Charles Solomon

The story and characterizations never get much deeper than "We're all special in our own way."

Disjointed and unfocused.

Some of the subsequent Disney features--notably "Pinocchio"--are technically superior, but the animators never surpassed the emotional depth they achieved in Walt's "folly." "Snow White" carries her 50 years very lightly.

Despite all the good fun, Bambi remains a potent story that touches deep fears and emotions. Few scenes in animation--or live action film--match the poignancy of the death of Bambi's mother, a sequence that still moves children (and adults) to tears.

The ineptly told story features the hollow menaces, uninteresting villains, bland heroes, predictable confrontations and static animation that have become standards of the genre. [21 Mar 1986, p.17]

Every element in Pinocchio shimmers with the energy of young artists reveling in their newly discovered powers of creation.

The Great Mouse Detective reflects the energy and enthusiasm of a talented group of young artists stretching their wings for the first time. That group has gone on to produce some truly extraordinary work, win awards and earn sums no one believed could be made from an animated film. And, as has often been the case at Disney, it all began with a mouse.

Background stylist/co-director Eric Radomski has created a terrific-looking world of film noir-influenced Art Deco skyscrapers, shadows, gargoyles and windows. Unfortunately, some of the worst-animated characters in any recent feature get in front of those stylish backgrounds.

The first theatrical feature adapted from the hit anime adventure My Hero Academia: Two Heroes gives fans of the manga and broadcast series exactly what they want: a high-energy blend of heroism, comedy, friendship and take-no-prisoners battles.

Cruella De Vil dominates the film: With her booming voice (provided by Betty Lou Gerson) and extravagant gestures, she leaves a trail of shattered glass and frazzled nerves wherever she passes. [12 July 1991, p.F12]

But rarely has so much animated opulence been wasted on such a thin, badly told story.

The sugary cuteness of the Little Ponies masks a corporate greed as cold and sharp as a razor blade.

A bright, upbeat comedy that should appeal to audiences of all ages. [18 Nov 1988, p.1]

With its exhilarating action sequences, Walt Disney Pictures' The Rescuers Down Under challenges the adventure films of Spielberg and Lucas and confirms the special power of animation to present extravagant fantasies on screen.

Song of the South is essentially a nostalgic valentine to a past that never existed, and within those limits, it offers a pleasant, family diversion for holiday afternoons when the children get restless.

An exciting, upbeat film, but not a very impressive example of the animator's art. [01 Feb 1989, p.8]

Capturing the pain and humor of genuine childhood feelings requires far more subtlety and skill, and this emotional depth makes Lady and the Tramp a timeless film that audiences will still enjoy 31 years from now.

The plot does little more than link a string of vaguely related episodes, intended to provide comedy, excitement and music. But even at their least original, the Disney artists provide better animation--and more entertainment--than the recent animated features

With its bright colors, upbeat rock soundtrack and strong ecological message, FernGully...The Last Rainforest should delight children and amuse their older siblings and parents.

Unfortunately, the story, script, voice actors and animation all prove less flexible than the toys, and the film never turns into entertainment. GoBots are more fun to play with than they are to watch.

My Neighbor Totoro is a gentle and affirming film. It's certain to delight smaller children, although boys accustomed to the slam-bang violence of super-hero cartoon features and TV shows may chafe at its leisurely pace.

Contemporary viewers are more likely to find Fritz the Cat a mildly amusing period piece, as dated as a Nehru jacket.

Akira is a jumble of high-tech visuals that will appeal only to hard-core Japanese animation fans. Viewers in search of a coherent narrative or polished animation should look elsewhere. [14 Mar 1990, p.F3]

Demonstrates how exciting and vital contemporary animated filmmaking is in Japan. The characters may not move with the fluidity of their American counterparts, but the story unfolds with a sinister grace that any live-action director might envy.

Writer Dennis Marks and producer/directors William Hanna and Joseph Barbera can't seem to decide whether they're making a with-it musical for teen-agers or re-creating the ingenuous humor of a '60s TV show, and don't do either very well.

In an effort to generate some excitement (and disguise the limits of the animation) director Nelson Shin keeps the camera constantly in motion. The Transformers has so many cuts that it looks like the film was developed in a Veg-O-Matic. Because it features ineptly blended drawn animation and computer graphics, The Transformers is billed as state-of-the-art. It seems more like state-of-the-marketing. [08 Aug 1986, p.8]

At a time when viewers are calling for greater diversity in film, On Happiness Road marks the introduction of a promising new female voice in animation.