#Frank Musker

[citypopdaily]

恋のスマッシュ・ヒット (I Wanna Make A Hit Wit-Choo) [Koi no Smash-Hit (I Wanna Make A Hit Wit-Choo)] by Junko Yagami / 八神純子

Album: I Wanna Make A Hit Wit-Choo Year: 1983 Label: Discomate Lyrics & Music: Frank Musker & Louis St. Louis

#city pop #junko yagami #1983 #discomate #frank musker #louis st. louis #80s city pop #subcategory: aor/funk #admin fave #八神純子 #Youtube

[singeratlarge]

MONDAY MATINEE MUSIC VIDEO “We’re Alive” by Kris Ryder… https://www.youtube.com/watch?v=tZ2XeA-0gPE …Like a day at the beach in Kokomo, this song is about a man who runs into an old girlfriend after she’s been down a sad road, but now they’re together and glad to be alive! Chris Andrews a.k.a. Kris Ryder presents this upbeat reggae-fied Motown-ish New Wave power pop/synthpop anthem—with fab guitar work by guitarist Phil Palmer (Eric Clapton, David Essex, Dire Straits, Wishbone Ash) + big harmonies by Kris with Dominic Bugatti and Frank Musker (who co-wrote Queen’s “Too Much Love Will Kill You”). This track was produced by Christopher Neil (A-ha, Sheena Easton). On a cosmic jukebox this song would play somewhere between The Beach Boys, The Buggles, and Men at Work.

https://www.youtube.com/watch?v=tZ2XeA-0gPE

#chrisandrews #krisryder #philpalmer #NewWave #dominicbugatti #frankmusker #queen #BrianMay #christopherneil #aha #sheenaeaston #britpop #singersongwriter #beachboys #thebuggles #menatwork #reggae #Motown #Thekinks

#Chris Andrews #Kris Ryder #Phil Palmer #New Wave #Dominic Bugatti #Frank Musker #Queen #Brian May #Aha #Sheena Easton #britpop #singer songwriter #Beach Boys #Buggles #Men at Work #reggae #Motown #The Kinks #hil Palmer #Johnny J Blair

[freddiemercurylegendabovelegends]

February 26th, 1996 - Queen Story!

'Too Much Love Will Kill You' is released

(from 'Made in Heaven' album, released in November 1995)

👉"Too Much Love Will Kill You"

Written by Brian May, Frank Musker ed Elisabeth Lamers about 1986/1987

👉👉"Too Much Love Will Kill You":

this song with Freddie Mercury has Nothing to do with him! 👈👈

👉 Let us clarify!

⏩ The true origins of this song relate to the difficult period Brian May experienced in his private life: the end of his marriage and the new relationship with Anita Dobson

#1996 #too much love will kill you #freddie mercury #queen band #london #zanzibar #legend #queen #brian may #john deacon #freddiebulsara #roger taylor #made in heaven album #anita dobson #1995 #Spotify

[spiderdreamer-blog]

Treasure Planet (2002)

The year 2002 was a weird time for the Disney animation studios, to put it mildly. After the legendary stretch of films that constituted the Disney Renaissance-The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King-the yearly animated offerings were still making money, but they largely weren’t outright phenomenons anymore. Worse, competition had arisen both within and without: Pixar had totally changed the game with 1995′s revolutionary Toy Story, but the fancy new CGI bells and whistles were making more money than the studio’s traditional 2D animation and seemingly had more staying power to boot. Former studio chairman Jeffrey Katzenberg had left to form DreamWorks with legends Steven Spielberg and David Geffen thanks to a highly publicized power struggle with CEO Michael Eisner after the 1994 death of company president Frank Wells. They were succeeding too, with 2001′s Shrek being a (ahem) monster hit in particular. Eisner’s grip on the Magic Kingdom was slipping after this and other costly blunders like the creation of Euro Disney/Disneyland Paris, and he knew it. In the middle of all this, one of the most expensive films in the company’s history, a passion project for directors Ron Clements and John Musker, was nearing the end of production: a sci-fi adaptation of Robert Louis Stevenson’s classic adventure novel Treasure Island. How does it hold up? Well, if you’re like me and grew up with this, Atlantis: The Lost Empire, and The Road to El Dorado on loop, the answer is “I cannot be remotely objective about that”, but let’s get down into the nitty gritty on why this movie rules.

