One Hour Photo

Robin Williams starred in a psychological thriller in 2002 called One Hour Photo. Written and directed by Mark Romanek, it also starred Connie Nielsen, Michael Vartan, Gary Cole and Eriq La Salle. The film grossed $52 million and Williams won a Saturn Award for his acting.

Seymour “Sy” Parrish (Williams) works in the photo center of a department store. A solitary person who leads a boring life, he becomes obsessed with the Yorkin family (Nielsen, Vartan, and Dylan Smith) and tries to interject himself into their lives. After learning the father is having an affair, he gets ven more involved.

One Hour Photo is quite the bizarre and disturbing film. It has great cinematography that really shows how Sy sees his world and the acting is so different for a Williams film that it’s easy to forget that it’s actually him.

The film has great cinematography that really shows up in how the film is lit. Since Sy is not all there and unhinged, all of his scenes look underdeveloped with a cold tinge. On the other hand, the scenes with the Yorkins are developed well with a bright and warm tinge. It’s a good juxtaposition to show how different their existences are. The department store was also given a bright, but non-glaring light that creates a heavenly glow, showing how that’s the fantasy he build up seeing their photographs, the Yorkins’ home is given a more earthly feel to make it more of a home and Sy’s apartment is dimly lit, made to portray that he feels his lonely existence is his personal hell.

The film is differently acted than most Williams films. Nowhere is he upbeat, happy or positive. Instead he’s completely sullen so much that it’s quite disturbing. Jack Nicholson was originally offered the role, which makes sense as it very much feels like a role he would do. One can almost forget that it is Williams too, considering the roles he usually plays.

It’s hard to like One Hour Photo, in fact, it can be very uncomfortable to watch. But it isn’t hard to see that it’s a good film. 

Treasure Planet

Disney’s Christmas release in 2002 was another new take on an old tale. Treasure Planet, adapted from the Robert Louis Stevenson novel, Treasure Island, starred Joseph Gordon-Levitt, Brian Murray, Emma Thompson, David Hyde Pierce, Michael Wincott, Laurie Metcalf, and Roscoe Lee Browne. A box office failure, the film lost about $29 million. It was also nominated for the Academy Award for Best Animated Feature, but lost to Spirited Away.

Young Jim Hawkins (Gordon-Levitt) sets out with Dr. Delbert (Pierce), sailing through space searching for the treasure of the evil pirate, Flint. Aided by Captain Amelia (Thompson), they must outwit a pirate crew lead by the cyborg Silver (Murray).

This film is kind of all over the place. It’s a mix of cyberpunk and steampunk, with the spaceships being actual sailing ships in space and a whole bunch of alien species. The film has also been pointed to as the reason Disney decided to kill its traditional animation studios from 2002/2003 until 2009. However, it was about 40/60 in terms of traditional vs. CGI and the CGI portions were all the robots and tech while everything else was traditional. It’s noticeable, yes, but also done very well.

The film also handles its characterization and relationships spectacularly too. All their interactions are realistic and have great development. It’s also quite different for a Disney film to have the missing family member actually walk out instead of dying. This helps to solidify Jim’s character as the delinquent who needs a role model. And while Silver ends up becoming that figure, he does so begrudgingly until the very end, when it actually matters. The way the two part ways at the end show how the two have grown to sort of understand each other.

On the other hand, while he’s got some hilarious lines, Martin Short as BEN can sometimes get annoying. His shtick of stupid robot who manages to screw things up while simultaneously doing everything right has been done a lot better in other series and films. He gets better once he finds and puts his memory back in though.

It’s not one of Disney’s best films, but it’s still good.

#44

A Very Merry Pooh Year

Another Winnie the Pooh anthology film was released in late 2002, just in time for the Christmas season. A Very Merry Pooh Year consists of the 1991 Christmas TV Special, Winnie the Pooh and Christmas Too and short Happy Pooh Year, which was actually a brand new segment. It’s the first film that Owl was not involved in a well as the first one that Carly Simon was involved with.

