1-20 of 21 items from 2014 « Prev | Next »
There’s nary a person alive in the Western world that isn’t utterly infatuated with at least one of Disney’s animated classics, from 1937′s Snow White and the Seven Dwarfs, all the way up to the recently released Frozen. But in many cases, what lies closer to the heart is not the events of the movies themselves, but their characters.
The hero, the heroine, the love interest, the helper, the villain, the talking wardrobe; yes, Disney has had them all, and all numerous times over (well, except for the talking wardrobe; thankfully, that was a one-off). But what most of us will probably disregard is that these dynamic, entertaining, life-rendering characters are not fully conceived overnight. Rather, they are meticulously developed over a course of many months, maybe even years, and as changes are made in the narrative or tone of the overall movie, these characters must also be altered accordingly. »
- Gary Hughes
With more than 80 years of history under its belt, it's becoming much easier to pinpoint exactly the type of movies that'll win favour at the Oscars. Big-scale period epics, war films and musicals always tend to find favour with Academy voters, while on the acting front playing a President or a known historical figure is a sure-fire way to get attention.
But what about the movies that never get a look in? There are certain types of films - no matter how successful or how beloved by audiences - that simply never win big at the Oscars. Perhaps it's down to a lack of campaign push from the studio, the perception that they're not "Oscar movies", or Academy snobbery? Digital Spy takes a look at the films that are perennially ignored in the Best Picture race below...
Want to go for a ride on Disney World's new Seven Dwarfs Mine Train - without leaving your laptop? Of course, you do. So, heigh-ho, heigh-ho, it's off to YouTube we go. The new rollercoaster technically won't open until spring, but thanks to a new video from Walt Disney Imagineering, wannabe riders can get a sense of the thrills and chills that lie in store on the new attraction inside the Magic Kingdom. The clip shows footage from the Snow White and the Seven Dwarfs-themed ride side-by-side with an original CGI concept video from earlier in the ride's development, »
- Melissa Locker
Walt Disney Imagineering has released the first onboard video of the Seven Dwarfs Mine Train, based on Disney’s animated pic “Snow White and the Seven Dwarfs,” during a live chat with Imagineer and creative director Dave Minichiello.
The new video compares onboard footage of the attraction side-by-side with an original CGI video that was created earlier in the ride’s development.
The Seven Dwarfs Mine Train roller coaster is part of the major expansion of Fantasyland at Walt Disney World’s Magic Kingdom Park. The ride is still under construction but is set to open this spring.
- Andrea Seikaly
Among the most sumptuous of Walt Disney’s films, Sleeping Beauty’s enduring legacy is largely due to its incredible art design and complete creative vision. In production for nearly 10 years, the film was very costly and represented the end of an era for Disney hand-drawn animation. Though collaboration is key in most Disney productions, Sleeping Beauty owes its entire aesthetic soul to one man.
Sleeping Beauty was to be the third Disney “Princess” film, and the studio had ambitions to set it apart from Snow White and the Seven Dwarfs and Cinderella through its art design. Integral to this vision was the collaboration of Eyvind Earle, a noted American illustrator who had worked on other Disney films. His work includes experimental backgrounds for the 1953 short For Whom the Bull Toils, colour direction on the award-winning Toot, Whistle, Plunk and Boom, along with further work on Peter Pan and Lady and the Tramp. »
- Justine Smith
“I think we’re all glad that they changed the name to Fantasia,” states Steve Martin dryly during his introduction of Fantasia 2000 regarding the film’s predecessor, which was originally called The Concert Feature. (Fantasia may be a slightly cooler-sounding title, but it’s not much more inviting to the average audience member than The Concert Feature.) That single line of dialogue represents the key to the creative struggle at the heart of Fantasia 2000, a perfectly entertaining film with no identity of its own. Though Martin is funny in his few moments on screen (all of the celebrity introductions in this new film are mildly charming in their own way, though they vary in tone from Martin’s wacky fourth-wall-breaking humor to regal sincerity, as with Angela Lansbury’s climactic appearance), the fact that a recognizable comedian needs to be one of our ushers into a world of »
- Josh Spiegel
When the work of the Walt Disney Company is referenced in popular culture, it is often generalized and boiled down to princesses, Mickey Mouse, and fireworks over Cinderella’s castle as music swells. (“Get your Disney World vacation planning DVD today!”) Unfortunately, this is an extremely simplified image of the company and its legacy in feature films. In the 77 years since Snow White and the Seven Dwarfs, the Walt Disney Company’s feature films have gone through distinctive eras. There was the rise of Disney live-action, the decade following Walt Disney’s death, the era of acquisition (Marvel, LucasFilm), and the first and second animation renaissance periods, to name a few.
