How to Hook Up Your Home Theater

Now we come to the 2007 Goofy short, “How to Hook Up Your Home Theater.” Gillianren started their review by saying, “When I went looking for a still from this, it of course hit the snag that any search for the cartoon does—getting caught up in all the actual images of actual home theater set-up. One image, which came from a how-to video for a Sony TV and so forth, looked not unlike the still I’ve chosen for my article image. Much of the cartoon is of course comedic exaggeration, but I had to connect my cable to my TV the other day, despite the fact that I thought I’d already done so, and yeah, there’s a lot of connectors on the back of my set—and this set is considerably newer than the cartoon and assumes that most of your important connections will be via HDMI cable, so you won’t even need that many plugs.”

By the way his house looks; Goofy hasn’t updated his TV since the last “How To” short, 1961’s “Aquamania.” Gillianren said, “In order to watch the Big Game—even Disney isn’t going to tangle with the NFL’s lawyers, I guess—he goes to a Giant Warehouse Store (where, hmm, the employees are wearing blue and yellow and where could that be?) and buys, well, everything.” Including equipment that quickly became outdated by 2007, and a VCR, which had been that way for at least five years at the point of this release. Then, with the help of the narrator, Corey Burton, he prepares everything the way Goofy does.

Gillianren admitted, “Honestly, this isn’t my favourite of the “How To” shorts, which are my favourite Goofy shorts and probably my favourite Disney shorts full stop. For one thing, it’s missing the cheerful pomposity—I love the scene in “How to Ride a Horse” wherein both Goofy and the horse are so bored by the narration that they practically fall asleep.” This narrator sounds like he doesn’t know a whole lot about what he’s doing than Goofy does, and even if the right words of the narration makes it evident that he doesn’t, his tone should make it sound like he does.

Gillianren said, “The problem, I suppose, is that this is a subject where we feel as though most people don’t know much.” This isn’t golf or baseball, where so many people play that for fun. This isn’t even flying a plane, where we know people who are licensed can do it. This is something that looks like a new skill even to experts. Gillianren said, “But I mean, while I don’t know the actual details of how to objectively tell if one TV is better than another, the short doesn’t even make hay on that.” There’s one too big to fit into Goofy’s house, and that’s it. The narrator says to be practical, but there isn’t even a right word about what a practical TV purchase would be.

Gillianren said, ‘I suppose the difference here is that, in 2007, setting up electronics like this was something you just started having to do every few years, whether you liked it or not, and every other “how to” cartoon was about a hobby of some sort. It’s a different style. It’s still cute; don’t get me wrong. It’s also true that there’s a lot of comedy in the concept. It’s just that this isn’t all it could be, and that’s the sort of thing that always makes me a little sad.”

Gillianren ended his review by asking, “Help me replace my TV that makes a weird crackling noise every morning a minute or so after I turn it on.”

As a compilation of previous Goofy shorts that I have never seen, I would say this one is a good one with a lot of laughs. I would recommend this to all Disney fans, specifically Goofy fans, since they will get a good laugh watching this short.

Stay tuned tomorrow on the next short that I will look at in “Disney Month 2020.”

The Little Match Girl

If you were to ask any normal person about Disney short films, chances are they would name a selected few. However, if you were to ask a movie critic or animation fanatic, they would be able to name Disney short film library. One of those short films that’s been called a classic and really underlooked is “The Little Match Girl,” released in 2006.

Nick Cunningham stated in his review, “Based on the story by Hans Christian Anderson – author of The Little Mermaid and The Snow Queen – The Little Match Girl was originally part of an anthology film of shorts comprising Fantasia 2006. But due to unknown reasons (I’m leaning towards a lack of interest) the film was canceled. However, though the film was shelved, that didn’t mean the segments needed to be gone too. It was decided by the powers-that-be to turn the proposed shorts into short films.”

This is a beautiful short film. “The Little Match Girl” is about a young girl who lives on the snowy streets of Moscow, Russia trying to sell matches. However, everyone is unresponsive to her, and she doesn’t really meet up with a lot of people, which causes her to try to warm herself in a snowy alley. She eventually lights some of her remaining matches to keep herself warm. Once she does she sees images of a dinner, a furnace burning, and her grandmother. After each image disappears, she lights all of her matches to keep the image of her grandmother going, seeing a bright Christmas tree lighting the candles.

