Sunday Top Ten - Animated Disney films

It feels like it's been ages since I last cobbled together a Sunday Top Ten list... because it has. But if I don't do one now, before the heat of Oscar season really starts beating down upon us, then it'd never get done! So here's a top ten list that a number of people have been asking for.

In anticipation of Frozen's imminent release (which I am very much looking forward to), I've finally joined the sizable flock of Gen-Y-ers on the Internet who have their own distinct ranking of the animated features of Walt Disney Studios. No two lists (and there are a ton of them out there) are quite the same, but they all share one thing in common: No one has an easy time making them.

I've discovered that my own relationship with the iconic studio's 52 theatrical releases – needless to say, the works of Pixar do not count – is a conflicted and perpetually evolving one. As a child of the 90s being raised on the miracle of “home video”, I indiscriminately loved Disney films of all ages, from the antiquated Snow White to their most state-of-the-art releases. Frankly, I couldn't tell that some of these films were made 60 years apart, and the notion of systematically ranking them against each other never crossed my mind for even a split second. It was the only phase of my life when what I felt for the movies was pure, unconditional love.

As my burgeoning interest in cinema (and a nettlesome sense of pretentiousness) began to develop in adolescence, I suddenly found that certain toons I had blissfully smiled through not long ago were failing to pass my new-found discernment. At the same time, new charms and nuances that had flown over my head when I was knee-high began to reveal themselves. The magic wasn't gone from these films – not all of them. The magic was simply changing. Letting a movie win you over a second time but for different reasons is a special sensation.

Weighing a combination childhood nostalgia and that unnameable quality that genuinely speaks to me as an adult was the only way I could come close to sussing out a top ten. I'm sure many readers will cry foul that 'this' film or 'that' film was omitted, but I believe it to be an appropriately diverse and personal list that nicely represents the things I love most about the Disney legacy. And no, I did not have an easy time making it (although long-time readers should easily be able to predict my #1 pick). 

So without further ado, my top ten Disney animated features:

One Category at a Time: Original Song

This might be the most wide-open category at this year's Oscars. There's a case to be made for all four nominees. The two most convincing arguments come for the animated entries Tangled and Toy Story 3, for the songs "I See The Light" and "We Belong Together".

The former keeps very much in the vein traditional Disney; a lovely romantic ballad to accompany a beautifully animated sequence. I was already enjoying Tangled plenty before that, but this scene is when my heart really melted. It would make a great winner. Alan Menken is sort of my idol.

The latter is an equally plausible winner, simply because Toy Story 3 is the most beloved nominee in the category. The song itself is kinda derivative, and doesn't come close to the greatness of Randy Newman's previous two songs for the franchise, the heartbreaking "When She Loved Me" and the series-defining "You've Got A Friend In Me". That said, it's still bouncy and enjoyable enough to draw in votes. Being a Best Picture nominee certainly helps.

Another Best Picture nominee represented here is 127 Hours for A.R. Rahman's "If I Rise". He won this category two years ago for "Jai Ho" (a bit of a mistake if you ask me), but that was a high-energy finale with choreography to go with it, whereas "If I Rise" is more on the mellow side and plays so briefly during the film that I'd be surprised by anyone who could remember the tune without listening to the album version.

Or, if none of those options tickle the Academy's fancy, they could stick with the same type of winner they awarded last by voting for "Coming Home" from Country Strong. It's featured prominently enough in the film, but how many members have seen the film? A poor critical response truncated its already tiny release. But if they just listen to the song, that may be enough convince otherwise uninterested voters.

Will win: "We Belong Together", Toy Story 3
Runner-up: "I See The Light", Tangled

Should win: "I See The Light", Tangled
Should have been nominated: "Shine", Waiting for Superman

One Category at a Time: Animated Feature

Alright. Phase 1 is over and done with, and I think most will agree that despite The Social Network's unprecedentedly strong start with the critics, it's The King's Speech that came hurtling into Phase 2 with the most momentum at just the right time. So with 22 business days remaining until Oscar night, that leaves me just enough time to get down to what I love to do; a category-by-category breakdown of the nominees, who should win, who will win.
Starting off is Best Animated Feature. Regrettably, the list of submissions this year was one short of making that arbitrary magic number of 16, so the field of nominees could be no larger than three, resulting in the sad exclusion of the wonderful Tangled. As consolation, however, we still have a trio of terrific movies, any of which would make a deserving winner.

Obviously, Toy Story 3 is the one to beat. Its whimsical humour and heartstring-tugging finale were more than enough to push it into the Best Picture race. Much like Up last year, that should really be all the information we need to call it for a victory here.

But is it an "easy" victory?

