Box Office Theory Forum’s Top 100 Disney Movies

[Bob Train]

Is the top 15 gonna be all Disney/Pixar animations or am I forgetting something.

[cannastop]

2 hours ago, Bob Train said:

Is the top 15 gonna be all Disney/Pixar animations or am I forgetting something.

Roger Rabbit has to make it in. Of course that itself is a partly animated movie.

[Eric is Quiet]

#14

Inside Out

1,911 points, 31 lists

"Congratulations San Francisco, you've ruined pizza!"

 

Box Office: 858.8M

Rotten Tomatoes: 98%

Metacritic: 94

Awards: 1 Academy Award and 1 nomination, 10 Annie Awards and 4 nominations, 1 BAFTA Award and 1 nomination, 1 Golden Globe Award

 

Roger Ebert's Review: N/A

 

Its Legacy: Considered one of Pixar's greatest works and one of the greatest animated movies ever made. Utilized by therapists and scientists to help explain patients' situations. The seventh-highest grossing film of 2015. #29 in WGA's Top 100 Screenplays of the 21st Century. Inspired numerous Internet memes. Will receive a sequel in 2024. Gave Richard Kind a paycheck.

 

Commentary: You ever find yourself wishing that weird 90s sitcom Herman’s Head focused on existentialism and made you cry? Well, Disney and Pixar have your back on this modern classic. Personified emotions living in a person’s head have been depicted in media, especially animated media, for decades. But Inside Out perfected the formula into something purely inspirational and powerful that, at this point, you can’t even top it.

 

Everything about the film was perfectly crafted to be full of creativity, ingenuity and wit. Not just through clever comedy setpieces, though there are plenty of those, but also in creating a message that is almost never seen in media, especially targeting children. It’s a film that tells everybody that, yes, it’s okay to feel sad. We all have this idea in our heads, even as we get older, that feeling remorse or sorrow or being sad about things is seen as a bad thing. It’s an annoyance to others, it’s a failing on you as a person, it’s selfish to feel sad in your current predicament.

 

But director Pete Docter reminds us that being sad is one of the healthiest, happiest things you can ever do. All your emotions are important in fact. Trying to bottle them up won’t help you in the slightest and only make situations worse. So...let it out. Tell people. You gotta do this, or else you won’t grow up or evolve.

 

This resulted in one of Pixar’s biggest hits and most loved features ever. So much so, it’s now being used by psychologists and scientists. Very few movies can claim such a thing. And sure enough, with its lovable cast and powerful themes, it has resonated for nearly a decade and is set to have a sequel that’s already predicted to be one of, if not the biggest film of the year. Can it reach the same creative and cerebral heights of its predecessor? Well, we only have a couple months to know that answer. And I can’t wait.

 

[Eric is Quiet]

#13

Monsters, Inc.

1,949 points, 32 lists

"Twenty-three nineteen! We have a Twenty-three nineteen!"

Box Office: 579.7M

Rotten Tomatoes: 96%

Metacritic: 79

Awards: 1 Academy Award and 3 nominations, 3 Annie Awards and 5 nominations, 1 BAFTA Award, 1 Grammy Award and 1 nomination

 

Roger Ebert's Review: ""Monsters, Inc.'' is cheerful, high-energy fun, and like the other Pixar movies, has a running supply of gags and references aimed at grownups (I liked the restaurant named Harryhausen's, after the animation pioneer)."

 

Its Legacy: Pete Docter's directorial debut. Earned the biggest opening weekend ever for an animated film. Highest-selling DVD on its first day. Saw a Disney California Adventure ride. Earned a prequel in 2013. Earned a series in 2021. Gave Steve Buscemi a paycheck.

 

Commentary: Pixar’s fourth entry was the first from director Pete Docter, who would soon become the main head of Pixar beginning in 2018. And man oh man, what an introduction. The premise is a simple, but fun one. What if the monsters in your closet only scared you because it was their job to do so? It’s a great concept that leads to tons of fun workplace dynamics and setpieces that lead to great laughs and inventive, creative designs.