The short beautifully consists of so much detail. The animation is some of the best. Since this is made by Disney, anyone could expect great work when it comes to their traditional animation. Cunningham said, “What I really love about this short film is the mix of orchestrated classical music and 2D animation they blend so well. It reminds me of how well the original Fantasia segments worked. The Little Match Girl is on par with those segments.”

Since it is based on a short story, there are going to be some differences. For the most part, this adaptation stays true to the original short story. Cunningham noted, “The only noticeable differences are the setting change from Denmark to Russia and the exclusion of the girl’s cruel and overbearing father. I don’t mind these changes.” If you haven’t seen the film, I highly recommend it. You can find it on “The Walt Disney Short Films Collection” on DVD and Blu-Ray. It should also still be available for free streaming on Netflix and Disney+. This is a short that only lasts seven minutes long, but it’s one you should see, especially in this holiday season.

I first heard about this when Nostalgia Critic listed his “Top 12 Best Christmas Specials” during his first year of the show. Then I saw it earlier this year on Netflix and I really liked it. This is a sad story and you might tear up at the end, but it’s still a heartwarming story you should see. Wow, I’m on my 1,000^th review, and I really treated this one with care, especially with this short that I think everyone should see and give it some recognition.

Look out tomorrow to see the next short I will look at in “Disney Month 2020.”

Lorenzo

Mike Massie started his review on the 2004 short “Lorenzo” by stating, “As writer/director Mike Gabriel stated, despite listening to hundreds of tango music tracks to find the right piece, he ended up going with the very first tune on the very first CD he heard – a sensational work entitled “Bordoneo y 900” by Juan Jose Mosalini and his Big Tango Orchestra. As not only inspiration but also narration for this clever tale, the track undoubtedly makes the picture. With no spoken dialogue and no subtitles, “Lorenzo” is an utterly mesmerizing, universally understandable blend of music and visuals, boasting unnerving riffs and romantic interludes set against hilarity and horror as black magic gets the better of gluttony and callousness.”

Lorenzo the cat has his entire time lying in his warm bed, eating shrimp and making fun of stray cats that come outside his window to look with sad eyes like they’re begging for any of the leftovers that Lorenzo leaves behind. When the fat cat laughs at a black Siamese that doesn’t have a tail, the livid stray puts a spell on Lorenzo’s own fluffy tail, causing it to come to life – planning on beating the cat into a furious dance. In a sad turn of events, Lorenzo just might have to kill the possessed tail so that he doesn’t have to put up with anymore of this torture.

Massie noted, “The animation is quite fitting, juxtaposing traditional techniques against black construction paper paintings augmented by 3D brush strokes for a high-contrast look. The environments appear as if Lorenzo is in a permanent night club setting (the only place for a true tango), even though he walks on electrical lines and attempts to kill his spirited tail by tying it to railroad tracks.” Despite the short being dark and apparently sinister, the creativity is unmatched. Shorts, sounds and concepts don’t really mix together like they do here.

If there is a way you can see this five minute short, than do so. Find it on YouTube, or see the short film collection on NetFlix or Disney+. You will love it, especially if you’re a fan of dark humor.

Look out tomorrow for the next short in “Disney Month 2020.”

John Henry

Over the next few days, I will be looking at a list of shorts that I saw on NetFlix that was released on “Walt Disney Animation Studios Short Films Collection.” The first short I will look at is the 2000 short, “John Henry,” which was also released on “Disney’s American Legends” DVD.

Kirby C. Holt noted in her review, “It's no wonder that Walt Disney, a true American, would take to such stories for his animated films. As is witness in a lot of his projects, Walt had a true sense of Americana, and he delighted in being able to retell these stories to new audiences.” That dedication continues to this day, as you could see in their first short in the Short Films Collection DVD, “John Henry.”

John Henry was a former slave whose great strength made him one of the African-American role models from way back in the slave time. Carrying a sledge hammer that was made from the chains he was tied up in, he was a one-man railroad ream that “could move mountains.” He really has his work cut out for him when he goes up against a mechanical power hammer that threatens to steam him of his land.

Holt credited, “This short is a beautiful throw-back to classic traditional animation, with it's inspired use of a patchwork quilt framing device and a stirring gospel music score.”

I really think this short is inspiring and you should check it out either as part of the Short Films Collection or if you can find the short online and just watch it by itself. You will really like how well it was animated and how powerfully they told the story for little kids.

Check in tomorrow to see the next short I will look at in “Disney Month 2020.”

Tinker Bell and the Legend of the NeverBeast

When you’re six films into a successful franchise, there’s probably superfluous to mess around with the formula.