Framed by the characters of the Hundred Acre Wood getting together for Christmas, and later the New Year, two stories are told. The first, Pooh forgets to put his Christmas wish in Santa’s letter and must retrieve it. In the second, Rabbit threatens to leave unless everyone changes for the New Year.

This seems to be different than most anthology/package films. The first segment was a special that wasn’t an episode of the series, but only aired once. The second was brand new. This is one great way to do these kind of films and doesn’t exactly rehash old episodes that could just be released by themselves.

The frame isn’t bad either, with Pooh hiding his present to Piglet and only remembering it during New Year’s Eve. It fit’s his character very well.

Also, at first, Carly Simon singing the theme was kind of odd, but as it went on, it turned out pretty good and a nice change of pace.

#55

Mickey's House of Villains

A second direct-to-video film centering on House of Mouse was released in 2002. Mickey’s House of Villains stars pretty much the same cast from the show as well.

It’s Halloween at the House of Mouse and a lot of villains show up. At midnight, Jafar takes over with the help of Captain Hook, Cruella de Vil, Ursula, Hades and Chernabog. Now Mickey and his staff have to reclaim the House.

The same issues I have with Snowed in at the House of Mouse show up here. This should have been a TV special and not a complete film. Same reasons I always give for this. It’s a cash grab to just show old cartoons for an obscene profit.

It’s not that the cartoons are bad. They’re pretty good, but we didn’t need a home video production of a show that hasn’t had any seasons released on home video, as far as I’m aware of.

The good quality of the shorts keep it from sliding across the Edge of Dissatisfaction, but it really shouldn’t have been released direct to video.

#63

Tarzan & Jane

Summer 2002 saw the first sequel to Tarzan, set one year after the events of the film. Tarzan & Jane uses the last three episodes of the television series and stars Michael T. Weiss, Olivia d’Abo, Jeff Bennett, Jim Cummings, Grey DeLisle, Kevin Michael Richardson, Tara Strong, April Winchell, and Nicollette Sheridan.

Framed by Tarzan and Jane’s first anniversary, she wants to find a suitable present and gets the help of Tantor and Terk. However, they remind her of the disasters that occurred the last time Tarzan was exposed a party, gifts or dancing.

I enjoyed this, thinking it was a pilot film for the series, sort of like how Return of Jafar was to Aladdin. But then, I found out the episodes actually did air and were the last three. So this pretty much falls squarely in how I feel about things that have been repackaged.

It was good, which speaks to how good the television series is. But if they wanted to put episodes of the series on a movie, they could have just released the seasons. This is, again, a cash grab to kids that wouldn’t notice they’re watching something they already did.

I’m not putting this past the Edge of Dissatisfaction, considering it was pretty good, but the rehash of it put it pretty far down.

#64

Lilo & Stitch

Summer of 2002 finally saw a new original story from Disney. Lilo & Stitch became their 42^nd canonical animated feature Starring Chris Sanders, Daveigh Chase, Tia Carrere, David Ogden Stiers, Kevin McDonald, Ving Rhames, Kevin Michael Richardson, Jason Scott Lee, and Zoe Cladwell, the film made almost $200 million. It also was nominated for Best Animated Feature, but lost to Spirited Away.

Sisters Nani (Carrere) and Lilo (Chase) have recently been orphaned because of a car accident, but neither completely understand each other and Lilo is often lost in her own world. Meanwhile, Dr. Jumba Jookiba (Steirs), a mad alien scientist, stands trial for having illegally created a new life form. His Experiment 626 escapes from the United Galactic Federation and finds himself on Earth.

Lilo thinks he’s a dog and adopts him, causing him to learn the meaning of family while Nani has to convince a social worker (Rhames) she can be a good guardian.

As weird as a concept this film is, it seems to really work. Disney finally created an understandable and relatable child character. She’s not annoying or whiny. She’s hyperactive, weird, and irrational, just like a little kid. And Nani isn’t a mean or spiteful, she’s trying to be the best guardian she can be. And the two realize that they’re really all they have. Then Stitch falls to Earth and sets in motion a chain reaction.