The other two nominees will take some votes as well. Maybe not so much The Illusionist, which simply doesn't have as big an audience, but How to Train Your Dragon has its champions. Dreamworks showed us that they are capable of telling stories with genuine emotion behind them, and that's the sort of movie that gets votes. Probably not enough to topple the Toys, but hopefully this is a sign that Dreamworks is on the track for a creative hot streak.

Will win: Toy Story 3
Runner-up: How to Train Your Dragon

Should win: Toy Story 3
Should have been nominated: Tangled

My Award nominations: Original Song

Best Original Song:

"Welcome To Burlesque" from Burlesque
(Charlie Midnight, John Patrick Shanley, Matthew Gerard, Steve Lindsey):

Dianne Warren's power ballad "You Haven't Seen The Last Of Me" may be the one making all the rounds on the awards circuit, but if you ask me, this glamourous number that introduces Cher and her posse of loyal burlesque tarts is much more memorable, and represents what I would have liked the film to be like.

"I See The Light" from Tangled (Alan Menken, Glen Slater):

I was already enjoying Tangled thoroughly up to the second act, but this is the moment when my heart melted. The song provides a well timed pause in the action for the characters to introspect. The lyrics may be a tad simplistic, but it's still gorgeously romantic in the old Disney tradition.

"Mother Knows Best" from Tangled (Alan Menken, Glen Slater):

Such a delightful villain ditty. And so catchy too! What a perfect way to subvert the usual badguy tropes with a faux lovey-dovey tone thinly veiling barbed condescension.

"Shine" from Waiting for Superman (John Legend):

An absolutely beautiful and moving song that draws attention to an important issue. Legend's lyrics are poetic and meaningful, effectively buttressed by his talented work on the piano. The film may not be a great one, but this song is, giving the movie a soulful and artful conclusion.

"You Haven't Seen the Last of Me" from Burlesque (Dianne Warren):

A rousing anthem about never underestimating oneself. And who better to belt this one than the immortal Oscar-winning Cher?

Just missed: "Coming Home" Country Strong, "Me and Tennessee" Country Strong

My Award nominations: Original Score

Best Original Score:

How to Train Your Dragon (John Powell):

Powell gives an enjoyable Celtic/Gaelic mash-up to the film, making great use of bagpipes, snare drums, & recorder. Has the most memorable melodies of the year.

Inception (Hans Zimmer):

Zimmer's layered, powerful score is right on target with all the emotional cues and bombastic action sequences. A wholly original, commanding, and effective work.

The Social Network (Trent Reznor, Atticus Ross):

Reznor and Ross' dense atmospheric themes help to give the movie a unique aesthetic identity; soft spoken but agitated, with a somewhat hostile edge.

Tangled (Alan Menken):

Chalk it up to nostalgia, but Menken's score just managed to hit a soft spot with me, taking me back to the days of my childhood when he'd be producing an Oscar-winning score every two years.

TRON Legacy (Daft Punk):

Their musical stylings are a perfect fit for the cyber environments of TRON Legacy. They aptly combine synthesized beats with full-bodied orchestrations.

Just missed: The Ghost Writer, I Am Love, True Grit

My Award nominations: Animated Feature

Best Animated Feature:

How to Train Your Dragon
(Chris Sanders, Dean DeBlois):
Not since the first Shrek movie has Dreamworks attempted to make a film that's more about heart than it is about snark and pop culture references. Chris Sanders and Dean DeBlois see to it that the evolving relationship between Hiccup and his new pet is done with tact, subtlety, and body language, which really is the most effective application of the animated medium. Technically, the film excels.

The Illusionist (Sylvain Chomet):
The film marks a wonderful meld of the endearing comedic stylings of classic French director/comedian Jacques Tati and the gorgeous visual film artistry of animator Sylvain Chomet. The story is beautifully told from adorable start to devastating finish with a gentle sense of humour and a meticulous attention to detail.

Megamind (Tom McGrath):
Easily the most cartoonish of this bunch, but who's to say there's not a place for cartoonishness when it's done well? Not all the jokes land but those that do are often laugh-out-loud funny, and the animation/character designs are (appropriately) absurdly over the top.

Tangled (Nathan Greno, Byron Howard):
Eschewing the more bankable style of obnoxious modernized humour that sells franchises like Dreamworks' Shrek, Disney has finally produced a completely charming family treat that can deservedly sit along side classics of the studio's 1930s-40s golden age and their 1990s renaissance. Warm, funny, blissful entertainment.

Toy Story 3 (Lee Unkrich):
The film is just as witty and lovable as its two predecessors, but is even more upfront about complex themes. Its now-famous ending is more emotionally powerful than not only either of the previous films, but than any film in years. Toy Story 3 has elevated the series from a cute family franchise to one of the great movie trilogies of all time.

