The Little Things (2021)

The Little Things (2021)

4/10

Starring

Denzel Washington

Rami Malek

Jared Leto

Directed by John Lee Hancock

The Little Things is very unsatisfying. The movie reminds you of a lot of cool psychological thrillers, then you get to the new guy inviting the old guy to his house, and you place that psychological thriller. This movie is a bad Seven (1995) wannabe. Seven stars Morgan Freeman and Brad Pitt, and this movie feels like someone saw Seven and wanted to make their own film with the same dark feel.

In this movie, we have an old detective (Denzel Washington as Deke) leading the new guy (Rami Malek as Jim) around. The movie wastes so much time and mystery going over the old guy’s past rather than investigating. Hell, I got so tired of the flashbacks and references to what happened in the past that I wondered if the present situation mattered at all. For the sake of the time I had already invested in this movie, I had to stay attentive so I wouldn’t lose sight of the present situation.

Allow this amateur reviewer to speak more about this movie. You see, in the end, the movie just glazes over the necessary investigating by these so-called bad-ass detectives. Then it links up Deke’s past with Jim’s future, and the movie ends without satisfying any need to see it.

The movie starts with a lady getting away from a man we suspect is out to hurt her. Then we jump ahead to Deke trying to gather some evidence in a situation where everyone he speaks to seems to want him to leave. Soon, Deke has a run-in with the new detective filling the space he left behind—Jim. It so happens Deke used to be a detective, a really good one, until a series of murders got him obsessed and ruined his life. He had to step down from the job and take another as a deputy sheriff elsewhere. He and Jim don’t hit it off at first, but a string of murders similar to the one Deke was obsessed with in the past brings them to the same plate.

The movie then takes deeper dives into Deke’s past, and we get to know why he is so obsessed with the case. Then they find a suspect, a certain man named Sparma (Jared Leto), who is so weird and strange that he ticks all the boxes. The two become so glued to Sparma that it turns into something else. What that is, I’ll advise you to read the spoilers and stop there.

One good thing the movie has is three lead characters who play to their strengths. Denzel plays the old guy who has seen it all, Rami plays the annoying new guy who is ready to work with anyone to get the job done, and then there’s Leto, who plays the psycho that makes you feel creepy inside.

Written, produced, and directed by John Lee Hancock, this is a movie I will not be recommending to anyone, even die-hard fans of Denzel or the other two.

The Princess and the Frog (2009)

The Princess and the Frog (2009)

8/10

Starring the voices of

Anika Noni Rose

Bruno Campos

Keith David

Michael-Leon Wooley

Jim Cummings

Directed by Ron Clements and John Musker

I have to say, I enjoyed this animation more than I expected to. What I did recall from seeing it when it was first released was how much I didn’t like it—but I must have been biased. My bias was probably toward wanting CGI instead of traditional animation. That said, this is one of the good animations I’ll gladly watch a second time. Their spin on The Frog Princess story is beautiful. Another wonderful thing about this flick is the setting. It’s set in New Orleans, and there are numerous Black folks everywhere, which is refreshing to see.

This animated musical fantasy romantic comedy is Disney's 49th animated feature film. It’s loosely based on the novel The Frog Princess by E.D. Baker (which itself is based on the Brothers Grimm’s The Frog Prince). When the voodoo man sings, you’ll listen because it’s just that good. It’s been a long time since a Disney musical caught my attention like this one did with its song, "I Got Friends on the Other Side." The movie also boasts a beautiful voice cast, with singer-actress Anika Noni Rose lending her voice to Tiana. The setting in New Orleans brings so much life to the film, and the predominantly Black cast adds a layer of representation that stands out.

The plot here involves many moving parts. There’s the Prince, who has been cut off by his parents because of his reckless living. He comes to New Orleans and meets the Shadow Man, who promises to help him get what he wants—more money. On the other hand, the Shadow Man strikes a deal with the Prince’s butler, who dreams of becoming a wealthy and influential prince. Their deal results in the Prince being turned into a frog while the butler uses the Prince’s blood to transform into his image and plans to marry a rich lady.