The backgrounds are all watercolor and are done really well, which helps immerse the viewer into the story, which is set in Hawaii. And that’s also interesting. The movie’s setting is in a state rarely touched on in films. There’s a few, but most films set in America go for the continental 48.

The parts with the aliens provide good comedic relief at times, but in other instances, they feel out of place. However, there is a throwaway line by Jumba midway through that’s surprisingly deep. When Stitch has nothing left to destroy, essentially voiding the necessity of existence, he wonders what it must feel like to not even have memories to visit in the middle of the night.

# 13

The Hunchback of Notre Dame II

Since Disney couldn’t keep bear to let any of their renaissance films get sequels, The Hunchback of Notre Dame II was made. And while most of the cast returns, Jane Withers was added to replace Mary Wickes and Jim Cummings replaced David Ogden Stiers. There were also new voices from Haley Joel Osment, Jennifer Love Hewitt, and Michael McKean.

Six years after the original film, Quasimodo (Tom Hulce) is an accepted part of society, but still serves at the bell ringer. A circus troupe led by Sarousch (McKean) enters town s art of the yearly Festival of Love. He plans to steal the bell La Fidele and sends his assistant Madellaine (Hewitt) to discover its whereabouts. She encounters Quasimodo, setting off a chain of events that determine the eventual fate of the bell.

With all the subtlety of a frying pan to the face, Disney decides to tell us that true beauty is on the inside. The comparisons of Quasimodo and the bell could not have been more obvious and for some reason, they decide to give him a girlfriend. One of the great things about the first film is that the hero didn’t get the girl, instead becoming a really good friend.

The animation in this is also atrocious. It was done by Disney’s Japanese animation studio, but that only makes it worse. I’ve seen far better things come out of Japan. And for some reason, the population of Paris has been reduced to somewhere between 20 and 30.

We also get the exact same moral of the first story, only this time it’s with carnies. And Zephyr, the son of Phoebus and Esmerelda, is quite annoying.

#80

Cinderella II: Dreams Come True

Cinderella received its first sequel in February of 2002. Cinderella II: Dreams Come True grossed about $120 million in sales, but was met with completely negative responses. It holds the dubious honor of having a 0% on Rotten Tomatoes and was cited by Lasseter, along with The Little Mermaid II of why the sequel department shouldn’t exist. It also starred Jennifer Hale, Corey Burton, Russi Taylor, Christopher Daniel Barnes, and Gina La Piana.

The story consists of three segments, framed by the mice (Burton, Rob Paulsen, Russi Taylor) making a book, which narrates the happily ever after of the first movie.

In the first, Cinderella (Hale) becomes dissatisfied with the way things are run at the palace and changes all of them.

The second, Jaq becomes human so he can help around the palace.

And then Anastasia (Tress MacNeillie) falls in love with the town baker (Paulsen)

Remember what I said in the last review about how the DTV sequels at least have some sort of reason for existing, other than money, even if it’s terrible? Yeah. The director had a vision to continue the story, but it was done in the worst way possible, making this the worst Disney sequel I have ever seen, grating since Cinderella used to be in the #1 spot for the category. 

I said in my review of the first film that the mice can get a little grating. Well, they’re worse here, moving to downright annoying. Gus somehow got stupider, Jaq went from having a few complete sentences to… barely making any sense and the female mouse’s voice got a lot higher.

But that ain’t all. Cinderella herself changes from a hopeful wisher to an insufferable complainer. The slow pace and boring stories also makes this film incredibly painful to watch. It’s only over an hour, but feels a lot longer that. And none of the music choices really fit and sound like they’d be better on an album of music inspired by Disney.

I’d rather go see Tammy again.

Rock bottom #80

Disney's American Legends

Early 2002 once again saw yet another compilation package film. Disney’s American Legends, put together four Disney shorts featuring American heroes of myth and legend, narrated by James Earl Jones.

