Mourning Era

Disney Reviews with the Unshaved Mouse #59: Raya and the Last Dragon

Before we get into the review, I want to address something. Certain commenters (who shall, by virtue of me being the bigger mouse, remain nameless) stated in my last review that I have been “negative” and “harsh” on the Disney canon of late.

Let’s call this out for what it is: VICTIM BLAMING.

It’s a pernicious practice, and I will not tolerate it particularly if I’m the victim. Have I been harsh on Disney recently? Scathing? Even cruel? Yes. But who threw the first punch?


Raya is a historically significant film and definitely represents a demarcation point in the history of the canon. This is, after all, the first canon movie to go straight to streaming (although it did receive a restricted theatrical run). It also, to me, represents the irrevocable “shrinking” of movies. There are no big releases any more, there are no big unifying cultural moments. A few years ago I remember walking home one night and hearing a group of girls on the other side of the road spontaneously bursting into a chorus of “Let it Go” but it kinda feels like that kind of culturally ubiquitous megahit can’t happen any more. There’s too much content. We’re all watching different things. A movie being released in the cinema was kind of an imprimatur of significance, but the cinema might not have survived the decade even without Covid shoving it into a shallow grave. Gloria Swanson was right, she was just off by half a century.

Sorry, this is all frightfully maudlin. I guess for me Raya is less a movie and more a totem of a strange and tragic moment in history.

Also, I don’t really want to talk about it because it sucks and apparently that’s a dangerous opinion. Lindsay Ellis talked shit about this movie and I’m pretty sure she’s dead now or in witness protection or something.

Anyway. Raya and the Last Dragon. Thank you Covid, for sparing me the price of a cinema ticket. I don’t care what they say, ya ain’t all bad.


Disney Reviews with the Unshaved Mouse #27: Oliver and Company

(DISCLAIMER: This blog is not for profit. All images used below are property of their respective companies unless stated otherwise. I do not claim ownership of this material. New to the blog? Start at the start with Snow White.)


Guys, I gotta confess.

I’ve been sitting here for like two hours trying write something about this movie and I got nothin’. I really, really don’t like Oliver and Company (sorry, spoilers) but my God if I’m having difficulty putting it into words why. I mean, it’s not like it’s the worst Disney movie I’ve had to review. But, Jesus, this one just rubs me the wrong way. Alright, well, no use beating around the bush. Let’s take a look at this thing.

By 1988 the Disney Animation Studios had survived their closest brush with death to date, the failure of the Black Cauldron. They had scraped out a modest win with Basil the Great Mouse Detective, a film that was quickly and cheaply produced and made a decent profit. But no one was kidding themselves that Disney was back to its former glory. It clearly wasn’t. This point was driven home very painfully when production began on Who Framed Roger Rabbit? and hey! I could do a review on Who Framed Roger Rabbit? Wouldn’t that be fun? Yeah, let’s do that instead!

Disney Reviews with the Unshaved Mouse #27: Who Framed Roger…




Well anyway, production had started on Who Framed Roger Rabbit? which would prove to be one of the most technically accomplished animated films ever. But instead of using Disney’s own in-house animators, director Robert Zemeckis and animation director Richard Williams instead set up a new animation studio with international animators in London. The reason for this being that they simply felt the Disney animators weren’t up to the task. Ouch.

To add insult to…0ther…insult, while Basil the Great Mouse Detective did well on its own terms, it was absolutely trounced by An American Tail, created by ex-Disney apostate (and absolute dictator of at least one alternate dimension) Don Bluth. Losing to Bluth was the final straw. It was as if a massive “Shit Just Got Real” picture appeared in the sky over the heads of everyone  working in Disney animation.

Shit just got real

“Who’s that guy?”
“I don’t know. I don’t think he’s famous yet.”

 There is a tradition at Disney. Whenever they don’t know what to do, whenever they feel that they’ve lost their way and need to get back on the right path, they ask themselves one question: “What would Walt do?”

And somebody, apparently, answered “Oliver Twist. But with…like. Dogs.”

I fairness, I did end a lot of sentences with "but with dogs".

Wow. It’s like you know me.


Disney Reviews with the Horned King #26: Basil The Great Mouse Detective

DISCLAIMER: This blog is not for profit, but for the unholy glory of the Horned King.  The Horned King declares sovereignty over all that exists in this pathetic realm save the images used below which are property of their respective companies unless stated otherwise.

Hello mortals.

So, you may have noticed some changes to the blog. Why is that, you ask? Well, to put it simply I have banished the previous owner to a far flung dimension and usurped his place. I am the Horned King and your world is now mine. I have come to conquer your lands and warp your souls. I have come to topple your kings and to kill your gods. Your children shall know only my name and recognise only my face for I am your reality now. From this day forth you will not draw breath but to serve me. The sun is gone and you shall not see it rise again. I shall redden the sea with the blood of all who would defy me. And not a day shall go by that you do not long for death.

But don’t worry, we’re still going to review Disney movies. No point fixing something that’s not broken. Today’s film is Basil the Great Mouse Detective. Or you may simply know it as The Great Mouse Detective or perhaps The Adventures of the Great Mouse Detective. It is known by different names depending on the region.

