Is that powerful stuff or what?

And, of course, this was the movie to give the world ‘‘Zip-a-Dee-Doo-Dah.’’

Abby West

BEST:Bambi(1942)

How many kids first learned about death because ofBambi?

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And the reason for that is two words: Phil Collins.

Actually, that’s being a bit harsh.

His songsarelackluster, but so is the animation.

For the first time in forever—yes, we went there—it felt like Disney hit all the right notes with Frozen. Frozen got the formula right thanks

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If there?s aCitizen Kaneof animated filmmaking, this is it.

The chain-smoking, road-raging, bipolar-haired fur lover is pretty terrifying, and her puppy heist produces real dread.

Are Pongo and Perdita’s offspring really going to become Dalmatian coats?

If The Little Mermaid gave Disney animation a heartbeat again, Beauty and the Beast lent it spirit. A show-stopping tour de force courtesy of musical

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But this canine caper is so much fun, you’ll forget its more disturbing implications.

Needless to say, the Tolkien estate refused.

So the studio decided instead to adapt another sword-and-sorcery fantasy, Lloyd Alexander’sThe Chronicles of Prydain.

It’s a great irony of Disney’s filmmaking history that one of its most technologically progressive efforts should also be among its most socially regressive. Based

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That still didn’t help.

But like its hero,Aladdinis a diamond in the rough.

But the $339.7 million raked in by its Pixar rival,Finding Nemo, all but drowned it.

How many kids first learned about death because of Bambi ? Five decades before King Mufasa lectured Simba on the Circle of Life, Disney animators

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Perhaps most significantly, though, it introduced the unbeatable team of composer Alan Menken and lyricist Howard Ashman.

Christian Blauvelt

BEST:Peter Pan(1953)

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Don’t think twice, watch 1938’sThe Adventures of Robin Hoodwith Errol Flynn instead.

Disney’s adaptation of the Rudyard Kipling classic is a bebop slow jam of a film. The bare necessities of the original plot are there —

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That’s epic filmmaking by any standard.

‘‘Mysterious as the dark side of the moo-ooon!’’

But, hey, corn can be tasty!

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What kid hasn’t identified with poor, bullied, floppy-eared Dumbo at one time or another?

Who hasn’t felt that their life can be as crazy as a circus?

Who hasn’t wanted to have a mouse dressed like a ringmaster whisper encouragement in their ear?

The last of Disney’s animated musicals in the ’90s is its weakest. And the reason for that is two words: Phil Collins. Actually, that’s being

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(Okay, that last one may just be me.)

The most ambitious movie Disney’s ever made is also one of its most satisfying.

And so was Disney’s ambition.

Translating the Danish court intrigues of Hamlet to the big cats of the Serengeti, The Lion King conjured up a heady blend of pop mysticism

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But the wait was worth it.

Their first princess-driven computer-animated film bridged the studio’s ’90s musical aesthetic with some of Pixar’s digital magic.

The story of a marionette made of pine who comes to life — he’s got no strings to hold him down! — and tries to

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‘‘Cruella DeVil / Cruella DeVil / If she doesn’t scare you / No Disney villain will .’’ The chain-smoking, road-raging, bipolar-haired fur-lover is pretty terrifying,

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Disney had long wanted to purchase the rights to The Hobbit and The Lord of the Rings for animated film adaptations. Needless to say, the

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The Arabian Nights saga of the street-rat who becomes a prince after rubbing a magic lamp containing a Genie is a lighter-hearted follow-up to Beauty

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Following 1942’s Bambi Disney feature animation production slowed down. The studio concerned itself with making wartime propaganda — including two experimental, highly entertaining films touting

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Yes, this computer-animated comedy is a lot like Pixar’s Toy Story . Both are about the secret inner lives of children’s amusements (in Toy ,

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The $88.5 million box office haul of Brother Bear in 2003 would, in any other year, have seemed respectable. But the $339.7 million raked in

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Disguised as a simple princess story, Sleeping Beauty is actually one of the most exquisitely terrifying films in the Disney canon, probably because of its

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Eye-popping, thrilling, and heartfelt, the musical adaptation of the Hans Christian Andersen tale represented nothing less than the rebirth of Disney animation after two decades

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J.M. Barrie’s immortal tale of the Boy Who Wouldn’t Grow Up wasn’t just a perfect fit for Disney. It overlapped with the studio’s own Neverland

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Ooh-de-lally, ooh-de-lally, golly what a lousy movie. Don’t think twice, watch 1938’s The Adventures of Robin Hood with Errol Flynn instead. — Abby West

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Walt Disney got experimental with his third feature-length animated film. Imagining a ‘‘pure cinema’’ fusion of sound and image, he ditched a conventional plot for,

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The girl-power trend of ’90s Disney reached its apex with a lush rendering of a Chinese legend dating back to the fifth century — that

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Clocking in at a scant 64 minutes, this brightly-colored big-top treat is an underdog story for the ages. What kid hasn?t identified with poor, bullied,

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There’s a lot to like about Home on the Range : the fact that Roseanne Barr, Judi Dench, and Jennifer Tilly voice its bovine leads,

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Sometimes overlooked, Lady and the Tramp may actually have been Walt Disney’s most personal film. Based in part on his memories of growing up in

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Disney unfurls the full mythological grandeur of Victor Hugo’s classic novel and makes something unprecedented: a kid’s movie about religious fanaticism and sexual obsession. A

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Though sometimes considered an inferior remake of 101 Dalmatians , The Aristocats is actually just as strong a film. A bumbling butler spirits away the

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It’s hard to imagine any live action film doing justice to Lewis Carroll’s puzzle-box fantasy of mad hatters, white rabbits, Cheshire cats, and hookah-smoking caterpillars.

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The sky is falling, the sky is falling! And so was Disney’s ambition. — Abby West

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It’s kind of hard to believe it took Disney 70+ years to tap the Rapunzel story for a big screen fairy tale. But the wait

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The fact that this update of the exiled Olympian’s life features bloody violence, gross-out humor, and possibly James Woods' most disturbing performance to date —

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