The rich lady in question, Lottie, is a childhood friend of Tiana. Tiana dreams of opening her own restaurant and has been working tirelessly to save money for it. Lottie’s father invites the Prince (who is really the butler) to their home, with Lottie planning to woo and marry him. Meanwhile, the real Prince—now a frog—escapes and finds his way to Tiana. She’s initially freaked out by a talking frog, but he convinces her that he’s the Prince and that a kiss from her will break the spell. However, when she kisses him, she turns into a frog too. Now the duo must find a way to return to their human forms, all while the Shadow Man hunts the Prince to get more of his blood to maintain the butler’s transformation.

The movie borrows some elements from All Dogs Go to Heaven (1989), and it’s pretty obvious. Remember when Charlie and Anne-Marie were about to be eaten by a crocodile but were saved when Charlie hit a high note? The crocodile couldn’t bear to eat anything that could sing like Charlie. Well, they lifted that idea here.

The movie was written and directed by Ron Clements and John Musker. These two Disney veterans have worked on classics like The Fox and the Hound (1981), The Little Mermaid (1989), Aladdin (1992), Bolt (2008), Zootopia (2016), and many more.

The movie was a critical success and a mild box office hit, likely turning a profit with home video sales. It’s worth seeing—and definitely worth having the kids by your side when you do.

Brother Bear (2003)

Brother Bear (2003)

6/10

Starring the voices of

Joaquin Phoenix

Jeremy Suarez

Rick Moranis

Dave Thomas

Directed by Aaron Blaise and Robert Walker

Brother Bear is one of those Disney animated movies that’s cool to watch, with a very nice soundtrack. The animation takes you on an emotional ride, aiming to make the viewer feel like they could step into the shoes of the lead character—but in reality, hell no.

The story isn’t bad, and the animation is solid. This is Disney’s 44th animated feature film, classified as an adventure comedy-drama. It’s also the studio’s last major theatrical success using traditional animation before transitioning to CGI for future productions. After Brother Bear, Disney released three more traditional animations, but they weren’t as successful. Home on the Range (2004) and Winnie the Pooh (2011) were box office duds, while The Princess and the Frog (2009) only barely broke even.

Alright, back to this flick. Watching this for the second time, after my first viewing in 2003, I found myself appreciating it less. The story is set in post-Ice Age Alaska, where the people believe that the Great Spirits are responsible for the creation of all creatures. They believe the aurora is the home of these spirits.

At a coming-of-age festival, people in the community are given totems, symbols meant to guide them in becoming men. Among three brothers, Kenai is the youngest, followed by Denahi, and the eldest is Sitka. Kenai receives his totem, as his brothers did before him. His is the totem of love, symbolized by a bear. Kenai is upset by this, questioning how focusing on love will help him become a man or fulfill his calling.

When the brothers return home, Kenai fails to secure their food from bears, and a bear makes off with it. Determined to retrieve the food, Kenai confronts the bear for no real reason, which leads to his brothers coming to his aid. This confrontation tragically results in Sitka’s death. Enraged, Kenai ignores Denahi’s plea to let it go and not anger the spirits by seeking revenge. Instead, Kenai hunts down and kills the bear, which angers the spirits. As punishment, they transform Kenai into a bear.

Meanwhile, Denahi, searching for his brother, finds a bear in Kenai’s place, alongside Kenai’s ripped clothes. Unaware that the bear is actually Kenai, Denahi assumes the bear killed his brother. Consumed by rage, Denahi seeks revenge, determined to kill the bear.

Now, Kenai must journey to the place where the aurora is brightest to ask the spirits to turn him back into a human. Accompanying him is Koda, a young bear also heading toward the same destination in search of his mother, whom he lost a while back. A strange but touching relationship develops between the two as they travel together.

The movie’s soundtrack features music by Phil Collins, though he doesn’t sing all the songs as he did in Tarzan.