However, while “Tinker Bell and the Legend of the NeverBeast,” released in 2014, might not be said to take any risks, the new movie does feel a couple of steps down from the previous movies.

Michael Rechtshaffen said in his review, “Of course, that doesn’t mean that Tink and company are now following a Harry Potter-type trajectory—their gossamer wings remain essentially unsullied.”

Rechtshaffen continued, “Following in the heavier footsteps of last year’s well-received, The Pirate Fairy, however, it would appear Disneytoon Studios has realized that a decidedly more action-oriented tone extends the traditional Tinkerbell demo beyond that of young girls.”

The very respectable CG movie should’ve brought up some serious notches when it was released theatrically for a nine-day release before being put on DVD.

Even though Tinker Bell is again voiced by Mae Whitman, she is set aside for her fairy friend Fawn, voiced by Ginnifer Goodwin, be the main character in this movie.

Pixie Hollow’s animal fairy, Fawn starts a serious argument with the tough Nyx, voiced by Rosario Dawson, the leader of the scout fairies, over Fawn’s discovery of the giant creature she names Gruff.

Rechtshaffen said, “Sort of a bison-possum hybrid with glowing green eyes who turns up following a comet-sighting, the creature is believed to be the NeverBeast of legend, whom Nyx contends has returned with the predestined objective of obliterating their homeland.”

Rechtshaffen continued, “That not-so-sprightly scenario sets the stage for a more ominous caper than may not have been anticipated by those accustomed to old school Tinker Bell, but director and co-writer Steve Loter (Kim Possible, Penguins of Madagascar) has some harder-hitting action in mind.”

Rechtshaffen went on, “Underscoring the murkier mood are ambitious visuals that employ a monochromatic palette to effectively contrast Gruff’s rocky, lifeless lair with the vibrant rainbow colors of Pixie Hollow.”

Even with Anjelica Hustion again rightly voiced Queen Clarion and Lucy Liu (Silvermist) and Megan Hilty (Rosetta) along with those who reprise their roles, “Legend of the NeverBeast” appears very evident that it is firm in telling you that this isn’t the Peter Pan from way back when.

For the finale of the franchise, I have to say that this is actually a nice way to end off the franchise. For it to be focused on Fawn and not Tinker Bell, I would say it’s a nice change and there is nothing wrong with it. Only problem was this was not available on Disney+ when I watched the franchise last summer. However, I was able to see it on NetFlix and I was happy. You should see this film if it’s still on NetFlix or if they made it available on Disney+. If you have liked the rest of the franchise, you should see this one.

Now we have finished off this franchise, look out tomorrow to see what I will look at in “Disney Month 2020.”

The Pirate Fairy

Released theatrically in 2014, “The Pirate Fairy” is an engaging, perfectly done animated film that earned over $8 million in Britain theatrically since it premiered on Valentine’s Day in the U.K., and another four or five million in so many other foreign countries. Leslie Felperin said in her review, “That’s chump change when compared to the earnings of, say, Disney’s own Frozen or The Lego Movie, or even Mr. Peabody & Sherman whose recent underperformance may cause a write-down of DreamWorks Animation. Nevertheless, The Pirate Fairy is still a film worth noting given its quality, its feisty emphasis on female solidarity (it passes the Bechdel test with flying colors), and the fact that it features Tom Hiddleston as the voice of young Captain Hook, a character only marginally less scheming and evil than his Loki in Thor: The Dark World.”

Felperin continued, “Moreover, as a brand, Tinker Bell keeps just getting bigger, which is pretty impressive given it began as a series of home-entertainment tie-in titles (there have been four features before this, plus a 21-minute short) that have never had more than limited theatrical exposure Stateside, although they’re shown in frequent rotation on Disney’s cable channels. If you believe this might be evidence of the waning centrality of four-wall exhibition and the rising power of the family demographic, clap your hands.”

Felperin went on, “Tinker Bell started out as literally nothing more than a darting stage light in the original 1904 theatrical version of J.M. Barrie’s Peter Pan, who famously dies in the play and gets resurrected during each performance by applause from all those who believe in fairies.” A decade later, thanks to applause and so much love of children all over who love fairies, she’s starring alongside the protagonist, and a lot nicer and smarter than the jealous fairy who tried to get Wendy killed in the 1953 animated Disney movie. Felperin noted, “But more importantly, Tink and her fairy friends are the anchors in a line of licensed entertainment character merchandise, Disney Fairies, which was valued at $435m in 2013. That’s a lot of DVDs, dolls and lunchboxes, and for comparison Disney Fairies is worth less than Disney Princess ($1.6 billion) or Star Wars ($1.5 billion), but more than Angry Birds ($250m) or Barbie ($242m).”

