Showing posts with label Walt Disney. Show all posts
Showing posts with label Walt Disney. Show all posts

11/29/2018

Blu-ray Review: Pixar Short Films Collection, Volume 3 (2018)


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Shining a light on the audience, before every Pixar feature, the studio reaffirms their commitment to short filmmaking not only through their latest offering – which dazzles us just before the main attraction – but within the Pixar logo itself.

Evoking an image from the company's 1986 animated short Luxo Jr. with that now iconic bouncing desk lamp, more than three decades and three volumes of short films later, Disney Pixar's passion for creative storytelling remains just as strong today regardless of running time.


In fact, looking at the thirteen films included in this gorgeously transferred, recently released Blu-ray combo pack, one could go as far as to say that while Pixar's blockbuster features still thrill, it's in the studio's non-franchise shorts where they take the most risks.

While many shorts still embrace some of Pixar's favorite staples including unusual paths to romance or family-centric tales of parents learning to let go as children come-of-age, with new twists on familiar themes, these personal and often jaw-droppingly ambitious shorts introduce us to new cultures, countries, traditions, and perspectives.


Kicking things off with one of the most moving shorts I've seen in a long time, Chinese-Canadian storyboard artist Domee Shi became the first woman to helm a Pixar short with 2018’s Bao, which mixes fairy tale structure (including a dash of Pinocchio) with her own background for this bittersweet saga about an empty-nester.

A perfect companion piece to Alan Barillaro's 2016 Academy Award winner Piper, the disc’s early films – including the inventive Lou from Dave Mullins which focuses on bullying – flow nicely from one to the next as they tell a story about aging children and parents struggling to assert their independence while staying connected to home.


In the thrilling entry Sanjay's Super Team, writer-director Sanjay Patel puts a superhero spin on the Hindi gods he prayed to alongside his father as a child when he thought he'd much rather be watching cartoons.

Checking back in with some of Pixar's most iconic movies and characters, while on the whole, the standalone franchise shorts are pretty hit or miss, Riley's First Date?, Party Central, and Partysaurus Rex from Inside Out, Monsters University, and Toy Story respectively are definite highlights.


Helping to balance out the mayhem of some of the wilder shorts (even if this volume goes in this reverse chronological order), Pixar proves once again that animation can appeal to adults just as much as children with Saschka Unseld's groundbreaking 2013 short The Blue Umbrella and James Ford Murphy's lyrical Lava, which was made a year later.

From the free will and heightened realism on display in Umbrella, where a love story plays out on a dark city street as inanimate objects guide two umbrellas together to the fated romance of a lonely volcano hoping to find someone to "lava," the two works use music incredibly well, whether augmenting Unseld's dialogue-free film or literally telling Ford Murphy's story through song.


Also featuring two bonus shorts and filmmaker introductions, this stunning collection of admittedly similarly themed but mightily different shorts is filled with the heart, empathy, and magic we've come to expect from a studio that's set out to bring us closer together under the warmth of Pixar's illuminating light as it captures, interprets, and reflects the emotional journey of life.


Text ©2018, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited and in violation of the Digital Millennium Copyright Act.  FTC Disclosure: Per standard professional practice, I may have received a review copy or screener link of this title in order to voluntarily decide to evaluate it for my readers, which had no impact whatsoever on whether or not it received a favorable or unfavorable critique. Cookies Notice: This site incorporates tools (including advertiser partners and widgets) that use cookies and may collect some personal information in order to display ads tailored to you etc. Please be advised that neither Film Intuition nor its site owner has any access to this data beyond general site statistics (geographical region etc.) as your privacy is our main concern.

11/16/2018

Blu-ray Review: Incredibles 2 (2018)


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Coming off the heels of a string of smash successes centered on talking toys, bugs, monsters, and fish, Pixar's sixth feature film was a radical departure for the always surprising computer animation house.

Revolving around not only human beings – who in 2004 had only ever been in the periphery of other Pixar releases up until that point – but superheroes at that, Brad Bird's The Incredibles managed the impossible task of delighting children with its fast-paced excitement as well as adults who undoubtedly appreciated the film's emphasis on family overall.