I suppose in one sense, I don’t necessarily have to offer a plot summary. If you’ve somehow gone your entire life without knowing the basics of Treasure Island and its myriad adaptations, I’d love to see the realtor quote on the rock you’re staying under. Disney itself is no stranger to the property as a studio. The book served as the basis for Walt’s first big swing into live action territory in 1950, and quite a good one at that in its surprisingly faithful rendering of Stevenson’s red-blooded adventure. Not the least of which was Robert Newton’s immediately iconic, gloriously hammy West Country accent-fied portrayal of Long John Silver; if you’ve ever wondered why movie pirates sound the way they do, he’s patient zero. And of course there’s Muppet Treasure Island, a childhood favorite that has a surprising amount in common with Planet in terms of some of its adaptation choices (namely, making Mr. Arrow a stern, professional sailor rather than the drunken layabout of the novel).

Where Planet benefits the most is the meta-knowledge one is bringing to the story and updating it to fit within the lines of a modern feature film. Structurally, it’s fairly faithful as we meet Jim Hawkins (Joseph Gordon Levitt, still most famous for 3rd Rock from the Sun at the time) at the Benbow Inn and he obtains the fabled treasure map from Billy Bones (Patrick McGoohan, giving us a great death rattle in about 2 minutes of screentime), thus prompting a treasure voyage. But even in this early stage, there are smart changes: Dr. Doppler (David Hyde Pierce) is a combination of Dr. Livesey and Squire Trelawney so we can cut down on characters, for instance.

And most crucially, rather than a pre-teen, Jim is now a teenaged delinquent whose father abandoned him and his mother Sarah (Laurie Metcalf); the thirst for adventure and Treasure Planet itself is established in a tooth-rottingly sweet prologue, but now we have extra context and motivation in addition to the destruction of the inn. Jim wants to make his mother proud and feel like he’s worth something. Then, when we get to the ship, not only do we get the great reinvention of Captain Smollet in Amelia (Emma Thompson at her Emma Thompson-iest), Silver (Brian Murray) too is enriched by foreknowledge. Silver’s treacherous intentions are laid bare within minutes of meeting him rather than saving that turn for Stevenson’s famous apple barrel scene. But this adds tension rather than subtract. Now we wonder less that Silver WILL turn mutinous and more what it means for his and Jim’s relationship; the apple barrel becomes a lightning rod. He becomes an even more intriguing character as a result, one of the few genuinely morally ambiguous villains in Disney’s history that makes some surprising choices by the end.

If there’s one arguable flaw in the adaptation, it’s the depiction of B.E.N. (Martin Short), a robotic take on Flint’s old crewmate Ben Gunn. He’s a clever idea conceptually, especially with the angle of his missing memory circuit that hides a deadly reveal, and I like his gangly CGI animation. But he fits into a trend Disney was leaning into in terms of trying to recapture the lightning in a bottle that was Robin Williams’ Genie in Aladdin where they hired big comedy actors to come in and riff as the sidekicks so that they could boost the trailers with funny bits and ensure the parents their kids wouldn’t be bored. Sometimes this worked out splendidly (Eddie Murphy’s Mushu in Mulan is as iconic as his Axel Foley or Donkey in Shrek, Rosie O’Donnell and Wayne Knight fit in shockingly well in Tarzan), other times...less so (hi gargoyles in Hunchback and Dave Thomas and Rick Moranis just doing Bob and Dave McKenzie again as the moose in Brother Bear). To be clear, there’s nothing outright wrong with the character as presented. I think Short is a deserved comedy legend who also really needs clear direction so he doesn’t get lost in a sea of hamminess, but this is certainly a better showing of his eager-to-please neuroses than the likes of The Pebble and the Penguin. And he only comes in at the third act point, so there’s less time for him to feel jarring. But he doesn’t feel strictly necessary in retrospect, especially when the movie is already funny in cleverer ways (”Well, uh... thank you. Thank you very much! Well, I have a lot of help to offer anatomically— amanamonically— as-astronomically face smack“), and we have a Designated Kid Appeal Merch Sidekick in the form of Morph. Two feels like pushing it.

Of course, even if the story had been merely okay instead of better than average, this would still be one of the most visually striking films the studio’s ever released. Taking cues from the Brandywine school of illustration, the colors are lush and rich, and the alien character designs are appropriately outsized on such a grand stage. The action scenes are clever and creative throughout, especially the escape from the inevitable mutiny and a nail-biting outrun-the-clock climax.  The CGI integration is a little easier to spot 20 years on, but the Deep Canvas process allows for all manner of imaginative spacefaring visuals, the Victorian-by-way-of-Star-Trek aesthetic (sailing ships in outer space is exactly the level of FUCKING AWESOME it needs to be), and especially Silver’s cyborg limbs married to his broad 2D frame.