The animation is good, and the story is engaging. However, the film includes a long singing scene that feels unnecessary. It’s well-suited for children to watch and enjoy anytime. For adults, it’s an okay movie—entertaining but not particularly exciting.

The movie received mixed reviews. On a $46 million budget, it grossed over $250 million at the box office and made even more through home video sales. It was nominated for Best Animated Feature but lost to Finding Nemo. A direct-to-DVD sequel, Brother Bear 2, was released in 2006, but it’s not worth watching.

Sword of the Stranger (2006)

Sword of the Stranger (2006)

8/10

Starring the voices

Tomoya Nagase

Yuri Chinen

Naoto Takenaka

Kōichi Yamadera

Directed by Masahiko Minami

Sword of the Stranger is one of those classy viewing experiences that leave you wondering why such an incredible anime hasn’t had a live-action remake. This is a bloodthirsty, sword-wielding samurai action film that not only satisfies with its action sequences but also with its story.

This is a straightforward story that doesn’t waste time on unnecessary mysteries. I like how the animation hints at various threads that feel like they could be explored but chooses not to. It’s as if Bones, the production studio, or the director decided, "Leave it—who cares where all this leads?"

There’s no attempt to delve deeply into where Nanashi comes from or why Kotaro’s fate led him to be chosen as a sacrificial vessel. Instead, the focus is on a concise story with plenty of engaging action scenes.

The story takes place in Japan, probably during the Sengoku period, a time of warring factions vying for control. But that backdrop doesn’t really matter, as our story begins with a young boy named Kotaro and his dog, who are on the run. A man helps them escape, instructing Kotaro to flee to a temple, giving him a jewel to sell if he needs money.

We catch up with Kotaro later, stealing food to survive as he makes his way to the temple. Meanwhile, a group of Chinese warriors, accompanied by some Japanese men, is searching for Kotaro. Among the Chinese crew is a foreigner with blond hair and blue eyes, a total badass who single-handedly slaughters a group of men that attacked them.

We soon learn the Chinese group has paid for land in Japan and is constructing something significant. Kotaro is somehow crucial to their plans and is being hunted for this purpose.

While Kotaro tries to cook some stolen fish, he encounters a man named Nanashi resting in his hideout. Kotaro tells him he doesn’t plan to share his food, but his dog takes a liking to Nanashi, and they end up eating together. When the two are attacked, Nanashi saves Kotaro from his pursuers. Grateful, Kotaro promises to give Nanashi his jewel if he helps him reach the temple.

Nanashi agrees, and their journey is filled with mishaps, intense fights, and moments of insight into everything happening around them.

This animation was rated as one of the best at the time of its release, and I wholeheartedly agree. No matter when you watch it, Sword of the Stranger is one of the best things you can experience.

Wicked City (1987)

Wicked City (1987)

7/10

Starring the voices of

Yūsaku Yara

Toshiko Fujita

Ichirō Nagai

Takeshi Aono

Directed by Yoshiaki Kawajiri

Are you down for a neo-noir flick with some dark fantasy vibes? Well, everything about this movie perfectly fits those genres. The art and plot start off intriguingly deep, but midway through, it veers into some unnecessary erotica. The anime portrays a world where humans and demons coexist, but one of the downsides is the ending—it’s kind of lame and anticlimactic.

What you’ll love about this anime movie are the suspenseful clues it leaves behind as you watch. It’s like the movie wants you to grab a notepad to jot things down or even plan for a re-watch. That way, you can trace all the subtle hints, figure out their purpose, and make sure you didn’t miss anything. The plot is written in a linear style, which makes it easy to follow, and those suspenseful details eventually add up.

That said, it’s worth noting the movie contains a lot of erotica. It also leans heavily into a misogynistic theme that’s far from subtle. Even though the lead’s partner is supposed to be a badass, she isn’t spared from this kind of treatment. For me, those moments felt unnecessary and didn’t add anything meaningful to the story.