 

But that’s only part of why the film became such a hit. This is a movie about a scary monster bonding with a cute little girl. And from there, all the great creative ventures are utilized. From funny sequences involving scary monsters afraid of an innocent child, to a great storyline that involves discovering cover-ups, workplace fraud, and learning what really matters in life. John Goodman does incredible work as the lovable teddy bear Sully, and his chemistry with the little girl Boo is utterly adorable and sweet. It’s impossible not to smile watching these two interact. Then you have Billy Crystal as Mike Wazowski. A character, I will fully admit, basically invented my own sense of humor.

 

It’s funny, it’s clever, it’s sweet, it’s beautiful, and it only gets better with age. Monsters Inc. became a huge franchise for the Disney machine and people still can’t get enough of it, even after 20 plus years.

 

 

[Eric is Quiet]

#12

Who Framed Roger Rabbit?

1,972 points, 28 lists

"I'm not bad. I'm just drawn that way."

Box Office: 351.5M

Rotten Tomatoes: 96%

Metacritic: 83

Awards: 4 Academy Awards and 3 nominations, 1 Annie Award, 1 BAFTA Award and 4 nominations, 2 Golden Globe Award nominations, 1 Grammy Award nomination

 

Roger Ebert's Review: "Like “2001,” “Close Encounters” and “E.T.,” this movie is not only great entertainment but a breakthrough in craftsmanship - the first film to convincingly combine real actors and animated cartoon characters in the same space in the same time and make it look real."

 

Its Legacy: The most expensive Disney movie ever at the time. Brought us the ultimate crossover in history. Revitalized the popularity and recognition of the Golden Age of Animation, as well as animation in general. Created the Disney Renaissance and modern Silver Age of animation. Inspired Mickey's Toontown in Disneyland. Earned three theatrical shorts. Broke new ground in blending animated characters in live-action settings. 5th place in Cahiers du Cinema's Top Films of 1988. Considered one of Robert Zemeckis' greatest movies ever. Jessica Rabbit would awake something in a lot of kids. Joined the National Film Registry in 2016. Gave Christopher Lloyd a paycheck. 

 

Commentary: This Zemeckis classic is a fascinating oxymoron of a feature. It takes from the earliest days of animation, combining cartoon characters with real people, yet has so many innovations in technology, cinematography, and special effects that it feels like something we have never seen before. It would influence tons of crossover movies and cameofests. Your Wreck-It Ralphs, your Ready Player Ones, your Toy Stories. And of course, plenty of live-action/animation blending over the decades, to the point where we take it for granted. Even something like Thanos is technically an animated character interacting with live-action humans.

 

But nothing, nothing matches the energy, the wit, the creativity, and especially the craftsmanship of Who Framed Roger Rabbit. It’s a film that seamlessly combines these cartoon characters into the real world, with tactileness and weight and dimension, while never losing their cartoony edge. Props not just to Robert Zemeckis, but also animation director Richard Williams, whose understanding of animation as a medium and art form has never been and never will be matched. 

 

Through these wacky characters, from Roger to Jessica to Baby Herman, we are transported into a captivating story full of mystery, drama, intrigue, politics, and laughter. Though if there’s any real standout in the cast, it’s Bob Hoskins as the human cop Eddie Valiant. Again, live-action actors are forced to interact with animated characters and environments all the time. 

Yet over the last 36 years, not a single actor has been able to make cartoons feel as believable as Bob Hoskins does here. The man puts so much commitment and sincerity to each scene that you truly believe he's looking at a cartoon rabbit and interacting with a cartoon gun, like it ain’t no thing. He does Oscar-worthy stuff in a film that, frankly deserves all the Oscars.

 

There’s a million more things you can say about this picture. How it parallels to the actual Hollywood landscape of the 1940s. How astonishing it is to see all these animation icons like Mickey, Bugs, Donald, and Daffy occupy the same film. How it almost overnight made the public fall in love with cartoons again, setting the stage for Little Mermaid and Lion King and so forth. But honestly, I could be here forever talking about all the amazing things about this film. So if you want to know why it’s good...just watch it. Or rewatch it. I don’t know what you’ve seen already.

