Disney’s 50th feature-length animated movie is their best in many years. Tangled recaptures the charm, humor, and spirit of the studio’s second renaissance, the late 80s/early 90s period that saw such hits as The Little Mermaid and Aladdin. Quite simply, I laughed and I cried, thoroughly engaged with the characters and the storytelling. And when I thought I had Tangled figured out, it gave me a couple of twists and some welcome sophistication. Touche, John Lasseter, touche.
There’s precious little to keep you interested in this hideous-looking and busily boring shit-fest of a film that is both a nadir for director Tim Burton’s creative trajectory and emblematic of everything wrong with Hollywood in the early 21st century. Much muchness? Indeed. Alice in Wonderland is the cinematic equivalent of a priapism.
Disney’s Frozen borrows ideas from Hans Christian Andersen’s The Snow Queen and follows closely in the footsteps of Tangled before it, but it’s also a bit more. For one thing, there’s an interesting sister dynamic at play here. One royal daughter, Anna (voiced by Kristen Bell), is the care-free sort, while the older daughter Elsa (Wicked‘s Idina Menzel) is born with a curse – the power to turn things into ice. After a childhood display of her magical powers nearly kills Anna, Elsa hides herself away for fear of hurting anyone. That’s all prelude. The story proper takes off when Anna inadvertently upsets Elsa on her coronation day. When the citizens of Arendelle discover their queen is a sorceress, they freak, she freaks, and a hard snow comes to fall. Elsa flees the kingdom and builds an ice castle for herself on the side of a mountain, leaving it up to little sister to later beg her for a return to warmer times.
Sinbad must rescue his wife-to-be from the clutches of an evil sorcerer who takes her away to an island full of dangerous monsters in this ebullient fantasy adventure from director Nathan Juran and pioneering effects artist Ray Harryhausen. Harryhausen’s stop-motion animation combine with Bernard Herrmann’s music to give this romantic adventure wings. You can see and hear the passions of both men in the film, and these achievements pretty much make The 7th Voyage of Sinbad what it is: sweet, charming, escapist fare for the whole family.
My favorite Pixar film features two robots who say little more than each others’ names, but somehow, as if by magic, WALL-E manages to convey more emotion than films that try twice as hard to do so. There’s a charming purity in the characters of WALL-E and EVE, who to differing degrees struggle against their ‘directives’ to form a bond. The fact that these two odd ‘bots end up protecting the last sliver of life on Earth — a tiny plant — could have been cloying, but Pixar knows how to handle the material. When WALL-E finds the fragile vine, he simply collects it in an old shoe and places it on a shelf with other artifacts of a bygone era. 
“What if a gun had a soul?” That’s how director Brad Bird pitched The Iron Giant to Warner Bros. Animation. The gun in question is The Iron Giant himself, a robot of unknown origin that crash lands on Earth in 1957, at the height of the atomic scare. He dents his head and can’t remember where he’s from or why he exists. He befriends a boy named Hogarth, a savvy little kid raised by a single mother, whose seen enough science-fiction movies to know how the public will react to his extra-terrestrial friend. With the help of a local beatnik artist, Hogarth keeps the giant hidden from a snooping government official, all while forging a poignant relationship with the impressionable robot.