The Horned King cares not for your puny borders.

Your petty borders are as nothing to the Horned King.

During my last attempt to conquer your puny globe I was sealed in the Disney vault by the accursed Jeffrey Katzenberg…



…to prevent my evil from spreading. Disney forswore all knowledge of my movie, The Black Cauldron, in the hopes that I would fade away from the memory of man. Curse them! By sealing me away, they denied me my rightful place as monarch of this pathetic maggot hatchery of mankind, as well as a fortune in merchandising opportunities! There were to be Horned King action figures! Lunchboxes! SNUGGIES!

This "Mickey the Mouse" is worthy of a snuggy, but the Horned King is not? PAH!

This “Mickey the Mouse” is worthy of a snuggy,
but the Horned King is not? PAH!

Fools! They shall pay for their insolence!

But while they may have won the battle, it cost them dearly. Following the failure of The Black Cauldron, the Disney animation studio was a shattered husk (let all who would trifle with the Horned King take warning).  The next film would have to be a success, or else the Disney  bosses would shut down the animation wing, and place the severed heads of the animators on pikes in the parking lot as a warning to the other employees.

Ah...I miss Hollywood.

Sigh…I miss Hollywood.

For their next film, the studio decided on an adaptation of known wretched human Eve Titus’ Basil of Baker Street, a novel about a brilliant evil genius named Ratigan and his struggles against an infuriating, insufferable mouse.

The Horned King can relate.

So…let us see what pathetic humanity has wrought while I contemplate how best to deal with the puny inhabitants of this blog.





Disney Reviews with the Unshaved Mouse #25: The Black Cauldron

DISCLAIMER: This blog is not for profit. All images used below are property of their respective companies unless stated otherwise. I do not claim ownership of this material.



By the mid nineteen eighties, something had gone very wrong at the Disney animation studios.

To an outsider, this might not have been immediately apparent. Sure, the movies weren’t as good as they had been, but Rescuers had been a huge hit, and The Fox and the Hound had been a decent success financially. But inside the studio, things were starting to go sour. The last of the Nine Old Men were retiring, and the animation staff had dwindled to a mere two hundred or so, a situation made worse when Don Bluth essentially said “screw this noise” and left with a fifth of the studio’s animators.

Just threw them in his truck and drove like hell.

Just threw them on his truck and drove like hell.

The animation department, once the heart and soul of Disney, was increasingly being seen as more of an appendix, and an inflamed, extremely expensive appendix at that. Some members of the board were openly asking if the Disney company should even be making animated films, and instead suggested focusing on the theme parks and merchandise.

Roy Disney, Walt’s nephew and a senior executive of the company, fought tooth and nail to keep the animation wing open, saying that without new characters being created, the theme parks were essentially museums, commemorating something wonderful that was now dead.

At the heart of this dispute was the Black Cauldron. Twelve years in production, massively over budget, the Black Cauldron was supposed to be the movie that put Walt Disney animation back on the map, charting a new course away from the traditional children’s movies the studio was famous for and moving into darker, edgier territory. But it was quickly reaching the point where even if it was a massive hit, it would be hard pressed to earn back the money that had already been spent on it. The movie’s two directors Ted Berman…

Ted Berman

and Richard Rich…

Richie Rich

…were not hugely experienced, and Disney management was starting to have serious misgivings about what was going on over in the animation building.

Jeffrey Katzenberg (yes, that one) had been brought in by new Chief Operating Officer Michael Eisner to run the motion picture division, which included turning around the animation unit. On arriving at the animation unit’s new facilities (a crappy little industrial estate where they had been sent after being unceremoniously evicted from the main Disney lot) Katzenberg asked to see the partially completed film. Production Manager Don Hahn described what happened next:

Katzenberg entered the screening room and closed the door behind him. We waited, not a man among us dared to speak so much as a word. Occasionally, from behind the door would emerge strange sounds, a low growling like some strange beast from the tropics, or a whine of pain and horror. At last, Katzenberg emerged from the darkened room and I think I may have cried aloud in horror, such was the change that had come over him! His hair had turned purest white and his fingers now shook as he raised a cigarette to his trembling lips and desperately drew upon it. His eyes stood stark and white in his face, now gaunt and greenish. He seemed too weak to stand and slumped into a chair, muttering darkly to himself, his gaze oscillating about the room but not meeting the eyes of any man there. And then, with a terrible fury that seemed conjured from the aether he leapt to his feet and cried “You fools! You monomaniacs! Have you no care for this abominable thing you have unleashed?! This thing will be the death of us all, I say!”

For you see, in their desperation to replace the magic and inspiration of Walt Disney, the animators had turned to a false power. A most powerful and ancient evil. A being known…as the Horned King.

And he’s standing in my living room right now.

help me…

Begin the review Mouse.

Begin the review, Mouse.

Yeah…see. I really don’t want to watch this film.

Then you shall die. You must review the film and proclaim me the greatest Disney villain of all time.