Though a focal point of other superhero fare including the Justice League, X-Men, or Avengers, which were subtextually built upon the idea of choosing your own surrogate family, Bird's Incredibles took the term "family picture" to a new literal level. And in doing so, he dared to make the ordinary extraordinary, which is the theme carried over in this 2018 sequel which picks up precisely where the previous film left off in spite of a fourteen year gap.

"Done properly, parenting is a heroic act," my favorite supporting player, technical super suit designer Edna Mode (voiced by Bird) says to a stressed-out Bob Parr aka Mr. Incredible (Craig T. Nelson) in Incredibles 2.

Not allowed to moonlight as a "Super" anymore, in the film, Bob experiences a role reversal with his wife Helen aka Elastigirl (Holly Hunter) after the superhero program is shut down because, as Rick Dicker (now voiced by Jonathan Banks) explains, "politicians don't understand people who do good simply because it's right."


Recruited by the private sector in the form of Bob Odenkirk's telecom giant Winston Deavor who, along with his sister Evelyn (Catherine Keener) is working to "make all supers legal again," with his connections, lobbyists, and by embedding super suits with tiny cameras for a PR campaign, soon Helen is employed full-time because she causes less property damage than her Incredible spouse.

Enjoying the perks of the job from a new Elasticycle to a luxurious temporary home for her loved ones since the Parrs are still in hiding since their last adventure, though initially cautious, soon the former stay-at-home Supermom falls back into the routine of her younger mohawk days, which amazingly Bird and company didn't bring to life in flashback.


And as Bob juggles solving complex math problems for son Dash, inadvertently embarrassing daughter Violet in front of her crush, and realizing Jack-Jack's alarming and quickly out of control super powers, Helen takes center stage in the lightning paced sequel’s most impressive sequence as she races to stop a runaway hovertrain.

While the action in the original feature was one of its benchmarks, following Brad Bird's work directing one of the most jaw-dropping Mission: Impossible films yet via Ghost Protocol in between the two Incredibles, Elastigirl's adrenaline pumping, highly cinematic hovertrain rescue thrills on the same level as a live action tentpole movie.


Although admittedly, one fight scene amid blinding white flashing lights later on in the film should necessitate an epilepsy warning before the film even begins – and indeed movie theaters alerted attendees during its initial run – Incredibles 2 never lets the epically executed action get in the way of its family-centric message.

Working together literally and metaphorically, as the rest of the Parrs including Samuel L. Jackson's "Uncle" Lucius aka Frozone predictably jump into the picture's ultimate showdown, the film still drives home the picture's overarching theme while reinforcing the lesson of its predecessor, namely that the family of distinct individuals are – like the rest of us – stronger when united.


Comprised of two Blu-rays, one DVD, and a code for a digital copy of the film, Disney Pixar fills the three disc set with a wide variety of bonus material such as behind-the-scenes featurettes, mini-docs exploring multiple characters and more, which has been the studio’s M.O. since the beginning.

And given that the production schedule was moved up a year after Pixar flipped the release date of Incredibles 2 with Toy Story 4, some of the disc’s extras (including ten deleted scenes) hint at storylines and ideas Bird has acknowledged he had to cut for time, which cast members are hoping might pay off in a third entry.

More about the people behind the quest than the quest itself, even though there are nods to previous genre favorites like Burton's Batman and Raimi's Spiderman 2, Incredibles 2 is a refreshing variation for those suffering from superhero overload.


Using the opportunity of a new release to showcase another stellar short film, in addition to Bao, be sure to look for the delightful Incredibles short Auntie Edna that – fitting into the overall narrative – plays like a five-minute deleted scene and gives us a chance to see Edna and Jack-Jack in action.

Amusing enough to make me think that Edna (and therefore Bird) could follow in the footsteps of Finding Nemo's Dory and have their own fabulous spin-off, even if this isn't the case, it's safe to say that with their history of Incredibly outside-the-box thinking, whatever Pixar cooks up next will be sure to blow our minds.