Though it certainly helps when you have master animator Glen Keane supervising one of his best performances, marrying the subtlety and grace he’d achieved with characters like Aladdin and Tarzan with the bravado of his earlier villains like Ratigan or Sykes in Oliver & Company. Under his hands, Silver can go from garrulous and brash to quiet menace or reflection in the blink of an eye. John Ripa (recently co-director on Raya and the Last Dragon) has a tougher assignment with Jim considering he’s something of a straight man, but he rises to the occasion with touches like a ‘face mask’ adding to Jim’s brooding nature that gradually fades as he opens up emotionally. Ken Duncan adds another great heroine to his quiver after Megara and Jane in Amelia, especially with the cat-like features, and Sergio Pablos’ Doppler is frequently a comic highlight with his wild gestures and facial grimaces that anticipates the animator’s work on Klaus.

Things are equally great on the aural end. A year after his iconic work on Atlantis, James Newton Howard gives us another great old-school adventure score with Celtic/Gaelic influences that also gets rockin’ at points with electric guitars punctuating Jim’s most awesome moments. Yes, it’s very XTREEEME and 2002, no, I do not care. (YMMV more on John Rzeznik’s “I’m Still Here” musical montage, but I think it’s awesome) The voice cast is also well chosen in its mix of then-current-stars and more unusual talent. Levitt, as with Ripa’s animation, opts to underplay, but he’s far from flat and manages some moving moments of tenderness and anger. Murray, primarily a theater actor in life, goes for the opposite approach, marrying big theatrical emotions with Silver’s larger-than-life personality, but never loses sight of the character and is quite affecting in the film’s denoument. Pierce inevitably brings a bit of his Niles Crane to Doppler, but since that’s one of the best sitcom characters in history, I can hardly complain, and he gets the lion’s share of the film’s most memorable lines, including a priceless Star Trek shoutout. Thompson is stiff-upper-lip dry wit personified, and she gives an interesting tinge to a budding romance in the latter portions of the film. Metcalf only has a few key scenes, but builds an effective portrait of a struggling single mother within them; thanks to her, you really end up rooting for Jim and Sarah to make amends. Rounding out the numbers are Michael Wincott giving a scary-ass pirate filter to his iconic gravel-pit voice as the villainous Scroop (who gets a memorable spin on the typical Disney villain death-by-falling trope), Roscoe Lee Browne’s stentorian bass giving Arrow a do-not-fuck-with-this-guy dignity, and ringers like Corey Burton and Rodger Bumpass as a pair of robo-cops.

Treasure Planet’s story had a bit of a sad ending at first. Unlike the same year’s immediate hit Lilo & Stitch, it was a notorious flop financially, especially given how expensive it was to produce, and hastened the death of big 2D theatrical films at the studio who pioneered them. But it’s lived on admirably, and even with its flaws (I think we also could have done without the fart noises alien), I count it among my favorites. I miss this period of Disney theatrical animation, where strict formula gave way to experimentation and weirdness. We should do that again every so often.

#disney animated canon #treasure planet #reviews #media analysis

[derekfoxwit]

The Best Picture Oscar My Way (1980-1999)

Here’s Part 2 of Best Picture My Way (as started here). All information about my approach with this category can be found on that linked first part.

For convenience sake, I’ll relay this message. Only the films I add onto here as nominees will have listed nominated producers next to the movie’s title. (Here’s the Wikipedia page for the rest.)

1980

The Empire Strikes Back - Gary Kurtz

Raging Bull

The Elephant Man

Coal Miner’s Daughter

Ordinary People

1981

Raiders of the Lost Ark

Das Boot - Gunter Rohrbach; Michael Bittins

Reds

On the Golden Pond

Chariots of Fire

1982

Tootsie

E.T.: The Extra-Terrestrial

Fitzcarraldo - Werner Herzog; Willi Segler; Lucki Stipetic

Missing

Gandhi

1983

Fanny and Alexander - Jorn Donner

Terms of Endearment

Scarface - Martin Bregman

Mender Mercies

The Right Stuff

1984

Amadeus (still)

The Terminator - Gale Anne Hurd

Love Streams - Yoram Globus; Menahem Golan

Ghostbusters - Ivan Reitman

A Passage to India

1985

Back to the Future - Neil Canton; Bob Gale

The Color Purple

After Hours - Robert F. Colesberry; Griffin Dunne; Amy Robinson

Ran - Masato Hara; Serge Silberman

Witness

1986

Platoon (still)

