| United Artists | Release Date: July 16, 1982 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
13
Mixed:
2
Negative:
0
|
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Critic Reviews
Bluth and his animators, bless them, chose to revive an endangered art form — classically detailed animation. They drew their characters exquisitely and gave them individual personalities. The entire ensemble — artists, actors, animals, and musicians — created something unique: the world’s first enjoyable rat race.
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This may be a film for children, but its achievement is no less serious. For only when animation approaches reality this closely does its liberation from reality -- its celebration of a fantasy world in which anything is possible, including talking mice and swashbuckling rats -- have its impact on us. [20 July 1982, p.C6]
The Secret of NIMH is an ambitious and entertaining debut that will delight and terrify kids everywhere. If there are flaws in NIMH they are a product of its ambition: visually, moments when the animation is almost too busy to take in; dramatically, an eclectic and overstuffed plot that threatens the balance of the movie. But better a surfeit than a soporific. [12 July 1982, p.75]
Bluth's directorial debut (co-produced, co-written, and co-designed by Pomeroy and Goldman) has its clunky side, particularly in its bafflingly outré alterations to the plot of a beloved children's classic. But the animation was, as Bluth and company had promised, a spectacular return to old-school craftsmanship.
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The Secret of Nimh is an artistic success. It looks good, moves well, and delights our eyes. It is not quite such a success on the emotional level, however, because it has so many characters and involves them in so many different problems that there's nobody for the kids in the audience to strongly identify with. I guess you could say that the Disney tradition lives, but that the Disney magic still remains elusive.
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This superbly animated (but weakly scripted) tale was produced by Don Bluth, who left Disney Studios when he became dissatisfied with the quality of their animated films in the 1970s, taking a dozen of Disney's best animators with him. The result is a return to the lush, finely detailed animation seen in the best Disney features.
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It's a spectacular return to the shimmering, mesmerising deep-focus animation associated with Disney's classic period: a marvellous use of lighting to create atmosphere, dew-drops glisten from every tree, and the villains are as primally terrifying as cartoon villains should be. The choice of material (Robert O'Brien's novel Mrs Frisby and the Rats of NIMH) is less fortunate, since it lacks the wonder of early Disney, and the mouse heroine is far too insipid and twee. It's still a pretty effective family film, though.
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The film is an impressive technical achievement: the full-figure animation is dimensional and elegant, the perspectives imaginative, and the color design superb. But without the (old) Disney genius for emotional structure and character design, the results are rather flat—the film concentrates on Disney horror and trauma without the relief of Disney charm.
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