Text ©2018, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited and in violation of the Digital Millennium Copyright Act.  FTC Disclosure: Per standard professional practice, I may have received a review copy or screener link of this title in order to voluntarily decide to evaluate it for my readers, which had no impact whatsoever on whether or not it received a favorable or unfavorable critique. Cookies Notice: This site incorporates tools (including advertiser partners and widgets) that use cookies and may collect some personal information in order to display ads tailored to you etc. Please be advised that neither Film Intuition nor its site owner has any access to this data beyond general site statistics (geographical region etc.) as your privacy is our main concern.

10/06/2018

DVD Review: Freaky Friday (2018)


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At a crossroads in their relationship, a mother (Heidi Blickenstaff) and her teenage daughter (Cozi Zuehlsdorff) magically switch places in this, the fourth adaptation of the timeless 1972 children's book Freaky Friday by Mary Rodgers.

From the 1976 Disney classic with Jodie Foster and Barbara Harris (and its well-received 2003 remake starring Jamie Lee Curtis and Lindsay Lohan) to the 1995 small screen cult favorite featuring Shelley Long and Gabby Hoffmann, while the other three Freaky Friday movies played things relatively safely, this translation decided to swing for the creative fences.


Based not only on the Rodgers classic and its previous film incarnations but also the 2016 Disney stage musical Freaky Friday, which was written by Bridget Carpenter (who also scripted this version) as well as music and lyrics by Pulitzer Prize winners Tom Kitt and Brian Yorkey, the Disney Channel's newest original movie is arriving on disc just one month after its premiere.

Heightening the emotional disagreements between the two women with the film's at times epically staged musical numbers, the over caffeinated energy and fast pacing also helps disguise the fact that, with so much going on, Friday is far too chaotic for its own good.

Namely, it's that rarest of occasions when a film suffers not from not enough but rather too much plot, especially given its mere ninety minute running time vs. the length of the original theatrical production.


In addition to the main storyline where the two swap bodies after breaking a collectible hourglass given to them by the family's late husband and father on one of the most challenging days of their lives, the film opts to supersize the action even more.

Having mortgaged their home to start her own catering business, hardworking Katherine Blake (played by Blickenstaff, who originated the role onstage) is being shadowed by a bridal magazine for a cover story about her wedding she planned entirely on her own to the ever supportive Mike (Alex Désert) that's scheduled for the very next day.

Like mother like daughter, Carpenter opts to see and raise the stakes when it comes to Katherine's daughter Ellie's (Zuehlsdorff) plotline as well.


A dramatic sixteen year old sophomore, Ellie is eager to win a competition called The Hunt (which seems to be a cross between a scavenger hunt and the "dare" side of Truth or Dare) in order to, as she explains, "break free of the draconian caste system" of high school.

Set on it, she promises her two best friends that she'll be able to change her mom's mind about the no holds barred overnight game scheduled on the very same night of her mom's rehearsal dinner.

Worried about more than just the game (which turns out to be one of the weakest parts of the film in terms of plot), just like her mom, Ellie's dealing with challenges all her own.


From a younger brother who never fails to get on her nerves (Jason Maybaum) to concerns that Mike is trying to replace her father, as well as an adorably awkward crush on Adam (Ricky He), and the very real possibility that she might fail tenth grade if she's absent one more day, once the switch occurs and these plots collide, things get both increasingly convoluted and confusing.

While some of these plot points wind up making very little sense by the end of Friday and it suffers from an offbeat tone including occasional and out-of-character moments of scatological humor that don't fit in with the rest of the movie, thankfully the film's jubilant choreography (by John Carrafa) and infectious musical numbers distract us enough from having to make heads or tails of it all.

Needless to say, it's a lot for what some might assume is a "little" movie and as over ambitious beats under any day of the week, a great deal of credit is owed to Friday director Steve Carr for its success.