The movie begins with the lead, Taki, narrating part of the story. Then it shifts from him narrating to him explaining things as events unfold. Don’t worry—he doesn’t talk too much. Taki is a secret agent in a world where the demon and human realms have agreed on a treaty to coexist peacefully. His job is to monitor rogue demons, which usually involves fighting and killing them.

The treaty is nearing its expiration and needs to be renewed. Taki is tasked with guarding a specific man essential to the treaty’s renewal. To assist him, he’s partnered with a demon girl named Makie. The man they’re protecting turns out to be a pervert, and their mission becomes even tougher as demons relentlessly try to eliminate the trio.

In the end, I’d still call this a good animation, mainly because of the linear way the plot unfolds. However, I didn’t enjoy the persistent misogyny and felt the movie could’ve been much better received without it. The unnecessary erotica didn’t contribute to the story and, honestly, detracted from the overall experience. All that said, it is an amazing movie to see and anyone who hasn’t seen this (please note you have to be a adult to see this) will love it.

Ninja Scroll (1993)

 Ninja Scroll (1993)

8/10 

Starring the voices of

Kōichi Yamadera
Emi Shinohara
Takeshi Aono
Daisuke Gōri

Directed by Yoshiaki Kawajiri

Ninja Scroll is one of the first (if not the first) anime I ever saw as a child. It took an old friend reminding me of its existence for me to recall watching something like this. This is one of those classics that truly lives up to the hype. The story is highly engaging, and the mystery keeps you fully invested before you can piece together what’s going on and why.

This anime is not for kids—it’s strictly adult-focused, featuring nudity, sexual violence, killings, blood, and gore. Created back in 1993, I believe it’s one of the trailblazers that made it easier for other mature-themed anime to follow suit.

The animation is beautifully crafted, and the fight scenes are well-executed without being overly glorified. The plot revolves around a lone ninja, Jubei, and a girl as they take on a group of ninjas known as the Eight Devils of Kimon, each possessing unique supernatural abilities.

The gap in power between the demon ninjas and ordinary humans is immense, but Jubei’s exceptional skills bridge that divide. As expected, the final battle delivers everything you’d hope for in a movie like this.

The story begins with Jubei taking down some men, showcasing his impressive skills. Shortly after, we’re introduced to the Eight Devils of Kimon, who have annihilated an entire town and made it appear as though the townspeople died of the plague. Their powers are extraordinary—some can manipulate corpses, others are invulnerable to weapons, and a few can even alter their surroundings.

Kagero, a female ninja, is part of a clan sent to investigate the town’s destruction. On their way, her entire group is slaughtered, leaving her as the sole survivor. She is captured by one of the Eight Devils, who attempts to rape her but is interrupted when Jubei steps in. After a brief fight, Jubei and Kagero manage to escape, with the demon pursuing them until Jubei ultimately kills him.

Jubei and Kagero go their separate ways, with Kagero reporting the incident to her superiors, who instruct her to continue investigating. Meanwhile, Jubei is approached by an old man who offers him 100 gold pieces to work for him. Jubei declines, but he’s soon attacked by another of the Eight Devils, seeking revenge. The old man saves Jubei but poisons him, forcing Jubei to accept the job to receive the antidote.

The old man’s mission is for Jubei to eliminate the remaining seven Devils while uncovering what truly happened in the town. Along the way, Jubei and Kagero cross paths again, and she joins their group. Together, they battle through the remaining demons to solve the mystery, with Jubei ultimately confronting a ghost from his past.

Ninja Scroll remains one of the best examples of anime or animation, delivering a thrilling combination of action, mystery, and stunning visuals.

Akira (1988)

Akira (1988)

 4/10

Starring the voices of

Mitsuo Iwata

Nozomu Sasaki

Mami Koyama

Taro Ishida

 

Directed by Katsuhiro Otomo

 

How Akira is regarded as one of the best animated sci-fi movies ever is beyond me. I say that with all due respect to those who hold it in such high regard, but I genuinely don’t understand why anyone would consider it so.