To give a broader view of the Walt Disney feature film, it is easiest to look at some of these specific eras and pick out the good, the best, and the worst representations of that era. This is by »
- Rachel Kolb
Directed by Ben Sharpsteen
Walt Disney Animation Studios’ catalogue began with an artistic bang when Snow White and the Seven Dwarfs and Pinocchio were released to audiences. While not the commercial successes the studio fantasized about, both demonstrated the sharp if simple storytelling and, arguably more impressive, a quality of animation that seemed unparalleled at the time. The issue, alas, was the lack of monetary success (especially with the company’s other 1940 release, Fantasia), a result that discouraged Walt Disney from swinging for the fences with his next outing, Dumbo. As far as the script is concerned, Dumbo performs some extraordinarily unorthodox circus acts to tell what is an extremely simple story, which compensates for the lower quality of the visuals, even though the latter is not quite as bad as it seems upon first glance.
The story begins in Florida, »
- Edgar Chaput
In the third of a three-part Jackson Ball discusses the evolving Disney Princess, last up is Frozen....
Moving towards the contemporary end of Disney’s animated timeline, this essay’s final focus film is 2013’s Frozen. Despite being nearly 70 years later, the film meets many of the criteria first set by Snow White and the Seven Dwarfs, so initially this film just appears to be more of the same from Disney. It features a ‘princess’ lead character who wants to meet her true love, and then stumbles into a chance meeting with a charming prince. However, Frozen tackles all these conventions in the opening act, before spending the rest of the film subverting them.
Unlike Snow White and Belle, Frozen’s protagonist Anna meets her charming prince before her great adventure; in true Disney style she meets him, falls in love and accepts his marriage proposal on the first day they meet. »
- Gary Collinson
In the second of a three-part feature, Jackson Ball discusses the evolving Disney Princess, next up is Beauty and the Beast...
If Feminist Theory can be used to read Snow White and the Seven Dwarfs as a straight-forward reflection of society at that time, then it stands to reason that future representations of female characters will grow more complex as women’s roles in society do so. This certainly seems to be the case with 1991’s Beauty and the Beast. The film was a massive success for Disney and, at least on the surface, appeared to usher in a new era of female characters with its central protagonist: Belle.
For Belle is, for all intents and purposes, a Disney Feminist. And Gaston is a Male Chauvinist Pig, the kind that would turn the women of any prime-time talk show audience into beasts themselves… The Beast is The New Man, the »
- Gary Collinson
The concept of the work of art that is unappreciated by the masses immediately, but gains a passionate and overwhelming following decades later is almost as old as time itself. A book, or piece of music, or painting, or sculpture, or film is unveiled to an indifferent public, save a few devout fans, and is only revived once newer generations approach it with fresh eyes. So many films we now consider to be the greatest of all time were not as warmly received (if they were received warmly at all) upon their initial release. Some classics, such as Citizen Kane and Vertigo, benefit now primarily from home media releases, repeated airings on Turner Classic Movies, and the impassioned voices of critics and historians to emphasize to general audiences how important and daring and dramatically satisfying these films truly are. Then there are the films that received a second wind of »
- Josh Spiegel
In the first of a three-part feature, Jackson Ball looks at the evolving Disney Princess...
It is hard to see how young children could be “prepared” for women’s liberation by reading fairy tales; an analysis of those fairy tales that children actually read indicates instead that they serve to acculturate women to traditional social roles. (Lieberman, M. 1972)
The idea of a character serving to ‘acculturate women to traditional social roles’, is evident in Disney’s first ever animated feature, Snow White and the Seven Dwarfs. In many ways, the 1937 film can be seen as the archetypal template for future Disney films, as it features many structural characteristics that transcend much of Disney’s animated catalogue. For example, Snow White tells the adapted story of a ‘princess’ character from a popular folk tale. This trend has occurred no less than ten more times in Disney’s ‘Animated Classic’ canon: Cinderella »
- Gary Collinson
I'm 50/50 on Terry Gilliam and I'd actually expect most film fans are, largely because he's one of our most imaginative filmmakers, making it nearly impossible to like everything he makes. I suspect, however, there's a level of respect we all have for Gilliam that we don't reserve for other filmmakers, which is why we remain interested in whatever he has coming next, no matter how much we loved or hated what came before it. With his next film, The Zero Theorum, arriving in the UK this March (a U.S. release is still pending), Jessica Kiang at The Playlist had a chance to talk to the writer/director about the films that have influenced him and as well as a few he couldn't quite bear and it's an and enlightening enjoyable read. I'm going to suggest you click here to read his thoughts, but here's the list with a couple »
- Brad Brevet