A former music video director and Def Jam album designer turned Paul Blart: Mall Cop helmer, in the film's bravura wedding sequence, Carr seems to be auditioning to direct Mamma Mia 3.

Though hinging the entire film on a weak hourglass gimmick wasn't perhaps the best way for the two to switch places in 2018, Freaky is still sure to delight those willing to look past the film's house of cards like myriad of plot problems that feel like they could collapse at any moment under Friday's weight.


While complexity doesn't seem to appeal as well to fans of simple but fun Disney Channel original movie musicals like The Teen Beach Movie or High School Musical, between this and Disney's Zombies, it's nice to see them try to branch out to works that deal – however briefly – with topical issues ranging from mortgages to remarriage after loss of a parent in Friday.

And even though there's no replacing the original Freaky feature with Jodie Foster, with this movie's first burst of music and lyrics, you realize that – like mother and daughter – they're different yet similar enough to appreciate on their own.


Text ©2018, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited and in violation of the Digital Millennium Copyright Act.  FTC Disclosure: Per standard professional practice, I may have received a review copy or screener link of this title in order to voluntarily decide to evaluate it for my readers, which had no impact whatsoever on whether or not it received a favorable or unfavorable critique. Cookies Notice: This site incorporates tools (including advertiser partners and widgets) that use cookies and may collect some personal information in order to display ads tailored to you etc. Please be advised that neither Film Intuition nor its site owner has any access to this data beyond general site statistics (geographical region etc.) as your privacy is our main concern.

4/23/2018

TV on DVD Review: Disney's Zombies (2018)



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AKA: Disney Zombies; Disney Z-O-M-B-I-E-S

A zombified tale as old as time made trendy for today's junior Walking Dead audiences, the Valentine's week debut of Disney's Zombies marked a gutsy programming decision for a network well-known for its success updating the House of Mouse's popular 1960s bright, beachy, musical romcom formula for youthful twenty-first century audiences.

Based upon Zombies and Cheerleaders, an unaired 2012 Disney Channel pilot from screenwriters David Light and Joseph Raso, the 2018 feature length iteration brought back the two series creators, granting them the chance to infuse their clever concept with an even more contemporary twist.


Taking the idea of a wrong side of the tracks romance to bold new heights, Disney's Zombies opens with a vibrant animated prologue which brings us up to speed. Fifty years ago a power company accident with lime soda whipped up a contaminated haze potent enough to turn some of the residents of the formerly idyllic Seabrook into zombies. Fearing for their lives, those unaffected by the contaminant decided to build a Cold War, Berlin style wall to keep the two groups apart.

Fortunately, with their hunger for brains soothed by electro-pulses delivered throughout the day from a smartwatch dubbed a Z-band, the zombie students of Zombietown (including our charming main character Zed, played by Milo Manheim) are excited to follow through on a recent city council decision to allow zombies to attend school alongside the humans of Seabrook.


When his dream to play for Seabrook High School's football team is dashed by a fearful principal who vows to keep the students separated by segregating the zombies to a dingy basement, Zed decides to break free – thinking if people just met him (as well as his friends) – they would surely see there's little difference between them after all.

Although his optimism is temporarily crushed by a school-wide panic when a student spots Zed and sets off the zombie version of a fire alarm, he gets a second chance at a first impression when he meets a beautiful human in the form of aspiring cheerleader and fellow freshman, Addison (Meg Donnelly).

Taking shelter in the dark, the two engage in friendly banter before they even catch sight of one another (and despite her catching his eye earlier in the film). Yet while Addison's initial defensive response was to punch the tall, cute, green haired zombie on sight as soon as the lights came on, once she comes to her senses, she's just as fast with an apology, realizing that perhaps zombies aren't the horrible people her parents, cousin, and others believe them to be.


Particularly empathetic due to a genetic challenge of her own (which was revealed in an effective Ferris Bueller style introduction that broke the fourth wall in order to endear the characters to the viewer while also make us realize how right they are for one another), although all Addison wants is to be normal, she understands more than most how unfair it is to judge others just for being different.