The pacing wasn’t great, I wasn’t a huge fan of the animation style, and there were parts of the movie that just dragged on. When those moments finally led to something, the payoff felt anticlimactic.

Akira is a 1988 Japanese animated post-apocalyptic cyberpunk action film that has become a sought-after piece of pop culture and is often considered one of those “must-watch” anime classics. I have to strongly disagree with that sentiment. It’s not that I didn’t enjoy the action in the movie’s final act—I did. The way the story escalates and transcends into chaos is impressive. But everything leading up to that felt like a chore: dull conversations with occasional bursts of action.

The story takes place in 2019, in a future where corruption, anti-government protests, terrorism, and gang violence are at their peak. This dystopian future is set in Neo-Tokyo, a city rebuilt after the original Tokyo was destroyed by a mysterious event, which is explained later in the film.

The plot focuses on a vigilante biker gang led by a kid named Kaneda. One of his friends, Tetsuo, is smaller and often sidelined when the gang goes on their rampages. Tetsuo, constantly feeling the need to prove himself, steals a bike and gets chased by a rival gang. During the chase, he has an accident after nearly colliding with a strange-looking child who had escaped from a secret government facility.

The accident awakens Tetsuo’s psychic powers, and he is captured by the same facility the child came from. Tetsuo’s powers grow rapidly, and he breaks out of the facility with one goal in mind: to find something called Akira and prove his strength to Kaneda and the rest of the biker crew.

The idea of a future where people have telekinetic powers is intriguing, and exploring what happens when such powers are given to someone who isn’t mentally equipped to handle them is compelling. However, I felt this theme could have been executed more effectively.

One thing I did enjoy about Akira was the creative use of dream sequences to show different perspectives. The film blurs the lines between reality and illusion, adding a layer of complexity to the narrative. It also touches on themes of self-sufficiency and the need (or lack thereof) to prove oneself. Unfortunately, aside from these elements, I found myself questioning why this movie is so highly recommended.

If you decide to watch Akira, keep in mind that this animation is not suitable for children.

Ghost in the Shell (1995)

Ghost in the Shell (1995)

 9/10

Starring the voices of

Atsuko Tanaka

Akio Otsuka

Lemasa Kayumi

 

Directed by Mamoru Oshii

 

When you see this movie for the first time, like I did, you’ll join the cult following of this manga. Ghost in the Shell is a sci-fi, cyberpunk thriller set in the mid-21st century.

Better late than never. When I was in uni, The Stand Alone Complex was released, and all my friends were hooked on it—except me. Truth is, silly me never watched a single episode and didn’t even bother to check out this classic of an animation.

I wonder if I would have enjoyed the complexity of the plot? The whole idea of interfacing between flesh and digital wires, and the consequences of it, is what Ghost in the Shell’s deep narration is about. It’s set in a future where being purely human is becoming outdated, and being a cyborg is the new norm.

The plot takes place in 2029, and we follow the life of Major Kusanagi, who leads a team of security agents as they deal with complex cyber issues. The movie focuses on the most complex case of all: the Puppet Master. Her unit is called Section 9, an arm of the government security agency. Before diving deeper into the plot, let me give you a brief overview. This 1995 anime is based on a manga written by Masamune Shirow between 1989 and 1990. He created this psychological thriller using a concept that was way ahead of its time. Everything in the manga was written with such ingenuity that, even now in 2021, our world still hasn’t quite caught up.

The Puppet Master is a master hacker who manipulates people and uses them to further his agenda. In this future world, almost everyone has some form of cybernetic brain enhancement, and the Puppet Master excels at hacking people and planting false memories.

The Major, as we know, is also a cyborg, but her origin isn’t the focus here. She and her team are tasked with stopping the Puppet Master, but the whole chase causes her to start having an existential crisis. Our entire journey is about the chase and capture of the Puppet Master. Along the way, we uncover his deeper motives and explore the government’s role in everything, along with more existential and psychological questions.