Misery - Rob Reiner; Andrew Scheinman

Hannah and Her Sisters

A Room with a View

Blue Velvet - Fred C. Caruso

1987

The Last Emperor (still)

The Princess Bride - Rob Reiner; Andrew Scheinman

Broadcast News

Moonstruck

Fatal Attraction

1988

Who Framed Roger Rabbit - Frank Marshall; Robert Watts

Rain Man

Dangerous Liaisons

Mississippi Burning

The Last Temptation of Christ - Barbara De Fina

1989

Do The Right Thing - Spike Lee

Driving Miss Daisy

Dead Poets Society

My Left Foot

Cinema Paradiso - Giovanna Romagnoli

1990

Goodfellas

Dances with Wolves

Edward Scissorhands - Tim Burton; Denise Di Novi

Ghost

The Godfather Part III

1991

The Silence of the Lambs (still)

Thelma & Louise - Ridley Scott

Beauty and the Beast

Boyz in the Hood - Steve Nicolaides

JFK

1992

Unforgiven (still)

A Few Good Men

Malcolm X - Spike Lee; Marvin Worth

Reservoir Dogs - Lawrence Bender; Harvey Keitel

Aladdin - Ron Clements; John Musker

1993

Schindler’s List (still)

The Piano

Philadelphia - Jonathan Demme; Edward Saxon

In The Name of the Father

The Fugitive

1994

The Lion King - Don Hahn

Forrest Gump

Pulp Fiction

The Shawshank Redemption

Eat Drink Man Woman - Kong Hsu; Li-Kong Hsu

1995

Toy Story - Bonnie Arnold; Ralph Guggenheim

Se7en - Phyllis Carlyle; Arnold Kopelson

The Postman (Il Postino)

Before Sunrise - Anne Walker-McBay

Braveheart

1996

Fargo

Trainspotting - Andrew Macdonald

Secrets & Lies

Jerry Maguire

The English Patient

1997

Titanic (still)

Good Will Hunting

L.A. Confidential

Princess Mononoke - Toshio Suzuki

Boogie Nights - Paul Thomas Anderson; Lloyd Levin; John S. Lyons; JoAnne Sellar

Lost Highway - Deepak Nayar; Tom Sternberg; Mary Sweeney

As Good as It Gets

The Full Monty

1998

Saving Private Ryan

Life is Beautiful

The Thin Red Line

The Big Lebowski - Joel and Ethan Coen

Mulan - Pam Coats

Central Station - Arthur Cohn; Martine de Clermont-Tonnerre; Robert Redford; Walter Salles

The Truman Show - Edward S. Feldman; Andrew Niccol; Scott Rudin; Adam Schroeder

Rushmore - Barry Mendel; Paul Schiff

Shakespeare in Love

1999

The Matrix - Joel Silver

American Beauty

The Green Mile

The Sixth Sense

Magnolia - Paul Thomas Anderson; JoAnne Sellar

The Straight Story - Neal Edelstein; Mary Sweeney

Man on the Moon - Danny DeVito; Michael Shamberg; Stacey Sher

Being John Malkovich - Steve Golin; Vincent Landay; Sandy Stern; Michael Stipe

#cinema #academy award #oscars #award show #alternative #animation #film #movies #I'm officially insane #international cinema #hollywood #the matrix #coen brothers #steven spielberg #disney #martin scorsese #robert zemeckis

[once-was-muses]

* get to know me : top ten movies . list your top ten favorite movies and tag friends to do the same .

01. Phantom of the Paradise (Brian de Palma, 1974)

02. Down by Law (Jim Jarmusch, 1986)

03. Little Shop of Horrors (Frank Oz, 1986)

04. Death to Smoochy (Danny Devito, 2002)

05. Beetlejuice (Tim Burton, 1988)

06. Ponyo (Hayao Miyazaki, 2008)

07. Spirited Away (Hayao Miyazaki, 2001)

08. Breakfast on Pluto (Neil Jordan, 2005)

09. Princess and the Frog (John Musker and Ron Clements, 2009)

10. Watching the Detectives (Paul Soter, 2007)

Tagged by: @griim

Tagging: whoever wants to steal this djndndjd orz

#dash games tag tba #[ there is zero order to these btw I suck at ordering favorites djdjjd ]

[queenforeverblog]