Though it's not your average tween spin on Beauty and the Beast, you don't have to be a Z-band scientist to see where Disney's Zombies is going. And while it's safe to say that younger audiences are sure to enjoy the TV movie, some of the swing-for-the-fences performances and shout-tastic line delivery might drive away those old enough for iZombie or Disney’s big sister channel, Free Form.

Helmed by longtime Disney Channel veteran Paul Hoen (director of past original movie hits including The Mistle-Tones, Camp Rock 2, and Cheetah Girls: One World) and choreographed by Christopher Scott and Steven Vincent, it’s well-worth putting up with a few cartoonish moments to relish in some of the work's mind-bogglingly impressive song-and-dance sequences.


With echoes of everything from West Side Story to Bring It On and Michael Jackson’s Thriller to the Step Up series all blended together, it’s far more daring in its musical moments than it should've been from a storytelling perspective – missing ample opportunities for mild scares and stronger character development in order to push its topical themes even further.

And although it touches on present day allegory – namely the idea of a wall to keep out a population the “perfectly planned" community of Seabrook finds undesirable – and boldly begins to weave some real world applications into its clever plotline, unfortunately the zombiefied premise becomes increasingly Disneyfied as the movie continues. That isn't to diminish what Light and Raso did, however, as you do have to give them credit for even referencing these ideas at all in what most would consider just a light entertainment.


Given its impressive production design, which teaches film literacy by providing both zombies and human sets, costumes, etc with a specific and strict color palette right from the start before eventually letting the shades run together, it's an outstanding example of true creativity and proof why you can't simply write off these network titles as generic kiddie fare. And in addition to Disney's trademark motion picture level dance sequences, Disney's Zombies boasts a few surprisingly effective songs that surely helped attract nearly three million viewers in its February 16 debut.

Filling the DVD with audition footage, bloopers, deleted scenes, and a few fun zombified extras including a sheet of glow-in-the-dark tattoos, while this musical geek was hoping for more behind-the-scenes extras relating to the film’s audacious themes and choreography, it’ll definitely delight the young zombie fans in your life.

Check Out the Soundtrack



Text ©2018, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited and in violation of the Digital Millennium Copyright Act.  FTC Disclosure: Per standard professional practice, I may have received a review copy or screener link of this title in order to voluntarily decide to evaluate it for my readers, which had no impact whatsoever on whether or not it received a favorable or unfavorable critique.

11/26/2014

Blu-ray Review - Planes: Fire and Rescue (2014)


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On Blu-ray, DVD, or Download

  Photo Slideshow   


Related Review: 
Planes (2013)



AKA: Disney's Planes: Fire & Rescue; Planes: Fire & Rescue

As the very embodiment of not just wishing upon a star but aspiring to fly among them to make his Disney dreams come true, in the first of three planned "World of Cars" spin-off Planes pictures, Dane Cook's ambitious crop duster ventured from humble beginnings as a farm flyer before overcoming enormous obstacles to take to the international skies as a world-class racer.

Yet just because the underdog made it to the top of our eye-line (in some gorgeously crafted CG sequences that helped distract us from the otherwise by-the-numbers plotline), it doesn't mean that he'll be smooth sailing in the sky for long as this time around, reality in the form of a faulty gearbox soon sends him crashing down from cloud nine.


Hoping to remedy the mess he’s made at home, Dusty cruises over to Piston Peak National Park for what he assumes will be a cakewalk compared to everything he's achieved.

However he quickly finds himself overwhelmed, outclassed, and — whether or not he wants to admit it — seriously impressed by the high precision flying, jaw-dropping displays of teamwork, bravery and lack of ego evidenced by the squad of true heroes whom he encounters.

And though it may be smaller in scope to the global scale of its predecessor, Planes: Fire and Rescue is vastly superior to the first film which ran out of gas and plot by the end of the first act.

