Sleight of Film

Today’s quick review: Robin Hood. While King Richard is out of the country crusading, his duplicitous brother Prince John (Peter Ustinov) seizes the throne and subjects the people of England to unbearable taxes. Robin Hood (Brian Bedford), an outlaw living in Sherwood Forest, fights this injustice by stealing from the rich and giving to the poor, with the help of his friend Little John (Phil Harris).

Robin Hood is an animated family adventure from Disney that reimagines the classic story with a cast of animals. The wily, cheerful Robin Hood outfoxes his enemies, offers comfort to the downtrodden people of Nottingham, and charms Maid Marian (Monic Evans), the noblewoman he fell in love with years before. The movie blends the spirit of the original tales of Robin Hood with a charm that could only come from animation.

The appeal of Robin Hood comes from the care it puts into its characters and their interactions. It isn’t enough to go through the motions of the story with anthropomorphic animals. Instead, Robin Hood goes the extra mile to ensure that even the smallest characters have their own personalities. The movie has a knack for bringing its characters to life. Even after just a few minute onscreen, each character leaves a clear mark.

The other aspects of the movie are similarly strong. The animation suits the characters perfectly, turning even simple exchanges into impressive bits of comedy, slapstick, and adventure. The dialogue has a nice rhythm to it, but its real strength is in the way it supports the characters. The story is somewhat weaker. It conveys the highlights of the source material, but it’s a thin plot for a feature film and does not always flow very well.

How much you like Robin Hood will ultimately come down to taste, but there is certainly a lot to like. Those who are drawn to charming characters and attentive animation will find Robin Hood to be a joyful watch. Those who are focused a little more on tight plot work and dramatic story arcs may find it a little frivolous. In any case, it is worth checking out for anyone in the mood for something light and spirited.

For an iconic adaptation of the story, try The Adventures of Robin Hood. For a more irreverent take, try Robin Hood: Men in Tights. For a classic musical comedy with a similar plot, try The Court Jester.

[7.6 out of 10 on IMDB](https://www.imdb.com/title/tt0070608/). I give it a 7.0 to 7.5 for charming characters and swashbuckling adventure.

Today’s quick review: Home on the Range. To earn the money to save their farm, Maggie (Roseanne Barr), Mrs. Calloway (Judi Dench), and Grace (Jennifer Tilly), a trio of dairy cows, set out to collect the bounty on Alameda Slim (Randy Quaid), a notorious yodeling cattle rustler. But to catch Slim, the cows will need to beat Buck (Cuba Gooding, Jr.), a horse with delusions of heroism, and Rico (Charles Dennis), a ruthless bounty hunter.

Home on the Range is a family animated Western comedy about three cows on an adventure to save their farm. Using pluck and ingenuity, the unlikely heroes try to get the drop on Slim, whose hypnotic yodeling makes him a danger to every cow within earshot. Home on the Range is a light movie filled with slapstick humor and colorful characters. However, its unusual premise and weak backbone make it a step down from most Disney films.

The highlight of Home on the Range is its light, comedic spirit. Bovine protagonists, barnyard animals, a Wild West setting, and inept villains make the movie a playground for family-friendly cartoon humor. Home on the Range takes advantage of all of these, packing in as many jokes as it can into its short run time. Not all of the jokes are winners, but enough of them hit the mark to make the movie entertaining for the right viewer.

The catch is that Home on the Range rests on a shaky foundation. The premise lacks the clarity that other animated films usually have, and the story can get ridiculous even by the loose standards of the genre. The movie makes a passing attempt at an emotional arc as Maggie, the newcomer on the farm, earns the trust of Mrs. Calloway and Grace, but there isn’t much character development to be had.

The result is a breezy but shallow adventure that requires a significant amount of buy-in from the audience. Home on the Range scores some points with its light, spirited comedy, but its story does not have what it takes to hold the movie together.

How much you get out of the movie will depend on whether you are willing to put up with some absurdity for the sake of a good time. Flexible viewers who enjoy animated adventures for their own sake will find something to enjoy. Those looking for a fulfilling story or masterful animation will find the movie lacking.

For a more elaborate, better-written animated Western comedy, try Rango. For a barnyard comedy with a lot more heart, try Chicken Run.

[5.4 out of 10 on IMDB](https://www.imdb.com/title/tt0299172/). I give it a 6.5 for goofy charm without much substance.

Today’s quick review: The King and I. To help modernize his country, the King of Siam (Martin Vidnovic) sends for Anna Leonowens (Miranda Richardson), an English schoolteacher. Anna sets about teaching the King and his children about life outside their palace. But her efforts are opposed by the Kralahome (Ian Richardson), the King’s treacherous second-in-command, who tries to paint the King as barbaric to gt the British to overthrow him.

The King and I is an animated musical based on the play of the same name. The King and I tells the story of the King of Siam and Anna, two people from different cultures who find common ground. The premise has some potential: a cultural exchange that highlights the tensions between tradition and new ideas in modernizing countries. However, the execution of the premise leaves much to be desired, with none of the tact needed to make the story work.

The King and I suffers from being animated. Animation opens the door to all kinds of distractions that add nothing to the story and only serve to pull focus away from what really matters: the relationship between Anna and the King. Intelligent animal sidekicks, cartoonish slapstick, fanciful action sequences, and annoying supporting characters all undermine the strongest points of the story without offering anything worthwhile in return.

Even without these distractions, The King and I tends to sell itself short. The King is an imperious man torn between centuries of tradition and his desire to do what is best for his people. Rather than play up this dynamic, the movie opts for cheap jokes and comedic quirks that make him hard to take seriously. The musical numbers suffer a similar fate, pleasant songs that are dropped in without preamble and forgotten just as quickly.

The King and I is a movie that does not know how to play to its strengths. Its colorful cartoon antics will give it a shallow appeal for younger audiences, but nearly everything that could make the movie special is given short shrift. As such, The King and I is a difficult movie to watch. The music and characters may strike some viewers the right way, but general audiences will find that the movie falls short of the mark.

For another musical about a teacher who changes a stern man’s life for the better, try The Sound of Music. For another musical in the same vein, try Mary Poppins. For a more insightful and emotional story about royalty getting to see the outside world, try Roman Holiday.

[4.5 out of 10 on IMDB](https://www.imdb.com/title/tt0160429/). I give it a 5.0 for miscalibrated humor and a shortchanged story.

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.