 

 

 

[Eric is Quiet]

#11

Pirates of the Caribbean: The Curse of the Black Pearl

2,001 points, 32 lists

"Now... bring me that horizon. "And really bad eggs." Drink up me 'earties. Yo ho."

Box Office: 654.3M

Rotten Tomatoes: 80%

Metacritic: 63

Awards: 5 Academy Award nominations, 1 BAFTA Award and 4 nominations, 1 Empire Award and 4 nominations, 1 Golden Globe Award nomination, 1 MTV Movie Award and 5 nominations, 

 

Roger Ebert's Review: "There's a nice little 90-minute B movie trapped inside the 143 minutes of "Pirates of the Caribbean: The Curse of the Black Pearl," a movie that charms the audience and then outstays its welcome. Although the ending leaves open the possibility of a sequel, the movie feels like it already includes the sequel; maybe that explains the double-barreled title. It's a good thing that Geoffrey Rush and Johnny Depp are on hand to jack up the acting department. Their characters, two world-class goofballs, keep us interested even during entirely pointless swordfights."

 

Its Legacy: The first PG-13 movie from Walt Disney Pictures. Made Johnny Depp a movie star. Caused massive changes to the original Disney ride. Was #1 at the international box office a record seven weeks in a row. Spawned one of Disney's longest, most successful movie franchises ever. Gave Geoffrey Rush a paycheck.

 

Commentary: 

Ladies and gentlemen, we’re done with all the live-action movies. From here on out, it’s all cartoons all the time. But man...what an epic conclusion to end things on.

 

In many ways, it’s a miracle a film as gruesome, as bizarro, as stupid in concept as this somehow became a multi-billion dollar franchise. In large part because, for a while, nobody thought it would actually get made. At a time when Disney was petrified on spending big on audacious, blockbuster features, Michael Eisner was reluctant to even greenlight the film at the massive budget it was at. Pirate movies were a dead genre, Johnny Depp had no starpower, it was based on a theme park ride, and who would want a Disney movie that’s PG-13? That would alienate families! Teenagers hate Disney! There’s nothing for nobody! And sure enough, everybody thought this would be the bomb of the summer and a massive laughing stock for Disney, at a time when the company was struggling to appeal to audiences.

 

Well lo and behold, we have ourselves a film that blew everybody away because of just how unique and risky and quirky it truly was. People loved seeing pirates again after all these years, and the blend of horror and fantasy with spooky cursed zombie pirates allowed for amazing visuals and fun sequences. It was exciting to see iconography from the ride played around with, while giving us a fun, highly original adventure that had swashbuckling fun, romance, and intense action. It was cool to see Disney go in a darker direction, while still having enough fun for all ages.

 

And yeah, Jack Sparrow was a fun protagonist to watch. As these movies went on, the character became overexposed and tired, not helped by Johnny Depp playing the same character in every movie for a while. And yeah, Johnny Depp’s recent reputation makes it harder to really come in and praise his acting talents. But man, there really was something so fun about Captain Jack. Basically acting like Keith Richards in pirate attire, there’s a hilarious energy to his drunkard persona that was so atypical of the usual Errol Flynn/Burt Lancaster persona found in these pirate adventure movies of old and there is something oddly endearing about how conniving and selfish and wild he is. It’s hard to really pin down why his character is so despicable but likable, but it’s a testament to Depp’s talents. He got an Academy Award nomination for a good reason, whether we like it or not.

 

Time marched on, we got a million more movies, more movies are in the works, but none of them really capture that spontaneity, creativity, and passion that Curse of the Black Pearl obtatined. And honestly, sometimes, you just can’t beat the original.

 

 

[Eric is Quiet]

Hoping to start the top 10 later today, but I'll try to give you guys time to make your own predictions. As said in the opening post, the entire top 10 are animated movies, so this should make it easier. Winner gets my love and affection as a prize.  

[grey ghost]

So Guardians of the Galaxy is the highest ranking MCU movie? 

[Flip]

On 3/3/2024 at 4:49 PM, Bob Train said:

Is the top 15 gonna be all Disney/Pixar animations or am I forgetting something.

Spirited Away

[cannastop]

1 hour ago, Flip said:

Spirited Away

That's already in the countdown?

[Morieris]

I have this beautiful Emperor's New Groove mug they made for the anniversary. The poison bottle is somewhat inlaid on it and it spins around. Happy it's that high.

[Eric is Quiet]

#10

Finding Nemo

2,085 points, 30 lists

"Fish are friends. Not food!"

 

Box Office: 940.3M

Rotten Tomatoes: 99%

Metacritic: 90

Awards: 1 Academy Award and 3 nominations, 9 Annie Awards and 3 nominations, 1 BAFTA Award nomination, 1 Golden Globe Award nomination

 

Roger Ebert's Review: ""Finding Nemo" has all of the usual pleasures of the Pixar animation style--the comedy and wackiness of "Toy Story" or "Monsters Inc." or "A Bug's Life." And it adds an unexpected beauty, a use of color and form that makes it one of those rare movies where I wanted to sit in the front row and let the images wash out to the edges of my field of vision. The movie takes place almost entirely under the sea, in the world of colorful tropical fish--the flora and fauna of a shallow warm-water shelf not far from Australia. The use of color, form and movement make the film a delight even apart from its story."

 

Its Legacy: The first Pixar movie to win Best Animated Feature at the Oscars. The highest-grossing animated movie on its release. The highest-selling DVD of all time. #10 on AFI's Top 10 Animated Features list. Considered one of Pixar's greatest movies ever. Revitalized Ellen DeGeneres' career. A constant presence in the theme parks. Earned a sequel in 2016. Gave Albert Brooks a paycheck.

 

Commentary: Now here’s a movie I must have seen at least....2 thousand times as a kid? Wore out that DVD to the ground. And yeah, I think you all know why, since...well, you’ve seen the movie. It’s a very simple, easy to follow tale of a father trying to save his son. The original Taken if you will. And sure enough, it results in an amazing odyssey of incredible underwater settings, hilarious jokes, iconic sequences and lines, wacky characters that make you laugh and cry, and a very poignant tale that, in many ways, is more aimed at grown-ups than children.

 

It’s a film that tells parents that, yes indeed, your kid will grow up. And you have to let them do that. It’s okay for your kids to be independent, have their own ideas, and do things on their own. Because if they don’t...well, neither side is happy. It’s a moment that makes you realize that, while Disney movies can be fun for all ages, they oftentimes share ideas and concepts and themes that are more important and resonant for older audiences. For the parents who may be forced to watch these for their kids. For audiences who are kids at heart. And that, frankly, is often necessary for a kids movie.

 

Finding Nemo is still a colossal moneymaker for Disney and has become one of Pixar’s biggest franchises. I’d argue their second biggest, only behind Toy Story. And it very much deserves it. Maybe I should go watch it for the 2,001st time.

 

[Eric is Quiet]

#9

Toy Story 2

2,103 points, 34 lists

"You never forget kids like Emily, or Andy, but they forget you."

Box Office: 511.4M

Rotten Tomatoes: 100%

Metacritic: 88

Awards: 1 Academy Award nomination, 7 Annie Awards and 2 nominations, 1 Golden Globe Award and 1 nomination, 1 Grammy Award and 2 nominations 

 

Roger Ebert's Review: "The movie once again features the enchanting three-dimensional feel of computer-generated animation by Pixar, and has been directed by John Lasseter, the creator of the original "Toy Story.'' The tale of this film is almost as thrilling as Woody's fate: It was originally intended as a lowly direct-to-video release, but then the early scenes played so well that Pixar retrenched and started over again with a theatrical feature. In other words, this isn't a made-for-video that they decided to put into theaters, but a version intended from the first to be theatrical. That's important, because it means more detail and complexity went into the animation."

 

Its Legacy: Considered one of the greatest animated movies and greatest sequels ever made. The highest-rated film on Rotten Tomatoes until Lady Bird in 2017. Praised by Looney Tunes icon Chuck Jones. One of the first films to be re-released in digital 3D. Earned the biggest Thanksgiving opening weekend of all time, holding the record for 14 years. Oft-considered the best Toy Story movie ever. Gave Estelle Harris a paycheck.

 

Commentary: Serving as Pixar’s first sequel (almost went straight to video until cooler heads prevailed), it seemed frankly daunting and ludicrous to make a follow-up to a film that many consider near perfect. What angles could you take the concept? How can you make these likable characters more interesting? As it turns out, you can do so much more than what the first film implied with the idea of talking toys. And what resulted was a film many consider as good, if not superior to an already instant classic. A film that, in many ways, solidified Pixar as one of, if not the most trustworthy brand in animation.

 

Like any great sequel, this gave us new, just as lovable characters as what came before, with Jessie, Bullseye, and Zurg all becoming fan favorites. The world was expanded upon, showcasing weird toy collectors, a fun toy store location, and a thrilling climax in an airport that’s full of creativity. But most importantly, it continued the story by allowing even more enriching and engrossing themes and ideas that felt like evolutions of what came before.

 

This is a film that talks about a truth that all toys face and can be paralleled to the real world. Someday, Andy will grow up and leave his play things behind. This dynamic and idea creates a powerful internal drama for Woody, who now fears his future. Should he stay with his owner, even though he will be forgotten about in a few years? Is it worth leaving your old life behind in favor of one that should supposedly lead to greater happiness? It’s all drama that can be parallels to young people’s own lives, developing and growing up and leaving their own childhoods behind, and brings a unique, personal bent to the storyline that shows this is more than just a cheap follow-up.

 

The film would become just as iconic, if not more so than its predecessor, features some incredible tearjerker moments, and brings a lot of laughs in the process. Animation legends like Chuck Jones found it a marvel and solidified Pixar’s meteoric rise into the new millennium, usurping themselves as the dominant force in American animation. But while it may not be the biggest Toy Story movie on the countdown (sorry for spoilers, but...come on, you probably can put it together that the first Toy Story is above this), it’s still one that, for many, is the series’ absolute best. Its apex. Its magnum opus.

 

 

[Eric is Quiet]

#8

Coco

2,154 points, 35 lists

"Five minutes ago I thought I was related to a murderer! You're a total upgrade!"

Box Office: 814.3M

Rotten Tomatoes: 97%

Metacritic: 81

Awards: 2 Academy Awards, 11 Annie Awards and 2 nominations, 1 Golden Globe Award and 1 nomination, 2 Grammy Award nominations, 2 Imagen Awards

 

Roger Ebert's Review: N/A

 

Its Legacy: One of the most acclaimed and highest-grossing PIxar movies of all time. The highest-grossing film in Mexico. The fourth-highest selling home video of 2018. The first nine-figure budgeted film with an all Latino cast. Rumored to receive a Broadway stage show. Gave Edward James Olmos a paycheck.

 

Commentary: Pixar is known for creating fantastical landscapes and creative worlds. But in this 2017 film, directors Lee Unkrich, Adrian Molina, and the talented Emeryville animators were tasked with creating a story that celebrates the joy, beauty, and wonder of Mexico and its people. A very risky proposition indeed to have such a corporate behemoth like Disney appropriate a country rich in culture and legacy and story like this. And everybody was watching this film like a hawk, with numerous controversies over trademark issues, tons of consultants, and even future controversy on whether or not Mama Coco was based on a real person or not and that Pixar probably took her story without ever giving the family compensation (look it up).

 

Yet when it premiered, it didn’t really matter. What we got was a joyous romp full of beauty, heart, and style. A film that not only won over Mexican audiences, but audiences the world over. It’s a film that understands the joys of family, comfort, and togetherness. A film that shows the people in your lives are important and must never be forgotten. A film that shows that what you do or say impacts everybody. So you better use that positively.

 

With great songs, bouncy animation, hilarious comedy, and heartfelt sequences that we all cry to, Coco has quickly endured as a modern Disney classic, almost immediately christened as one of Pixar’s all-time bests, and continues to charm audiences every year on Disney+, as it frequently ranks as one of the most-viewed movies on the platform. It’s a film that shows the importance and beauty of diversity and showcasing other cultures and will be a cultural touchstone amongst Disney fans and Mexican viewers for decades to come.

 

 

[Human]

I think Coco is easily the best Post- Toy Story 3 Pixar movie.  I heard it was good, but I was amazed it was that great.

[Eric is Quiet]

#7

Toy Story

2,172 points, 32 lists

"The word I'm searching for - I can't say, because there's preschool toys present."

Box Office: 394.4M

Rotten Tomatoes: 100%

Metacritic: 96

Awards: 1 Academy Award and 3 nominations, 8 Annie Awards and 1 nomination, 2 Golden Globe Award nominations, 1 BAFTA Award nomination

 

Roger Ebert's Review: "For the kids in the audience, a movie like this will work because it tells a fun story, contains a lot of humor, and is exciting to watch. Older viewers may be even more absorbed, because "Toy Story," the first feature made entirely by computer, achieves a three-dimensional reality and freedom of movement that is liberating and new. The more you know about how the movie was made, the more you respect it."

 

Its Legacy: The one that started it all for Pixar. The first fully computer-animated film ever made. Spawned one of the most successful animated movie franchises in history. One of the rare movies to earn 100% on Rotten Tomatoes. One of the first films to be re-released in digital 3D. Made computer animation and computer graphics the hip new thing for decades, in turn becoming the dominant medium in feature animation. Put Pixar on the right track, resulting in one of the most successful animation studios in history. Considered one of the greatest animated movies ever made. #99 on AFI's Top 100 Films of All Time (2007 Edition). Joined the National Film Registry in 2005. Gave Wallace Shawn a paycheck.

 

Commentary: One of the most fascinating aspects of the original Toy Story is that, really, it didn’t need to be as good as it was. This film was noted as the very first computer-animated film ever. At a time when computer animation and CGI was still a novel concept that spawned some of the biggest blockbusters ever at the time. Add on two of the biggest Hollywood stars on the planet as your leads, you didn’t need Toy Story to be as good as it was. But...it was. It really, really was. In fact, it’s one of the few movies to have a 100% on Rotten Tomatoes even after nearly 30 years on the market.

 

It captures a very memorable and charming premise that we’ve all thought of before. What if our toys came to life? And it uses that concept to its fullest advantage, with a hilarious buddy movie story, an immensely witty screenplay full of great one-liners and visual gags, an incredible cast who all quickly became iconic, and some groundbreaking visuals that still look pretty solid years later.

 

But of course, you all know that. Toy Story is of course a gigantic media franchise loved by everybody young and old and has spawned way too many sequels to count, all of which became huge groundbreaking hits in their own right and eternally beloved the world over. But as you can see, in the end, you can’t beat the classics. Some of us may like the sequels more, but it’s the first one that captured BOT’s hearts. And honestly, I wouldn’t have it any other way.

 

 

[grey ghost]

So far Pixar is dominating the top 10.

[cannastop]

16 hours ago, Human said:

I think Coco is easily the best Post- Toy Story 3 Pixar movie.  I heard it was good, but I was amazed it was that great.

Inside Out, Soul, and Turning Red I think would be the main alternatives.

[Eric is Quiet]

#6

Beauty and the Beast

2,275 points, 35 lists

""To our friend Howard, who gave a mermaid her voice, and a beast his soul. We will be forever grateful."