Yet while the original Planes would have been better off wrapping up its entire storyline in the form of a short film as opposed to a feature, Fire and Rescue only gets better as it continues, particularly as witnessed by the coolly cinematic introduction to the crew (and what they can do) cut in time to AC/DC's "Thunderstruck."


Admittedly and much like the previous installment, Fire is a retread of the same character archetypes, storylines, style, and structure of Cars — this time with Ed Harris taking on the role as the mentor embodied by Paul Newman in the Pixar original.

However, the one bonus that this film has over the rest of the World series is a genuinely witty, against-type voice-over turn by Modern Family's Julie Bowen Dipper, the aptly-named new coworker of Dusty who's as dippy and she is determined to make Dusty her wingman.


While Dipper's overeager charm recalls Jessie in Toy Story 2 and Dory in Finding Nemo, a theme from another Pixar franchise film floats into the last half of Disney’s Planes that echoes the mature moral conveyed in Monsters University.

For just as Billy Crystal's Mike struggled to adapt his future plans and roll with the punches when he learned that the path he'd always imagined for himself wasn't in the cards, it's precisely the same ability-driven setback that Dusty faces in this film upon realizing that sometimes life doesn't always go the way you’d expect.

A rough patch of a plot twist that can also be viewed as a metaphor for disability, Dusty's role-defining character arc is universally relatable from multiple points-of-view.


Uniting the ambitious flier with his mentor on a more soulful level, viewers eventually discover that, like Dusty, the decision to join the Fire and Rescue Squad came later in life as a fallback career for the character voiced by Harris as well.

Predictably of course, Planes: Fire and Rescue takes a cheap way out by giving its characters another happily ever after solution in the nick of time. Nonetheless, even utilizing this plotline is an admirably responsible step in the right direction for Disney given that their entire empire is built upon wishing on a star and dreams coming true.


For fittingly, over the past thirty years there's been a definite paradigm shift at the House of Mouse in an important transition for not only the classic fairy tales that served as a foundation for the happiest place on earth but also in the underdog films that have replaced them as modern day wish fulfillment sagas.

Winningly, they’ve managed to infuse the works with more realism while still staying true to their roots by never taking away from the importance of optimistic dreams.


Thus, Disney has not only taken responsibility for the oversimplification of tales of old by showing us heroes that know they might need a backup plan to save themselves when times are tough but they also give the youngest generation filmic examples of these very lessons at the very same time.

While it's nowhere near as impactful or thrilling as recent Disney fare including the superlative Wreck it Ralph or Frozen, much like Dusty you have to admire the ability of Planes to bounce back from the problems of the first one early on to deliver something stronger and more successful all around.

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Text ©2014, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited and in violation of the Digital Millennium Copyright Act.  FTC Disclosure: Per standard professional practice, I may have received a review copy of this title in order to voluntarily decide to evaluate it for my readers, which had no impact whatsoever on whether or not it received a favorable or unfavorable critique.

10/17/2014

Blu-ray Review: Disney's Sleeping Beauty (1959) — Diamond Edition


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  Photo Slideshow
   




Introduction:

Responsible for bringing to artistic life two of the most frightening Disney villains ever invented –while it’s impossible to choose whether Maleficent or Cruella deVil is the greater epitome of iconic Disney evil – it’s easy to see the influence of animator Marc Davis’s classic creations reflected throughout popular culture to this very day.

Whether it’s in Disney’s own Little Mermaid villainess Ursula or via live action and hand-drawn works alike from filmmakers around the globe, Davis’s impact can’t be understated. Arguing that very point for him based on their prominent inclusion in a memorable special feature, both of the artist’s fiercest villains are on display in a brand new Diamond Edition Blu-ray bonus that takes a look at Disney villains while conveniently up building anticipation for the upcoming home entertainment release of the studio’s Angelina Jolie starring live action feature Maleficent.

Likewise, it’s a tribute to Davis – and Disney’s classic Sleeping Beauty by extension – that Maleficent not only set the pace for the summer movie season as one of only a precious few bona fide 2014 blockbusters (besides Disney sister-company Marvel’s Guardians of the Galaxy) but will also kick off holiday gift-giving when it debuts next month following Beauty’s lead.


