an 8.0 for skillful execution of a powerful story.