The opening and closing images in the Toy Story trilogy are one and the same: a picture-perfect blue sky with a couple of carefully placed, nonthreatening fluffy clouds in the middle. While both are computer-generated facsimiles, the former is a facsimile of a facsimile: the comforting wallpaper in the bedroom of a little boy named Andy Davis. The latter is closer to the real thing, greeting the teenage Andy as he drives off to college and out of the lives of the toys with whom he populated his imagination for over a decade. As the series opens, the 6-year old Andy, a suburban Christopher Robin of sorts, proves in the confines of his tiny room, overstuffed with plush animals, board games, action figures, and other toys, that his world of make-believe is limitless. As the series closes, Andy ventures into the known unknown of the real world, secretly wished an »
- Josh Spiegel
Directed by Wolfgang Reitherman
The 1970s and early 1980s represent a curious episode in the history of Walt Disney Animation Studios’ features. The famous studio rarely produces outright poor movies, yet this period is just as rarely mentioned in the same breath as its first decade or so, when classics like Pinocchio, Bambi, and Snow White and the Seven Dwarfs came to be, or the baptized renaissance that began with The Little Mermaid and lasted until Tarzan. It feels as though the aforementioned decade and a half feature a steady stream of decent, generally appreciated outings but nothing most people cite as being their favourite efforts. The Many Adventures of Winnie the Pooh, The Rescuers, The Fox and the Hound, Robin Hood; few if any of these make anyone’s top 5 lists. Neither does the film that opened the 1970s, »
- Edgar Chaput
When I heard "Sleeping Beauty" was turning 55 on January 29, I let loose a maniacal laugh that put the film's villain, Maleficent, to shame. That's because I knew the Disney classic to be a blind spot in my little sister's animated upbringing, and the idea of her -- an adult woman deeply entrenched in the New York City dating scene -- being forced to watch a happy-go-lucky fairy tale was just too good to pass up.
She seemed relatively unperturbed when we sat down for this month's Sibling Revivalry screening (perhaps because the film clocked in at a mercilessly short hour and 15 minutes), but it wasn't long until she groaned, "I can't believe I'm watching this!" The conversation's down-versus-uphill momentum from that point will depend entirely on your penchant for extreme sarcasm in the face of childhood fantasy.
Here's what my little sister had to say after her first viewing of "Sleeping Beauty, »
- Katie Calautti
With anticipation building for Angelina Jolie's "Maleficent," due May 30, it's worth noting that the source of her live-action remake, Disney's animated "Sleeping Beauty," marks its 55th anniversary this week. Released on January 29, 1959, the movie was only a modest hit at the time, but over the years, it earned acclaim for its gorgeous wide-screen visuals, its memorable music, and its unforgettable villainess.
It's a movie you probably watched many times as a child, and yet there are still some things you probably don't know about "Sleeping Beauty," including its connections to Bugs Bunny, "The Andy Griffith Show," and the British royal family.
Here's a list of 25 such items you can stack on your spindle -- but be careful to shield your fingertip.
- Gary Susman
History hasn't always looked kindly on the Academy Awards, with classics often missing out and groundbreaking moments few and far between. We delve into the Oscars' chequered past – and assess this year's contenders
• Get in shape for the Oscars with Mark Kermode's month-long feast of film here
As we approach the 86th Academy Awards, it's worth remembering those two sobering facts, which perfectly encapsulate the inherent foolishness of gong ceremonies in general, and the Oscars in particular. Ask any film fan how seriously you should take the Academy Awards, and chances are they will point you toward the best director category, where the roll call of winners signally omits Charlie Chaplin, Orson Welles, Howard Hawks, Stanley Kubrick, Jane Campion, »
- Mark Kermode
Did you know that a dream is a wish your heart makes? And we knew you, once upon such a very dream. Ok, Ok, we’re not actually confusing the topic of this week’s Mousterpiece Cinema, the 1959 Disney classic Sleeping Beauty, with the 1950 Disney classic, Cinderella, but can you blame us? The two movies, as well as the old favorite Snow White and the Seven Dwarfs, maybe share a few too many similarities, all of which are unearthed and uncovered on the new show. Gabe and Josh are joined by longtime friend of the show Kate Kulzick of The Televerse and Sound on Sight’s TV section to tackle this lush and artistic standby of Disney’s animated canon. But is the romance of two pretty people enough to trump a surprisingly high number of plot holes and a lack of character? Or will there only be one brave »
- Josh Spiegel
Sometimes, I feel as if Walt Disney and his famous studios had as much of a hand in raising me as my parents did. I’m sure many of you feel the same way. After all, Walt Disney and the production company has produced more movies for children than all the other major studios all put together. It’s likely that the first movie that most of us saw was a Disney flick. Most of us have memories of our first viewings of at least one Disney film (for me, my strongest is my first experience in a movie theater, going to see The Lion King when I was four years old).
When we reminisce about our favorite Disney flicks, it’s usually the acknowledged classics that dominate our discussions. Said classics include such films as Cinderella, Aladdin, Pinocchio, Sleeping Beauty, Lady And The Tramp, and Beauty And The Beast, »
- Alan Howell
1-20 of 21 items from 2014 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners