Entertainment
8 Near-Perfect Disney Animated Movies That No One Remembers Today
The truth is, there is no other media quite as universally beloved as the Walt Disney Company. From theme parks to feature films, Disney has held a special place in our hearts since childhood. Why? Our entry point is the Disney animated films. In 1937, Disney released Snow White and the Seven Dwarfs, changing cinema forever. With the release of Zootopia 2, there have been 65 theatrical animated features. Now, for clarity, those only fall under the main umbrella and do not include Pixar, Touchstone, or the like.
Within that monumental number, there have been groundbreaking, game-changing films like Beauty and the Beast and The Lion King. But for every smash hit, there was always a film or two that had been forgotten. And not the bad ones. The films that were near-perfect. Perhaps it was due to timing or got lost in the shuffle amid massive hits, but the films on this list are excellent entries in the Disney Vault.
‘Atlantis: The Lost Empire’ (2001)
Anything that came directly out of the Disney Renaissance would be highly scrutinized. If it veered away from the typical formula that made the ’90s sensational, it had to be good and with purpose. But some films, despite being good and exploring new frontiers, didn’t get the attention they deserved simply because they weren’t Disney musicals. One such example was 2001’s Atlantis: The Lost Empire. The film was a sci-fi adventure story in which Milo Thatch (Michael J. Fox), a linguist, joins a team of mercenaries in 1914 to find the sunken city of Atlantis. Guided by an ancient book, they discover a living, advanced civilization, leading to a conflict where Milo must protect the Atlanteans from his own crew’s greed. Atlantis: The Lost Empire was a beautifully distinct art style and an appealing story that focused on a genre mostly untapped by Disney animation.
Perhaps the reason the film has been forgotten, aside from the devoted Disneyphiles, is that it took major risks. First, it was a science fiction adventure story. It couldn’t be further away from the princesses that dominated the Disney Renaissance. Though, to be fair, Princess Kida (Cree Summer) technically is a Disney princess, so there was a way to tie it all back to the company’s previous success. Second, it was not a musical but a straightforward animated feature. It’s not what audiences wanted. Yet, if you examine the film as a singular entry, it was a unique departure from the traditional formula, where a Jules Verne-like steampunk aesthetic took charge. It was an impressive visual and technical achievement that blended the classic hand-drawn style with the emerging 3D CGI advancements. Atlantis: The Lost Empire is a film that didn’t deserve to be lost to time.
‘Brother Bear’ (2003)
If there is one thing that Disney animation can do extraordinarily well, it is create an evocative atmosphere. The animators conduct extensive explorations to ensure they achieve visual perfection in their stories. You can enjoy a story, but you must feel fully immersed in the world and among the characters. It’s why you felt as if you were actually in the Pacific Northwest, namely Alaska, while watching Brother Bear. A truly touching film about family, set in a post-Ice Age Alaska, an impulsive Inuit youth named Kenai (Joaquin Phoenix) kills a bear in vengeance after it causes his older brother’s death. The Great Spirits punish Kenai by transforming him into a bear, forcing him to walk in the animal’s footsteps in order to become human again. Kenai bonds with an orphan cub, Koda (Jeremy Suarez), and eventually learns lessons of love and brotherhood. With a twist that only Bambi could dream of, Brother Bear had everything that should have worked to become an instant classic had it arrived at a completely different time.
With a string of non-musicals before it and the worldwide phenomenon that was Finding Nemo released only months prior, Brother Bear suffered the fate of Disney’s early aughts dark ages. Critics at the time seemed to want something bold and daring, yet the “safe” buddy-adventure story was reminiscent of classic Disney. There was significant cultural significance in that it explored a locale and community that had mostly been untapped in animation thus far. There was levity in the story, thanks to the side characters Rutt and Tuke, voiced by Rick Moranis and Dave Thomas, who drew inspiration from their classic comedy duo, Bob and Doug McKenzie. But most importantly, the songs were wonderful. Though it may not have been as significant as those found in Tarzan, the tracks from Phil Collins moved the story along thematically in a similar manner while also serving as wonderful standalone songs. Perhaps had the film taken off, “Welcome” would have become a top-tier Disney anthem. Nevertheless, despite the beautiful wilderness brought to life through classic animation and the rich emotional depth, Brother Bear arrived at the worst of times.
‘Meet the Robinsons’ (2007)
There has never been a Disney animated film that evokes the spirit of the man behind the mouse more than Meet the Robinsons. Visually striking with a captivating story, the science fiction film, as great as it was, did not find its place in the early aughts. Based on the 1990 children’s book A Day with Wilbur Robinson by William Joyce, the story centers around Lewis (Jordan Fry and Daniel Hansen), a brilliant young orphan inventor who travels to the future with a boy named Wilbur Robinson (Wesley Singerman) to stop a villain called Bowler Hat Guy (Stephen Anderson). After his inventions fail, Lewis finds a new perspective on failure, resilience, and family, ultimately learning to “Keep Moving Forward.” A genuine, heartfelt story about family, innovation, resilience, and letting go of the past, Meet the Robinsons featured a brilliant soundtrack, a bold animation style, and a profound discussion about adoption in the modern age.
Meet the Robinsons was a unique film in the sense that the story championed failure. Not as a knock, but as a means to never give up. It was a profound element of the story’s emotional core. Meet the Robinsons taught young viewers to keep trying because the risk is worth the reward. If that theme didn’t capture you, then certainly the lens of adoption and found family should have. Meet the Robinsons presents the lingering effects of the lack of unconditional love in early childhood. It may be used as a villain origin story, but it was meant to serve as a reminder of love’s power. Simply look at the eccentric Robinson family, as they highlighted that love and acceptance define family more than bloodline. A genuine hidden gem, Meet the Robinsons arrived during the transition to 3D animation, which would see massive success in the films that followed with the Disney Revival, including Tangled, Frozen, and Moana. Timing is everything, and for Meet the Robinsons, it didn’t get the great big, beautiful tomorrow it deserved. No better time than now to reexamine it!
‘Oliver & Company’ (1988)
There are many things that make a classic Disney animated feature: talking animals, iconic songs, and an accessible story. So, why then did Oliver & Company miss out on being the flag bearer of the Disney Renaissance? That question still remains, but Oliver & Company is that film that usually pops up in your mind much later when you list out Disney films. Perhaps only the important bridge as the transitional film from the dark ages to the Disney Renaissance, Oliver & Company took the classic Charles Dickens tale Oliver Twist and reimagined it as a modern story set in New York City. The story tells the tale of an abandoned, orphaned kitten named Oliver (Joey Lawrence) as he joins a gang of homeless dogs led by Dodger (Billy Joel) and their human owner, Fagin (Dom DeLuise), a petty thief indebted to loan shark Sykes (Robert Loggia). After being adopted by a wealthy girl named Jenny (Natalie Gregory), Oliver is caught between his new comfortable life and his loyalty to his street-smart friends. An ode to found family and the greatest city in the world, Oliver & Company taught us to ask, “Why should I worry? Why should I care?”
Oliver & Company was a high-energy, heartwarming tale of friendship and found family. While the ’80s NYC atmosphere was specific to the time and ultimately not “timeless,” the emotional core was. The voice cast predated the ’90s trend of including big-name stars. Billy Joel and Bette Midler?! And they get their own songs?! What could be better? It’s a shame that “Perfect Isn’t Easy” didn’t emerge as a lasting masterpiece. Disney IP, when it takes off, is exploited by every means possible— in the parks, as merchandise, in future media. Oliver & Company came and went without that care in the world because it was overshadowed greatly by its Don Bluth competitor, The Land Before Time, which arrived on the exact same date, and the extraordinary success of the next Disney animated film, The Little Mermaid. Even though both Oliver & Company and The Little Mermaid had a similar formula—a musical adventure based on a classic story—the latter launched the Disney Renaissance because it was escapism at its finest, calling back to the Disney princesses of yore. Oliver & Company is an important film in the larger discussion of Disney animation, but as a piece of cinema on its own, it’s sadly forgotten. Absitively posolutely!
‘The Great Mouse Detective’ (1986)
The House of Mouse has been home to the world’s most famous rodent in animated history, Mickey Mouse. But for some reason, Disney in the late ’70s and ’80s expanded the world of mice with two mouse capers. First, in 1977, it was The Rescuers. Then, in 1986, it was The Great Mouse Detective. And it was the latter that was a fantastic tale. Based on the children’s book series Basil of Baker Street by Eve Titus and Paul Galdone, The Great Mouse Detective tells the story of the brilliant mouse detective Basil (Barrie Ingham) as he investigates the kidnapping of toymaker Hiram Flaversham (Alan Young) by a peg-legged bat named Fidget. Basil soon discovers the kidnapping is a plot by his nemesis, Professor Ratigan (Vincent Price), who forces Flaversham to build a robot queen to overthrow the Mouse Queen (Eve Brenner). A delightful adventure film set against the brilliant backdrop of London, The Great Mouse Detective invites children into the world of mystery in a fast-paced, witty manner.
Literally sandwiched between the film that nearly bankrupted the company and the beginning of the Renaissance, The Great Mouse Detective was better than the low point it was released within. Simply lost in the shuffle, The Great Mouse Detective also had competition against another mouse tale, An American Tail. That story of hope and the American Dream, unfortunately, tends to overshadow the Disney hit because the studio was seen in decline. This meant many brilliant elements of the film were discredited. There are many animated villains of the ’80s who get overlooked as Disney greats. We’re talking about you, The Horned King from The Black Cauldron, but another name often forgotten is the infamous Ratigan. He was a rodent that haunted your nightmares because he was so sinister. To be fair, his villain song walked, so tunes like “Gaston” and “Mine, Mine, Mine” could run. As an early animated Disney feature that began to integrate CGI into the animation, The Great Mouse Detective was ahead of its time.
‘The Rescuers Down Under’ (1990)
If you ask the average person the order of Disney animated films released during the Disney Renaissance, most might say The Little Mermaid and then Beauty and the Beast. That answer would be wrong. There was a film, without princesses and musical numbers, that came in between. Remember the aforementioned The Rescuers? Well, they got a sequel that proved that sometimes Disney sequels can be better than the originals. The Rescuers Down Under took the titular mice from the 1977 film and dropped them into an extraordinary new world, the Australian Outback. Bernard (Bob Newhart) and Bianca (Eva Gabor) travel to the Australian Outback to save a young boy named Cody (Adam Ryen) from a villainous poacher, Percival C. McLeach (George C. Scott), who wants to capture an endangered golden eagle, Marahute, for money. Meeting comical albatross Wilbur (John Candy) and charismatic hopping mouse Jake (Tristan Rogers) along the way, the team sets off on a rescue mission like never before.
Disney films often include an educational element. It was true here as the Australian backdrop provided a wonderful dissertation on animal and environmental rights. An atmospheric wonder, The Rescuers Down Under is simply breathtaking. The film is a thrilling, fast-paced action-adventure that captures the spirit of the Outback and is highly regarded for its masterful cinematography. The soaring flight sequences should have inspired a roller coaster at Walt Disney World. The problem the film faced was not its quality, but facing off against one of the greatest family films of all time: Home Alone. Amid such steep box-office competition, The Rescuers Down Under is neglected. Then, because the Disney Renaissance is remembered for its musical formula, the film tends not to be lumped in with that timeline. A truly daring film that should have advanced more animated adventures, The Rescuers Down Under is also monumental as it was the first to employ the Computer Animation Production System, a digital scanning, ink, paint, and compositing system of software and hardware developed for Disney by Pixar. Historic to say the least.
‘The Sword in the Stone’ (1963)
The Disney classics represent a very special place in cinema history. But when we discuss the classics, there tends to be a hierarchy based on popularity. And though this film has a presence beyond the screen and in the parks, it doesn’t get the attention it truly deserves. The Sword in the Stone chronicles the story of Arthur (Rickie Sorensen), nicknamed “Wart,” a young orphan, as he’s mentored by the wizard Merlin (Karl Swenson) and his owl, Archimedes (Junius Matthews). The film follows his transformation from a simple squire into a wise, worthy leader as he learns empathy, knowledge, and courage, culminating in his pulling a magical sword from a stone/anvil to become the rightful King of England. Based on the 1938 novel by T. H. White, The Sword in the Stone became Disney’s opportunity to explore medieval times sans the extreme violence through magic and merriment. A true brains-over-brawn story, The Sword in the Stone was an accessible coming-of-age story geared for boys.
A charming, character-driven narrative, the film’s shining moments come from its delightful humor. Every hero needs an antagonist. Here, it came in the form of Madam Mim (Martha Wentworth). Most Disney villains tend to be massive, boisterous presences. Madam Mim was an eccentric, vibrant villain who brought a chaotic energy. She served as a dynamite foil for Merlin, and yet, she is discredited as a top-tier baddie. As far as magic goes, there were very few Disney films quite as magical as The Sword in the Stone. “Higitus Figitus” is a darling moment that set the path for other magical production moments. With stylish animation, wholesome heart, and humor in the banter, The Sword in the Stone should have stayed in the same conversation as the likes of Sleeping Beauty before it and Robin Hood after, but it sadly did not. The more episodic narrative didn’t seem to be at its best. A leisurely stroll to the climax, Disney fans fondly remember the film simply by its presence in front of the carousel.
‘Treasure Planet’ (2002)
Science fiction action-adventure films were all the rage for two years straight in the world of Disney feature films. Following Atlantis: The Lost Empire came Treasure Planet. And though it’s safe to assume there was very little time to regroup and course correct, Treasure Planet relied on a slick hand-drawn and computer-generated mix to garner appeal. Taking the story from Robert Louis Stevenson‘s Treasure Island, Treasure Planet follows rebellious teen Jim Hawkins (Joseph Gordon-Levitt), who is given a holographic map to the legendary “loot of a thousand worlds” by dying pilot Billy Bones (Patrick McGoohan). He joins a space voyage aboard the RLS Legacy, bonding with the charismatic cyborg cook, John Silver (Brian Murray), who is secretly leading a mutiny. A daring tale of abandonment, rebellion, and emotional maturity crafted within a fantastic spacepunk aesthetic, Treasure Planet may have felt fresh to Disney, but the treasure was its heart.
Treasure Planet is one of the most beautifully created films of this Disney era. Through its marriage of 18th-century nautical bits and bobs with sci-fi elements, the film possessed a distinct visual vocabulary neverseen in a Disney animated feature before. Layering in a Celtic-inspired score with a memorable, thematic soundtrack, and Treasure Plant became something unique. It was a complex-looking film that happened to be quite mature. For some audiences, this type of escapism wasn’t what Disney was known for. X marked the spot, but the film never found its. Further, with other mature kid-centric films, like Harry Potter, to compete with, it was impossible to find the treasure at the box office. Treasure Planet was a passion project that found a cult following. As far as a Disney classic, it was lost in space.
Treasure Planet
- Release Date
-
November 27, 2002
- Runtime
-
95minutes
- Director
-
John Musker
- Writers
-
John Musker
You must be logged in to post a comment Login