…the new generation of artists found their solid ground, allowing them to flourish over the next decade with The Little Mermaid, Beauty And The Beast, Aladdin and The Lion King….

…and return to the traditional values of Disney’s past, and the very reason many of the artists had joined the Studio in the first place. The “animation renaissance” of the…

…situations along the way, until they meet again the Cavalry colonel, who has been pursuing them… The Sweatbox Review: DreamWorks’ Spirit: Stallion Of The Cimarron was a strange experience for…

…titles would first go via theatrical release, I despaired the thinking behind that decision. The Tigger Movie, the first to get upgraded to the big-screen, just about worked, as the…

…the light changes underneath the helipad, while others (the sea during the “journey” sequence) may seem flat to first timers. At the end of the day, The Rescuers has been…

…rich and deep full animation and employing all the tricks of the trade at their disposal. At the other end of the spectrum is the TV division, which produce the…

…the print for the documentary, but they still come across as having all of their energy. The film covers everything, from the early cartoons, and their developing of the boys’…

…cartoons of the time. Although Roger Rabbit sparked the toon boom, it was the critical and commercial success of Beauty And The Beast and The Lion King that really put…

…theater. The monitors show the full 2.40 frame in the supplemental behind-the-scenes footage, so it was framed that way on set, but I did get a feeling that the film…

…set by DreamWorks themselves with their “Make A Movie” activity on the Spirit disc. Back to the set-top bonuses, and keeping with the kid stuff is the DreamWorks Kids section,…

…was, both for the fans awaiting the Studio’s long-in-the-making return to classic stories and for the Mouse House itself, seeing as this was their first time out of the gate…

…lacking at the Studio. When Bluth left in the late 1970s, he seemed to hit the ground running, artistically speaking, with the fun and fondly remembered Banjo The Woodpile Cat…

…replicating Eleanor Audley’s icy tones from the 1950 original. The majority of the cast are reprising their roles from the earlier sequel, among them Christopher Barnes, who seemed very familiar…

…giving them a way of thrusting themselves forward that really looks as if they are powering themselves along. When they shoot off over London and the clouds part beneath them…

…the lifeless 3D with the 2D linking segment art to see that, while the faces are there, the souls are gone and there’s precious little magic left. Interesting too that…

…the packaging. The “adult collectors only” warning on the back of the box is more meaningful this time around, as there could be real concern with some depictions in these…