The shorts consist of Johnny Appleseed, The Brave Engineer, Paul Bunyan and John Henry.

And… that’s the whole thing.

I was actually sort of looking forward to this, then I watched it. If I haven’t made myself clear, I’m tired of package films put together by a loose frame. In this case, it’s Jones telling us that America has had heroes in the past and that we should look for today’s heroes. That’s a great message, but it could have been an entire film. No. It DESERVED to have been so. This is just completely lazy.

These four shorts are fun to watch and they do well on their own. But the way they’re presented looks like yet another cash grab. 

It's a short review. But there's nothing else to say about it. 

Actually there is. I tolerated package films like Melody Time, Fun and Fancy Free, and Make Mine Music. Why? Because it was the 1940s. Most of Disney's animators were making government propaganda or fighting in the war. At the same time, Disney was mostly starting out. Snow White and the Seven Dwarfs was a smash success, Pinocchio and Fantasia initially lost the company money. Lots of it. 

Those package films made sense because of the monetary limitations and lack of talent. The studio needed to get back on its feet, which it did with Cinderella. 

But in 2002? Straight off the success of the Renaissance? Mediocre packages films like this are inexcusable. The studio didn't need the easy money. There was no staff shortage that necessitated it. By this time, The animation studio had several departments with several dozen animators. 

I can see the desire to put out sequels as they further a finished story. Even if they are subpar cash grabs that honestly don't need to be made, their existence at least makes some sort of sense. 

But these? Disney just wanted easy money and decided to cobble together something even more half-assed than the sequels and release it. Frankly, it's an insult to my intelligence and offends me as a Disney fan.
#76

Return to Neverland

Early 2002 saw one of Disney’s few theatrical sequels. Return to Neverland continued the Peter Pan story with voice acting by Harriet Owen, Blayne Weaver, Corey Burton and Jeff Bennett. The film cost $20 million and garnered almost $90 million worldwide. And while it was a theatrical release, it’s still not part of the main Disney canon. There’s also two songs sung by They Might Be Giants.

Wendy (Kath Soucie) is all grown up with two children and a husband, who is off fighting in WWII. However, her daughter, Jane (Owen), has become cynical. She ignores her mother’s stories and ridicules her brother’s (Andrew McDonough) faith in them.

But one night, Captain Hook (Burton) kidnaps her, thinking she’s Wendy, for revenge against Peter Pan. Now, she must find a way home and the Lost Boys (Spencer Breslin, Bradley Pierce, Quinn Beswick, Arron Spann) and Peter (Weaver)have to find a way for her to believe in fairies to keep Tinker Bell from dying.

This one surprised me.

Where the original Peter Pan spoke of how growing up is a fact of life that everyone must face, Return to Neverland speaks to the inverse. Growing up may be a fact of life, you may have to face it, but don’t be too quick to do so. Under the pressures of war, Jane forgets what it means to be young and full of childlike wonder and faith and chastises her younger brother for having it. It’s not until she spends time in Neverland with Peter Pan and the Lost Boys does she understand the necessity of being a kid. That’s also where the song, “I’ll Try” comes in, which in her perspective, goes from her believing herself to have no need for stories and trust to seeing how faith, trust and pixie dust pretty much make up the world.

And I know the criticisms, wartime is harsh and needs to be taken seriously, even by children. But there needs to be a balance. Going completely cynical doesn’t do any good and is in no way beneficial. The need for hope, trust and faith is still prevalent during war. In fact, it’s completely necessary.

The animation is wildly different from the original, but that can be attributed to how the animation department went through massive changes in the 50 years between films.

There’s one really odd thing though. Hook apparently bested the crocodile. And now there’s an octopus that pops. It doesn’t make sense and should have been left out. That or the crocodile should have stayed.

I’ll be honest, I wasn’t looking forward to this, considering how many of the sequels have just not been that great. But Return to Neverland wasn’t. It actually makes me slightly hopeful for the Pixie Hollow line of films.

#30.