Box Office: 424M

Rotten Tomatoes: 93%

Metacritic: 95

Awards: 2 Academy Awards and 4 nominations, 2 Annie Awards, 2 BAFTA Award nominations, 3 Golden Globe Awards and 1 nomination

 

Roger Ebert's Review: "The film is as good as any Disney animated feature ever made - as magical as “Pinocchio,” “Snow White,” “The Little Mermaid.” And it's a reminder that animation is the ideal medium for fantasy, because all of its fears and dreams can be made literal. No Gothic castle in the history of horror films, for example, has ever approached the awesome, frightening towers of the castle where the Beast lives. And no real wolves could have fangs as sharp or eyes as glowing as the wolves that prowl in the castle woods.

 

Its Legacy: The first animated movie ever to be nominated for Best Picture. Considered one of the greatest animated movies and romance movies ever made. Once the highest-grossing animated film of all time. Re-released several times over the decades. One of the most successful VHS tapes of all time. Made Celine Dion a breakout star. One of the final works of Howard Ashman. Turned into Disney's first Broadway show in 1994. Given two direct-to-video sequels. Remade in 2017. Gave Jerry Orbach a paycheck.

 

Commentary: A labor of love decades in the making, Beauty and the Beast, simply put, is legendary cinema. In many ways, a perfect concoction of ideas, creatives, and story concepts that truly feels like lightning in a bottle. Even when you compare it to the other features in the Disney Renaissance.

 

By the time the film was set for release, Disney executives realized they had something good on their hands. A film that wasn’t just fodder for children or a venture to sell toys...well, okay it was that. But it was also a film that could appeal to even the stuffiest, high-minded folks who don’t care for such Disney cartoons. It premiered at the New York Film Festival to raves, despite being an unfinished rough cut. It blew away the HFPA, making it the first Golden Globe Best Picture winner for an animated film, and, most famous of all, this was the first animated film ever to be nominated for Best Picture. A feat that, since then, only two other movies have achieved.

 

And man...it is easy to see why, just down to how expertly written and crafted each character is. Belle, our main protagonist. A charming, kind, beautiful woman who feels out of place in the world. A bookish woman who cares little about men and just wants to enjoy more than what is in her silly, closed-off town. The Beast, a brutish, angry young man who is bitter and spoiled, but deep down just wants companionship and comfort. Two polar opposites in so many ways, yet through patience, compassion, and understanding, they find love.

 

It’s a film that feels epic, yet intimate all at once. A parable about the importance of kindness, looking for beauty within, the dangers of toxic masculinity, and how sensitivity and empathy gives us bountiful rewards. All of this is shown not just in its perfectly paced story, with every beat landing one after the other, but its phenomenal music, gorgeous animation, and sublime characterization.

 

Much of this is thanks to so many people. Kirk Wise, Gary Trousdale, Glen Keane. Yet Howard Ashman, in many ways, is what solidifies the whole piece as the incredible work of art that it was. Both this and Little Mermaid are incredible instances of his understanding on animation, on music, on songwriting, and on life. He crafted music and works of art that emphasize great humor, incredible wit, great progression, and, most important of all, tunes and stories about kindness. About love. About daring to go against the world, against prejudices, against stereotypes, against society. He showed this in Mermaid, in Beauty and the Beast, in Aladdin, in Little Shop of Horrors, and even in his own life. He's made me feel more in tune with my own self in ways I didn't even realize until decades later, and his music speaks to me in ways very few other artists do. He's been a part of some of my favorite musicals ever, and I wish he was still with us. I wish he had a body of work on the level of Stephen Sondheim. I wish he was around to give his input on other Disney hits. I wish him and Alan Menken could dominate Broadway the way Lin-Manuel Miranda or Stephen Schwartz have. I just wish I could, in some way, show him how much his work impacted my life, and so many others. And I wish I didn't get so emotional talking about one of my favorite people ever.

 

Beauty and the Beast of course lived on through tons of media hype, tie-in products, and merchandise, but it’s a Disney film that truly feels like it was crafted out of pure love. With no regards on making it commercial or appealing to the lowest common denominator. A film that just wants to create a love story that matches with the best of the best of the best. And it very much has.