Il #26febbraio del 1996 i #Queen pubblicavano il terzo singolo estratto da #madeinheaven: Too Much Love Will Kill You. Era una sorta di semi-inedito, avendo già a disposizione la versione che #brianmay aveva cantato per il suo album solista Back To The Light. Ma questa, realizzata per The Miracle era rimasta chiusa in un cassetto, si disse all'epoca per problemi relativi ai diritti d'autore. Il pezzo infatti è firmato da Brian assieme a Frank Musker e Elizabeth Lamers dei @worldgoesround2020 e #FreddieMercury all'epoca si disse contrario all'idea di suddividere i proventi della pubblicazione dato che la band aveva deciso di firmare il disco a nome Queen. Di recente tuttavia lo stesso May ha spiegato che per Freddie quel titolo era semplicemente poco opportuno date le illazioni sul suo stato di salute che circolavano ormai con insistenza, anche se il tema della canzone riguarda la crisi matrimoniale vissuta dal chitarrista Una curiosità su Musker: la sua connessione con i Queen va oltre Too Much Love Will Kill You. Durante la sua carriera infatti ha collaborato anche con Arif Mardin, produttore chr nel 1982 aveva lavorato su Staying Power #queenforeverblog https://www.instagram.com/p/CpHmIy9sA8q/?igshid=NGJjMDIxMWI=

#26febbraio #queen #madeinheaven #brianmay #freddiemercury #queenforeverblog

[vintagewarhol]

#aladdin 1992 #movies #disney #john musker #ron clements #scott weinger #robin williams #linda larkin #jonathan freeman #frank welker #gilbert gottfried #douglas seale #illustration #vintage art #alternative movie posters

[crewneck]

Bugatti & Musker (1982, Atlantic)

#the dukes #bugatti and musker #dominic bugatti #frank musker #aor #funk #80s #music

[elijones94]

The Genie and King Louie

#genie #aladdin #king louie #the jungle book #robin williams #louis prima #friend like me #i wanna be like you #funkopop #disney #disneyfunkopop #talespin #jim cummings #the jungle book 2 #wolfgang reitherman #john musker #ron clements #milt kahl #frank thomas #john lounsbery #eric goldberg #broose johnson

[tgreiving]

#frank welker #voice actor #legend #scooby-doo #scoob #fred jones #abu #rajah #cave of wonders #curious george #gremlins #transformers #animation #cartoon #tress macneille #interview #john musker #tim greiving #washington post

[vendriin]

Aladdin (1992)

#aladdin 1992 #ron clements #john musker #aladdin #scott weinger #aladdin genie #robin williams #princess jasmine #linda larkin #frank welker #alan menken #movies #animation #gif #disney #musical #arabian nights #desert #cave of wonders #beautiful #colorful #agrabah #a whole new world #magical #genie lamp #oasis #palace #lava #fireworks #moon

[adamwatchesmovies]

Aladdin (1992)

Aladdin is the first film I remember seeing theatrically. It has a special place in my heart, but sometimes, childhood favorites don’t age well. Watching Adventures in Dinosaur City as an adult was both shocking and cripplingly disappointing. As for this Disney classic, it holds up with memorable characters, impressive visuals, great humor, a talented cast of voice artists, enchanting songs and well-developed characters.

You might have forgotten how good it is, but I guarantee you that no more than 30 minutes in you’ll be snapping your fingers at the beat of Friend in Me or find yourself being swept up in the romantic tale.

Based loosely on One Thousand and One Nights/Arabian Nights, thief Aladdin (voiced by Scott Weinger) and his pet monkey Abu (Frank Welker) live in poverty while Princess Jasmine (Linda Larkin) resents her upcoming forced marriage. When a coveted magical lamp reveals itself to be retrievable only by a pure heart, a “Diamond in the rough” the palace’s to Grand Vizier, Jafar (Jonathan Freeman), enlists Aladdin to retrieve the artifact.

You already know the songs by Alan Menkin, Howard Ashman and Tim Rice are terrific. As an adult, you find a new appreciation for the clever rhymes and rapid-fire gags in the lyrics. I’d say they’re nothing less than enchanting, with the weaker one being at the beginning and the stronger ones coming in later in the picture. “Weaker” and “stronger” being relative terms of course, as any of them could be your favorite.