First thing I’d say is, please watch the 1995 version. It’s the same story as the 2008 version, but I prefer the animation style here. Also, the movie embodies the concept of the first volume of the manga, and unfortunately, every animated work done after this 1995 movie concerning the Ghost in the Shell world consists of original stories. The Stand Alone Complex is just as fun as this movie, so don’t be deterred.

After watching this movie, you’ll spot clues that inspired other filmmakers, especially the Wachowskis in their 1999 film, The Matrix.

After seeing this movie, I’d recommend watching The Stand Alone Complex, which is set in an alternate timeline. The second movie, which acts as a sequel to this one (but doesn’t follow the manga), is not that great. After The Stand Alone Complex, you should check out Arise, which focuses on a younger version of Kusanagi working with Section 9.

I should also add that I haven’t seen the live-action movie, so I have no comment on that.

Little Miss Sunshine (2006)

Little Miss Sunshine (2006)

8/10

Starring

Greg Kinnear

Steve Carell

Toni Collette

Alan Arkin

Abigail Breslin

Directed by Jonathan Dayton and Valerie Faris

Little Miss Sunshine is one of the best movies I have seen. The plot is well-designed to pull on your heartstrings, and the different surprises this movie packs are amazing. It was like the writers thought up every trick in the book to make a thrilling movie and then just dumped it all in here. This movie has comedy, tragedy, thriller-like scenes, mystery, and drama—all rolled into one.

What we have is an average family with dreams, each getting to see the reality of things. We don't see them become triumphant in the end, which is another amazing thing about this movie. Instead, we see them make peace with their differences and move on.

The great ensemble cast of this movie consists of Greg Kinnear, Steve Carell, Toni Collette, Alan Arkin, Paul Dano, and Abigail Breslin. Their lives are woven together as follows: Kinnear and Collette play the married couple Richard and Sheryl Hoover, respectively. They have two children: Dwayne (Dano), Sheryl’s son from a previous marriage, and Olive (Breslin), a child of both Richard and Sheryl. Then there’s Sheryl’s brother, Frank (Carell), who, at the start of the movie, is being released after being hospitalized for attempted suicide and tagged as unstable. Lastly, there’s Edwin (Arkin), Richard’s father, who is always speaking his mind and got kicked out of the retirement home for starting to use heroin.

Olive gets lucky and is called to participate in the Little Miss Sunshine pageant in California, but the family can’t afford to fly her there. They also have another problem—Frank can’t be left on his own, and Edwin has been Olive’s dance coach. So, the whole family decides to drive to California from Albuquerque. The movie then uses this journey to shed more light on all the characters. There’s no wasted time on flashbacks or anything; we just get to understand how weirdly wound up they all are. Little Olive, though, is the only innocent, lovely girl in the group, who just wants to be a beauty queen. Despite all the challenges, the family wants, by all means, to help her participate.

The movie is the directorial debut of the husband-and-wife team of Jonathan Dayton and Valerie Faris. When it comes to acting, this movie packs enough from seasoned actors to make all the emotions real enough to win you over. One thing I noticed in the movie is that Breslin looked bigger, which, after reading up on it, I found out was because she wore a padded suit to accomplish that.

The movie was a huge box office hit, making over $100 million on an $8 million budget. It won numerous awards, including two Academy Awards for Best Original Screenplay and Best Supporting Actor.

Here’s a movie I’ll be seeing again. It’s worth it.

Home on the Range (2004)

Home on the Range (2004)

6/10

Starring the voices of

Roseanne Barr

Judi Dench

Jennifer Tilly

Cuba Gooding Jr. 

Directed by Will Finn and John Sanford

 

Home on the Range is not a bad film, but it is far from superb, and its tale is easily forgettable, with characters that make little to no impact on the mind. It comes across as an animation made directly for children, who won’t bother to think too much about what’s going on the screen but will be amazed by the colors and the numerous jumps around.