 

 

[Eric is Quiet]

#5

Aladdin

2,454 points, 35 lists

"No matter what anybody says, you'll always be a prince to me."

Box Office: 504.1M

Rotten Tomatoes: 95%

Metacritic: 86

Awards: 2 Academy Awards and 4 nominations, 2 Annie Awards, 2 BAFTA Award nominations, 3 Golden Globe Awards and 1 nomination

 

Roger Ebert's Review: "The genie is the best thing in the movie, which is good fun but not on a par with "The Little Mermaid" and "Beauty And The Beast" (1991), the two films with which Disney essentially gave rebirth to feature-length animation. The weakness of the film is in its leads, a street urchin named Aladdin and a sultan's daughter, Jasmine. As a romantic couple, they're pale and routine, especially compared to the chemistry between beast and the beauty. They look unformed, as if even the filmmakers didn't see them as real individuals."

 

Its Legacy: The former highest-grossing animated movie of all time. The former highest-selling VHS of all time. One of the most controversial animated films of all time. Popularized celebrities in animated productions. Caused the infamous Williams-Disney feud. Saw two direct-to-video sequels. Saw a remake in 2019. Appeared in Kingdom Hearts. The only Disney film to win Song of the Year at the Grammy Awards. Gave Scott Weinger a paycheck.

 

Commentary: Within the “Big 4” quartet of the Disney Renaissance, Aladdin is the most unique of the lot, often discarded as lesser than, or at least not as important as the other three. I also believe it’s the best movie of them all. One of the funniest Disney movies and comedies period, it’s an absolute riot from start to finish, with great gags from all parties. But even within all the laughs and madcap insanity is a very heartfelt story anchored by some of Disney’s best leading heroes and one of the best Disney romances ever.

 

Aladdin, the smug but charming rogue with a heart of gold, captures an exciting, free spirit who just wants connection. Easy to identify, easy to root for, easy to love. Princess Jasmine, somebody sheltered from the world who just wants freedom and autonomy of her own. Folks who are trapped in their situation, just yearning for people to understand them, treat them as more than just their social status. They are the perfect couple. Two people who seem to be of different worlds, but just want that common goal. And that common goal is through each other.

 

To say nothing of the incredible music by Alan Menken, Tim Rice, and the late Howard Ashman, in what would be his final work. Their ability to create so many hummable tunes, with great melodies and catchy lyrics, all of which will never leave your head, is commendable. And it’s all best shown in “A Whole New World”, which is notable for being the only Disney song ever to win Song of the Year at the Grammys. A well-deserved win. Even as a kid, this was a song I never got sick of.

 

But of course, this isn’t really what we all remember this movie for. If there’s one solitary element that makes Aladdin an iconic classic, it’s the Genie. Animated by the incredible Eric Goldberg and voiced by the always wonderful Robin Williams, Genie is perhaps Disney’s greatest creation. An incredible figure of zany energy, off-the-wall chaos, and wack-a-doo spunk, it’s a perfect showcase of what make the medium of animation so wonderful. Williams’ performance is of course hilarious, with so many great bits of improv all throughout the piece, and Goldberg manages to create so many great bits of character acting through Genie’s wild movements and wacky expressions. While at the same time, both men deliver in the heart and emotion, creating a comedy character that is still three-dimensional and believable.

 

Disney has tried for decades to hit that lightning in a bottle of Genie with other wacky celebrity-voiced sidekicks, but nobody has come close. This was a role that was built for Williams and nobody else (sorry Will Smith), and he steals the show single-handedly. And it’s through his work, alongside all the other talented actors and writers and animators, that we saw one of Disney’s most defining and iconic hits ever. Williams and the Genie are very important and special people to me, as I explained in my Dead Poets Society character. There was nobody in this world as zany, as creative, as energetic, and as sweet and kind as Robin Williams, and his impact he left on this world really did make things so much brighter to awkward, goofy, sensitive weirdos like yours truly. It's still hard to think that he's not with us anymore.