Although Disney enthusiasts might remember that the 2008 Platinum Edition of Beauty was one of the first combo pack format releases (alongside the first Tinker Bell spinoff) to bow on Blu-ray as part of the studio’s budget friendly multi-format sets that have since become industry standard, this Diamond Edition follow-up incorporates some superb brand new features from the House of Mouse’s legendary vault.

Of perhaps greatest interest are Disney's debut of rough sketches coupled with audio that help provide a glimpse of alternate takes and/or deleted scenes that were left out of the final cut that countless generations have come to know so well.

In stark contrast to the superfluous scenes we’re used to seeing in contemporary DVD features, Beauty’s newly unveiled footage helps answer lingering viewer questions including how and why Princess Aurora wandered in to prick her finger on Maleficent's spinning wheel in the first place.


Another scene adds crucial words to the otherwise mostly silent heroine whose name and looks essentially make up her entire personality, which is a far cry from this era of feisty, fiercely independent, chatty princesses depicted in the studio’s biggest blockbuster to date via last year’s phenomenal Frozen.

Boasting Disney’s ever popular karaoke feature along with the previously released classic featurettes mixed together with new material, we're taken behind-the-scenes of one of Disney's most acclaimed, landmark endeavors. And as such, it’s interesting in retrospect to go back and view Beauty with the company’s other fairy tales in mind.

For not only do you begin to better appreciate the ways that the film laid the cinematic groundwork for the titles that would follow but it’s also thrilling to evaluate the work structurally from a storytelling perspective.


When viewed as part of a double feature with The Little Mermaid in particular, you’ll see numerous examples of how this 1959 work impacted the one that would give birth to the so-called Disney Renaissance exactly three decades later via 1989’s Mermaid (which was documented in the intriguingly titled nonfiction effort Waking Sleeping Beauty).

From the reconfiguration of Maleficent to create Ursula to the way that the prince in both titles first falls for the women based on the sound of their melodic voices alone, Beauty’s role in creating the official paradigm future Disney classics would follow grows that much more evident with each new comparison and contrast.

Admittedly it’s a tough feature for feminists to champion as Aurora is even more silent than the mischievous mermaid turned voiceless Ariel who swam to two-legged life out from under the sea of her father’s staunchly male-centric kingdom as part of a Faustian bargain with Ursula. Nonetheless, it’s hard to deny Aurora’s role in getting Disney to its Brave new world where old sexual stereotypes have begun to freeze over thanks to Frozen’s cry to “let it go.”


Loading up the combo pack with a bonus standard definition DVD as well as a digital copy, while understandably some fans might be stumped as to why – besides serving as a Maleficent marketing tie-in – the studio would choose to upgrade Beauty from Platinum to Diamond a mere six years later when so many classics are waiting in the wings, there’s enough here to warrant a second visit.

Of course, following the tragic death of Robin Williams, I can only hope that Aladdin will be the newest work to make its debut on Disney high definition Blu in the future.

Nonetheless Beauty’s reappearance helps remind us how much of a role the film has continued to play in our culture, from the live-action gender reversal While You Were Sleeping (made by another Disney sister company) to its offscreen role as part of the complex debate about the media’s obsession with a woman’s beauty vs. what or how much she’s allowed to say.



50th Anniversary Platinum Edition DVD Review:
(Edited for Context; Originally Published 10/05/08)

Ushering in the new era for Walt Disney Studios animation as the last feature with hand-inked cells, Sleeping Beauty became the first film to be both created and released exclusively for the 70mm format.

Now in 2008, nearly fifty years later, it makes history once again as “the first-ever Disney Classic animated feature in high definition.”

Awakening on shelves in a stunning digitally re-mastered 50th Anniversary Platinum Edition on October 7 (as always for a limited time) on both 2-disc DVD and Blu-ray formats, it has the tremendous and unprecedented distinction of offering fans without Blu-ray players the chance to purchase that format as it comes with a bonus standard edition playable DVD.