Then you shall die. You must review the film and proclaim me the greatest Disney villain of all time.


Pull yourself together Mouse! Just stay calm and finish the review! You can do this!

Pull yourself together Mouse! Just stay calm and finish the review! You can do this!

You mean, if I can watch this movie from start to finish and review it I might survive?

Whoah, whoah, whoah. Don't go putting words in my mouth.

Whoah, whoah, whoah. Don’t go putting words in my mouth.

Alright. It’s fine. I can do this. I mean…it’s a Disney movie for God’s sake! How scary can it really be?

A PG RATING!?Oh bollocks...

Oh bollocks…

The movie begins with the following narration:

Legend has it, in the mystic land of Prydain. There was once a king so cruel, and so evil, that even the gods feared him. Since no prison could hold him, he was thrown alive into a crucible of molten iron.  There his demonic spirit was captured, in the form of a great black cauldron. For uncounted centuries The Black Cauldron lay hidden, waiting, while evil men searched for it. Knowing whoever possessed it, would have the power to resurrect an army of deathless warriors. And with them, rule the world.”



Surprised I didn’t go with a Lord of the Rings joke? Trust me, my supply is limited and must be used sparingly.


Disney Reviews with the Unshaved Mouse #24: The Fox and the Hound

DISCLAIMER: This blog is not for profit. All images used below are property of their respective companies unless stated otherwise. I do not claim ownership of this material.


We’re getting close to the halfway point now in this mad fool’s quest to review every one of the Disney canon classics, so now is as good a time as any to make a confession.

I’m full of it. I’m a fake. A fraud. A charlatan.

I don’t know anything about animation.

I  make it up as I go along.

Also, I was in Dallas that day, I'm a crack shot former Marine and my best friend is  a Cuban communist crow. You figure it out.

Also, I was in Dallas that day, I’m a crack-shot former Marine and my best friend is a Cuban communist crow. You figure it out.

Okay, that’s a little bit of an exaggeration. What I mean is, I’m constantly learning as I do this. Every review I do, I’m basically sitting down to a movie I may not have seen for years (or in a few cases, never at all) and then researching on the fly. This means that a lot of my preconceptions of these movies are constantly getting blown apart, and it often feels like this one discrete group of films never runs out of ways to surprise me or to show me my own ignorance. That’s part of the fun. Take this week’s offering for example. I had this idea that the animation quality of the Disney movies declined terribly after Walt’s death, and wasn’t restored until the glorious Renaissance (praise to the great Renaissance!) of the late eighties/early nineties. I was convinced that pretty much every movie in the Mourning Era was an ungodly, poorly animated mess that wouldn’t pass muster in Soviet era Czechoslovakia.

I can't remember if this screenshot is from Rescuers or Aristocats.

I can’t remember if this screenshot is from Rescuers or Aristocats.

So then, imagine my surprise when I sat down to watch The Fox and the Hound only to realise I was looking at some of the most beautiful animation in the canon since…honestly? Sleeping frickin’ Beauty. I’m not saying it’s on par with that, obviously. I’m just saying you have to go back that far before you come to a movie with better animation. It’s a thing to behold. It becomes a little less surprising when you realise who was working on it though. Wolfgang Reitherman, who directed Sleeping Beauty and all of the Scratchy Era movies produced this film, his last for Disney before retiring. On animation duty were the last of the Nine Old Men; Ollie Johnston & Frank Thomas and a whole host of long time Disney veterans. But you also had the new generation of Disney animators which today reads like a “Holy Shit!” list of animation greats; Don Bluth, Tim Burton, John Lasseter, Glen Keane and Brad Bird.

This, but with animators.

This. But with animators.


Disney Reviews with the Unshaved Mouse #23: The Rescuers

DISCLAIMER: This blog is not for profit. All images used below are property of their respective companies unless stated otherwise. I do not claim ownership of this material.



So. The Rescuers. Most successful animated film ever made at the time. Did you know that? I sure as hell didn’t. The Disney studio’s first big animated hit since The Jungle Book ten years previously, and the last until The Little Mermaid twelve years later. Oscar-nominated for Best Song and nominated for the American Film Institute’s list of the Top Ten Animated films of all time (NOTE: This post originally stated that it made that list. Apologies for the error.). People were saying it was the best Disney film since Mary freaking Poppins. And to that all I can say is…


No, I don’t hate it but…


Of all time?  Because I can think of ten animated movies from Disney alone that I would put ahead of this. And as for being better than Mary Poppins?! I mean, Jesus!

"Say that again. I dare you. I double dare you motherfucker."

“Say that again. I dare you. I double dare you, motherfucker.”

And yet a lot of people have been telling me how much they’re looking forward to me reviewing this movie. How to account for the love this movie seems to engender in people?

I have a theory. Y’all just love mice.

Not that I blame you. I mean, look at me.

Not that I blame you. I mean, look at me.

Do you know what finally broke the Rescuers’ box office record? Hint; it wasn’t Ariel and it wasn’t Disney.



Yeah. From the late seventies to the late eighties everyone was just, really, really into cartoon mice.

Well, anyway let’s take a look at the film.