It’s a showcase of animation at its very best, with the lamp’s Genie (voiced by Robin Williams) providing a non-stop flow of wonderfully creative visuals. We’ve also got impressive sequences involving a magic carpet, multiple grandiose locations (including some globe-trotting in the best scene) and a nail-biting climax where magic gets tossed around left and right. You may notice a few small instances of CGI. Overall, they’re well-integrated. Generally, you’re too busy admiring the visuals to even think about how this was put together. Was the magic carpet created by hand or digitally? You don’t see any seams but its intricate patterns are always perfect.

Each character is distinct and wonderfully expressive. As mentioned, the Genie's abilities to morph effortlessly into any shape or size is a standout but look at the subtler choices: the way the characters voices match their looks so perfectly (no better example than Gilbert Gottfried’s role), or how the magic carpet expresses itself without any actual dialogue. The humans were easy. There were a lot of challenges with this project and they pulled it off.

Let's also take time to shine a spotlight on the story. Aladdin has action, danger, romance, and drama. There’s something here for everyone. They all have their own stories which tie into themes of imprisonment, and a desire for more. As the film progresses, the figures go through a multitude of emotions and changes.

The only criticism I have is tentative. Aladdin features many pop-culture references throughout, courtesy of Williams. We see him imitate actors and comedians at every turn. Years later, I'm not sure if audiences will understand the jokes. You don't need to know who Roger Dangerfield was to understand why his face is ridiculous and they move by so quick I don't think it ultimately matters. I do hope, however, that future home releases would include a trivia track to tell us who is who.

There's a lot to like in Aladdin. You'll laugh at the Genie, you'll get a lump in your throat during the romantic scenes, you'll thrill at the adventure and danger when Jafar is on-screen. You'll be snapping your fingers to the many memorable tunes. You couldn't wish for better. (On Blu-ray, July 7, 2015)

#aladdin #Aladdin movie review #Aladdin review #movies #films #reviews #movie reviews #film reviews #disney #disney movies #ron clements #John musker #ted elliott #Terry rossio #Scott weinger #robin williams #linda larkin #Jonathan freeman #frank welker #Gilbert gottfried #Douglas seale #1992 movies #1992 films #adamwatchesmovies

[pigeons-sitting-on-branches]

Aladdin (1992) Ron Clements, John Musker

31-07-2019

Wonderful animation and a lovely story. The visuals were really impressive and captivating.

#aladdin #1992 #ron clements #john musker #usa #scott weinger #robin williams #linda larkin #jonathan freeman #frank welker #gilbert gottfried #douglas seale

[andrewsmoviereviews]

Aladdin (1992)

Plot: In a fictional Arabic city, commoner Aladdin (Scott Weingler) falls for Princess Jasmine (Linda Larkin), but cannot marry her as he isn’t royal. But his life changes when he frees a Genie (Robin Williams) from a lamp, and receives three wishes.

Review: What makes Disneys Aladdin so great is not the animation (as good as it is), or the story (which is strong), but a virtuoso performance from Robin Williams as the Genie.

Thanks to the type of freedom that can only really come from animation over physical acting, Williams’ Genie is a tour de force of a performance, so much that it often sounds like Williams and his creation are one and the same. While the film would still have been good without him, his vocal performance elevates the whole piece to a higher level that not many could. Aladdin and Jasmine are good characters, but lack the talent behind them to make them any more than that, while the villainous Jafar (Jonathan Freeman) is better, and represents a strong threat, but never quite reaches the heights.

Aladdin is, of course, getting the live action remake treatment from Disney, but it will be interesting to see how they get on. There are a distinct lack of truly great character actors to take on the Genie, and so it has fallen to Will Smith; a man who had the energy once, but no longer seems to have the vigor he once did. Of course we can expect the usual online arguments about casting that come with every project such as this, and it remains to be seen if Disney will tread more lightly; this film mentions Allah several times, whereas it might be more sensitive to do so now.

Whether that remake matches the popularity of this now legendary animation remains to be seen, but whatever happens, it is unlikely to dent the esteem that this film is held in - and rightly so.

#Film #Film Review #Film Reviews #Movies #Movie Reviews #Aladdin #Ron Clements #John Musker #Scott Weinger #Robin Williams #Linda Larkin #Jonathan Freeman #Frank Welker #Gilbert Gottfried #Douglas Seale #Charlie Adler #Jim Cummings #Brad Kane #Lea Salonga

[frankenpagie]

6.10.18 (4)

#watched #film #letterboxd #walt disney #the great mouse detective #basil #ron clements #burny mattinson #david michener #john musker #barrie ingham #val bettin #vincent price #susan pollatschek #candy candido #diana chesney #eve brenner #alan young #basil rathbone #frank welker #tony anselmo #4