For those who many not know the story that was built in the last four movies (starting with “Tinker Bell: A Fairy’s Tale” in 2007), the main character, voiced by Mae Whitman, lives in Pixie Hollow, a fairy world where the grouping of fairies is decided at birth when a fairy’s specific “talent” – whether it’s working with animals, plants, or, in Tinker Bell’s case, making and fixing things – is shown. Having done different missions in the past, Tinker Bell is now close friends with five other fairies: garden fairy Rosetta (Megan Hilty), whose prissy ways make her a comic relief, water fairy Silvermist (Lucy Liu), animal fairy Fawn (Angela Bartys), light fairy Iridessa (Raven-Symone), and constant fighting wind fairy Vidia (Pamela Adlon).

A new friend, Zarina, voiced by Christina Hendricks, is a dustkeeper, assisting in the creation of the fairy dust that gives the fairies, people and objects the ability to fly. In her free time, Zarina tries banned experiments with the rare blue dust that has strange, alchemical abilities when combined with other ingredients. However, a lab accident fails miserably and Zarina leaves Pixie Hollow in shame, taking the blue dust with her.

Tinker Bell and her five friends go to get back the blue dust, and during one fight, a dust-related incident switches around the fairies abilities, now Vidia becomes a tinker fairy, Rosetta an animal fairy, etc. Felperin noted, “Soldiering on, they eventually track Zarina down and find that she’s become the captain of a band of pirates and had a makeover to give her a pirate swashbuckling look, complete with rock-star hair and thigh-high dominatrix boots.” In the crew is an evil cabin boy named James, voiced by Tom Hiddleston, who has a secret plan of his own. Felperin noted, “It’s only in the third act that the film reveals that James’ last name is Hook, but viewers savvy with Peter Pan, not to mention Disney’s Jake and the Neverland Pirates cable series, will figure out the connection early on, especially given the introduction of a baby crocodile into the story.” This is where you can say “The Pirate Fairy” is a “Peter Pan” prequel.

Felperin said, “Director Peggy Holmes and producer Jenni Magee-Cook, heads of crew list that features a higher proportion of women’s names than most animated features, are clearly working with a much more modest budget compared Disney Animation’s other, top-tier productions. Even so, the craftsmanship standards are high here, from the CG-modelled animation, to the character expressions, to the musical choices and editing.” John Lasseter is the executive credit, and he gives this a Pixar-like attention to detail all around. Actually, you could figure this out better than the inferior “Cars” spin-off “Planes,” but then again, the filmmakers had a much nicer, more well-known origin story to work with in the first place.

This is another good installment in the “Tinker Bell” franchise. If you liked all the past entries, you should check this one out because it is different from the rest. Before, it would be Tinker Bell causing some sort of mistake that she would have to repair, but this time around, she doesn’t do anything. Check it out and have a great time watching it.

Look out tomorrow when we wrap up the franchise in the final sequel in “Disney Month 2020.”

Secret of the Wings

James Plath started his review by saying, “I’m no expert on Tinker Bell. Peter Pan (complex) maybe, but not Tink. So for this film I’m relying on my 10-year-old daughter, who falls within the target age range of the Tinker Bell films that Disney has been cranking out since 2008’s “Tinker Bell.”” After two sequels, now comes “Secret of the Wings,” released in 2012, which is labeled “A Tinker Bell Disney Fairies Movie.”

Plath noted, “Yep, like the Buddies pics and the “Beverly Hills Chihuahua” films, this is one of Disney’s money-making franchises. But that doesn’t mean they don’t put care into the production. The all-CGI work is impressive, especially in Blu-ray, and Disney has filled the cast list with some pretty high-profile voice talents: like Anjelica Huston, Mae Whitman, Kristin Chenoweth, Raven-Symoné, Lucy Liu, Jodi Benson, Timothy Dalton, and Jesse McCartney.”

How does the fourth sequel released straight-to-video rank amongst the rest of the franchise?

Plath admitted, “Curiously, here’s where my daughter and I differ.  My daughter thinks it’s one of the best because it has a better plot than the other films; I think it’s inferior because of the plot.”