PGA nominees

Best Picture:
127 Hours
Black Swan
The Fighter
Inception
The Kids Are All Right
The King's Speech
The Social Network
The Town
Toy Story 3
True Grit

Best Animated Feature:
Despicable Me
How to Train Your Dragon
Toy Story 3

No surprises here. Correctly guessed nine of the ten, only missing The Kids Are All Right in the thought that there may be one unexpected nominee. Not the case.

Although I will voice my displeasure at seeing the wonderful Tangled sidelined in favour of the obnoxious Despicable Me. How discouraging.

Recall that the previously announced nominees for Best Documentary are:
Client 9
Earth Made of Glass
Inside Job
Smash His Camera
The Tillman Story
Waiting for Superman

VFX Shortlist

The fifteen finalists for this year's five slots for Best Visual Effects are:

Alice in Wonderland
The Chronicles of Narnia: The Voyage of the Dawn Treader
Clash of the Titans
Harry Potter and the Deathly Hallows Part 1
Hereafter
Inception
Iron Man 2
The Last Airbender
Percy Jackson & the Olympians: The Lightning Thief
Prince of Persia: The Sands of Time
Scott Pilgrim vs the World
Shutter Island
The Sorcerer’s Apprentice
TRON Legacy
Unstoppable

Happy to see Scott Pilgrim vs the World survive here. With any luck it'll squeak in over Alice in Wonderland, which most people are assuming will be one of the five nominees. I'm less pleased that no animated films made it through, especially when titles like Tangled and especially Legend of the Guardians featured such strong effects animation.

Review - Tangled

The trailers and TV spots may have you believe Tangled is a snarky fairytale parody akin to Dreamworks, but don't let the sub-par marketing fool you; it is, in fact, an absolutely charming treat of a movie that keeps more in line with vintage Disney than its contemporary competitors.
As we learn in the film's prologue, Princess Rapunzel (voiced with convincing enthusiasm and naivety by Mandy Moore) has magical locks of golden hair with the power to heal and keep people eternally young as a result of the rare life-giving flower that saved her mother during pregnancy. No wonder the ancient Mother Gothel (witchily played by Broadway's Donna Murphy) burgles this flower child from her royal cradle and keeps her locked up in a tower where only she can exploit Rapunzel's gift. The poor dear is pretty cooped up, but days before her 18th birthday, professional thief Flynn Rider (Zachary Levi) ducks into the stolen princess' tower to evade capture, and being no match for her frying pan or her flexible strands of hair, is coerced into escorting her across the land and to the city where floating lanterns are sent aloft each year on her birthday in the hopes that one day she might return.

I'd be lying if I didn't admit that the opening prologue, narrated by Flynn, had me worried that the whole picture would suffer from common self-aware humour, but it didn't take long for the film to get me smiling. Credit directors Nathan Greno, Byron Howard, and writer Dan Fogelman (all of 2008's Bolt) for managing a combination of traditional cartoon sight gags and modernized verbal jokes that almost always had me grinning and chuckling, and only rarely had me shaking my head. Still, they also ensure that heart is the driving force of the story, not simply need to amuse. The story itself is nothing new. It follows a formula to be sure, and is kinda skimpy on thematic meat, but it settles into a nice pace that's just right.

Kudos to all the voice talent involved, with special mention to Donna Murphy's sly comedic delivery each time her villainous character lies through the teeth in order to manipulate her blissful captive.

The real stars of this show, however, are the animators. The character animation is outstanding. All characters are given a unique physicality and terrific facial expressions that match the actors' every vocal inflection. I won't even get into how mind-boggling the animation of Rapunzel's hair is to fathom, other than to say it's incredible. Someone had better win an Annie Award for it!

I'd be remiss to say nothing about Alan Menken's music. With lyricist Glenn Slater, he's fashioned a number of catchy ditties that, while not equal to his best work, fit in nicely with the film. The best of them is “I See The Light”, sung by our two romantic leads during the utterly gorgeous floating lantern sequence, possibly the most beautiful scene you'll see on film this year.
An Oscar nod for Original Song should be assured. I'd venture multiple nominations there if it weren't for the fact that Disney is strategically submitting only "I See The Light" for consideration, so as to remove the threat of vote splitting. Smart move if you ask me. It's a darkhorse for Animated Feature as well, but with only three slots, and all of them presumably taken already, it'll probably be left out. Unfortunate, that, because I actually like it more than How to Train Your Dragon.

*** out of ****

Had a video for this one, but my computer crashed and I lost it. Sorry.