The animation’s intended reach surprises me. I don’t understand how Disney expected this to be a box-office hit. I feel the story and animation are fair enough for a direct-to-DVD release, but leave it to Disney to go overboard. Here’s something I don’t get: they made Brother Bear (2003) with $46 million, which was a huge box office success, then decided to make this with over $100 million. I don’t get it.

Why invest so much in an animation whose story is very basic, with no emotional tie like Brother Bear (2003)? There’s no deep comedy like Tarzan or The Emperor’s New Groove, or even action-adventure like Atlantis: The Lost Empire or Treasure Planet. And forget about the soundtrack, because that too doesn’t compare to the songs in the animations before it.

The animation drops us flat in a western setting, where we meet Maggie, the only cow left on her ranch after an outlaw known as Alameda Slim stole all the cows. This outlaw cow wrangler is capable of stealing all the cows from numerous ranches in one night, without much noise. When the owners wake up, they see that all their cows are gone.

Maggie’s owner is left distressed and financially downtrodden and sells Maggie off to Pearl Gesner, a kind old woman who runs a small farm called Patch of Heaven. The sheriff informs Pearl that her farm will be taken over by the bank if she fails to pay the $750 loan she took.

Well, Maggie got an idea and managed to get the two other cows on the farm to go along with her. There’s Grace, the ever-happy resident, and Mrs. Calloway, the cow who seems to be running things on the farm.

The plan was to first get the sheriff’s horse, a show-off wannabe who wants to be ridden by a famous bounty hunter. That plan didn’t go well, as the horse was obnoxious and proud. The second plan was to capture the notorious cow wrangler and get the reward money.

They went for the second plan, and we get to watch how these three cows battle a cow wrangler who has special skills he uses to get cows to do what he wants.

In the end, I can see why many may forget that such an animation was made.

Atlantis: The Lost Empire (2001)

Atlantis: The Lost Empire (2001)

7/10

Starring the voices of

Michael J. Fox

James Garner

Cree Summer

Don Novello

Phil Morris

Directed by Gary Trousdale and Kirk Wise

Before 2001, if you delve back, you’ll see that Disney wasn’t one to jump into the realm of science fiction. Atlantis: The Lost Empire was their first science fiction animated feature, released a year before Treasure Planet (2002), which was also a science fiction adventure.

The movie boasts a different artistic style for its time, and like the movie after it, it wasn’t much of a box office hit. Years later, Atlantis has become one of those Disney movies with a cult following. I can’t seem to find anyone who has seen this movie and not walked away loving it for the story and the way it was animated. This was Disney’s 41st feature film, and it was not aimed at children at all. Just like Treasure Planet (2002), the movie seems to have been made for a more mature audience, and the sad returns led to a sequel being made as a direct-to-video release.

Michael J. Fox was employed to voice the lead character, Milo, and along with some other amazing voice actors, we delve into the adventure of finding Atlantis, the lost empire.

It starts with the introduction of Milo, an adventurer seeking funding to search for the lost city. He seems to be on this hunt just like his grandfather, whom he adores so much.

Set in 1914, Milo’s obsession has led him to be ridiculed at the Smithsonian Institute, where he works. We learn that Milo is a cartographer and a linguist—skills he plans to use to find Atlantis. After his plea for funding is rejected again by the board, he resigns. When he gets home, he’s greeted by a charming lady, who tells him that a benefactor wants to meet him. The man who wants to meet Milo is Whitmore, an old man who had been a partner to Milo’s grandfather. Certain things have come to be, and there is a book Milo’s grandfather left behind with Whitmore. His grandfather believed Whitmore would know the right time to give the book to Milo, and he felt the time was right. Milo believes the book is the key to finding Atlantis.

Whitmore provides the mode of transport, the crew, and the finances needed for Milo to go find Atlantis.

The movie is about their journey, discovery, and the impact of that discovery on their lives. The movie faced issues because it was one of the first animated features not to feature any songs, unlike previous Disney movies. All that aside, it’s a very decent film to watch and enjoy for what it is—a wonderful take on the mythical world underwater.