Plath continued, “Who’s right? Well, I think we both might be. For little girls who are drawn to this franchise, the plot strikes closer to home than previous entries.” The first film introduced Tinker Bell as a character who was thought of as accident prone by others and who felt like she was placed wrong until she found her talent in the groups of Pixie Hollow. However, the theme of finding where you belong in society is actually something older children reaching adulthood can identify with more. On the other hand, the story of “Secret of the Wings” seems more targeted towards little girls. It’s about sisters…BFFs.

Plath noted, ““Tinker Bell” was an origin story, and as such it had to deal with scrutiny over character inconsistencies—like, how can this winged little pixie be so giggly and charming and happy, when Tink in “Peter Pan” was a jealous, conniving, pouting candidate for anger management therapy?”

By this movie, Tinker Bell’s personality has long been established for the franchise, along with her tendency to jump at the first sight into new adventures. In “Secret of the Wings,” Tinker Bell’s friends in Pixie Hollow has been assigned to send so many baskets of supplies to the winter side of Pixie Hollow – a world that has a magical line of segregation half-way along a fallen tree that has a river leading from one are to the next. On one side it’s permanent spring and summer. On the other side it’s winter. Plath advised, “Don’t think too much about it, parents, or the fact that seasonal fairies were a part of Pixie Hollow in earlier films, which had a Minister for every season.”

Tinker Bell, voiced by Mae Whitman, wants to cross into the winter world, despite them being forbidden because, for one thing, her wings would freeze and she couldn’t tolerate the cold. That doesn’t stop her from making winter gear for herself that can also protect her weak wings and hiding in a basket to be dropped by owls on the winter side. What does she end up finding on the other side?

The first trip over she simply gets frostbite on her wings and has to be taken to the fairy hospital, then she goes to the Book Nook where she finds a book about wings that might help her understand how to protect them. However, bookworms ate all the good pages, and now more than ever she needs to cross over, because that’s where the author called The Keeper, voiced by Jeff Bennett, apparently lives.

In her second crossing she finds a relative fairy named Periwinkle, voiced by Lucy Hale, who looks like her, has the very same wing pattern, and even loves to collect objects that have been found. They find out that they are, in fact, sisters.

Plath advised, “Again, parents, don’t think too hard about his one—or the fact that Disney at least provided a logical explanation for separated-at-birth sisters’ films “The Parent Trap” in 1961 and 1998.” Here, we simply get a simple explanation: a baby’s first laugh somehow split in half, with one part going to the summer side of Pixie Hollow and the other the cold.

When the ruler of the Winter Woods, Lord Milori, voiced by Timothy Dalton, arrives, he demands to send Tinker Bell back to the summer side. Now the story comes from the two fairy sisters trying to figure out a way they can stay together. Tinker Bell wants her sister to visit her on the summer side, so she gets the help of her tinker fairy colleagues, who make a snow machine on wheels that can keep Periwinkle cold. However, when the snowmaker runs out of ice is the beginning of major issues for everyone in Pixie Hollow. Then, when Lord Milori says the two sisters may never see each other again, do you really think this franchise is going to let these two stay apart?

Plath admitted, “A pat ending will give young girls the warm fuzzies and their parents raised eyebrows. But hey, it’s a Tinker Bell Disney Fairies Movie aimed at little girls ages 4 through 10. My daughter is at the high end of that range and she still maintains it’s one of the best “Tinker Bell” films. Right now, her extracurricular activities and her best friend are the most important things in her life. HAVING a best friend is important at this age and younger, and so I can see why the target audience would go for this film. Logically, though, it’s Silly Putty—a real stretch, and an uncomplicated narrative that’s restricted to a forward movement and impediments. There are no subplots, and nothing more complex than that.”

Parents won’t enjoy this one as much as the first “Tinker Bell,” but does that really matter all that much?

Plath ended his review by saying, “I’d probably give this entry a 5 or 6 out of 10, even considering the target audience, but with my daughter collecting the films and pronouncing this one “the best,” I have to warm my own wings a bit and award it a 7 out of 10. In my defense, even if parents may be stung by the narrative logic, “Secret of the Wings” is still a wonderful sensory experience to share with your child.”

Personally, I believe this is another good installment, as I find all of the films just as good. With this one focusing on family, I think everyone will like it, especially at the time of the year we’re in right now. If you have been watching the franchise thus far, go on your Disney+ and watch this one. You will love the story of finding family and finding out how to stay together so that you can get to know one another.

We’re not close to finishing this franchise, so stay tuned tomorrow for the next installment in “Disney Month 2020.”