Tchaikovsky’s music and acclaimed, international operatic singing sensation Mary Costa (who voiced Princess Aurora) sound better than ever in Dolby Digital Surround that more than equals the crisp definition of the animation.



 Deliberately advised by Walt Disney himself to model the look of Beauty on medieval architecture and paintings, the film made the most of the brand-new 70mm format to craft “elaborate backgrounds” that took an average of seven to ten days to painstakingly ink by hand.

Legendary Disney artist and Sleeping Beauty production designer Eyvind Earle was given “a significant amount of freedom,” in granting Disney’s wish to present Beauty with an entirely “different visual style,” as opposed to the “soft, rounded look of earlier” features in the Disney collection. And in doing so, the visual scope of the film offered a more “detailed and complex” range of artwork than viewers had ever seen “used in an animated movie before.”

A mixture of the Brothers Grimm fable source material as well as Perrault’s version and Tchaikovsky’s original ballet, Walt Disney’s Sleeping Beauty tells the story of the newborn Princess Aurora who is cursed at her christening by the wicked Maleficent (which translates to “evil-doer”).


Charged that she will die after pricking her finger on a spinning wheel when she turns sixteen, Aurora is quickly taken under the wing of three tiny good fairies—Flora (dressed in pink), Merryweather (blue), and Fauna (in green)—who whisk her away to live in the woods.

 Raising her in hiding and giving her the new name of Briar Rose, the young princess grows into a stunning blonde beauty (modeled after Audrey Hepburn), entirely unaware of her background.

After she falls in love with the handsome Prince Philip, her unknowingly betrothed husband-to-be since birth as they dance to “Once Upon a Dream” in the forest, Aurora/Briar Rose is cruelly tricked by the sinister magic employed by Maleficent and falls into a deep sleep, out of which only true love’s kiss can she awaken.


One of Disney’s most famous works, Beauty was the impressive product of a seven year intensive production. In fact, Disneyland Castle was even named for the one in the film which was released four years after the theme park opened its doors.

Yet, despite this, upon closer inspection Aurora is one of the dullest Disney princesses ever created. Raised in an era of feisty Disney heroines like Little Mermaid’s Ariel, Beauty and the Beast’s Belle, Aladdin’s Princess Jasmine, Pocahontas, and Mulan, as I watched from an adult’s perspective, I realized this time around that although Aurora is the titular character, the film is essentially more about the secondary cast. In fact, Beauty focuses the most on not only the fairies but Maleficent (who is never thoroughly explained), Prince Philip, and the families of the protagonist.


Upon further research, I discovered that, “second only to Dumbo (who didn’t speak at all)… [Aurora] has very few lines of actual dialogue throughout the entire film. Her first line comes 19 minutes into the film and her last line comes 39 minutes into the film.”

 Thus it may come as a slight shock to children of today used to far more fast-paced Disney offerings where the women have more to do than simply wait for a rescue and hope to avoid morning breath.


Despite the fact that Aurora is hands-down the most submissive and quietest character whose title-reflected beauty and helpless state propel the film along as a DVD, Beauty is an absolute knockout. 

The third film, following Snow White and Pinocchio to “undergo painstaking computer restoration,” both devotees and fans will be amazed by the presentation, which offers the film as it was originally meant to be seen with both enhanced picture and sound. 


Filled with endless featurettes and bonus footage taken right from the Disney Vault that’s sure to excite viewers of all ages, the Sleeping Beauty set includes an all new making-of documentary.

Plus, it takes you further inside the pre and post-production process, serving up an alternate opening, a DVD game for kids, four deleted songs, the original Oscar winning short that aired with the film in its theatrical release, a celebration of Tchaikovsky as well as the Disney artists, along with countless other snippets that have never before been seen.

Thus, the 50th Anniversary Platinum Edition is a veritable set that’s “once upon a dream” for lovers of all things Disney and the treasure trove has only been expanded upon in this Diamond Edition upgrade.

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