Disney(ish) Reviews with the Unshaved Mouse: The Hunchback of Notre Dame II

It’s not what you do, it’s how you do it. Execution is more important than concept.

Consider Disney’s The Hunchback of Notre Dame.

Doing Victor Hugo’s classic melodrama as an animated Disney musical is an objectively terrible idea. Awful. Comedically bad. You would have to really sit down and think to come up with a classic novel less suited to the genre. Dracula has more potential as a Renaissance Disney movie than Hunchback (Magical villain with a cape and animal sidekicks, heroine who yearns for more than her safe, stale existence, funny comedy relief foreigner and a happy ending, what more do you want?).

But the thing about Hunchback is that, despite the inherent cruddiness of the core concept, everything else is JUST SO GOOD. That animation! The character designs! The backgrounds! The acting! The direction! The singing! The music! YE GODS THE MUSIC!

So what if the final product resembles Hugo’s work so loosely that Disney might as well have claimed it was original IP and called it the “The Adventures of Maurice the Not-So-Pretty Bell Man”? Gorgeous movie is gorgeous.

But what if…what if all that was taken away?

What if you took away the animation, the character designs, the backgrounds, the acting, the direction, the singing, the music ye gods the music?

What if all you had left was that initial terrible, terrible idea?

Probably something like The Hunchback of Notre Dame 2, produced in 2000 but only released in 2002, presumably out of shame. This movie is why we have words like “nadir”.

Let me be clear. It’s not simply terrible compared to the original. It’s not simply terrible as a movie in its own right. It is terrible compared to other Disney Sequels.


By God, you should be.


Alright, so imagine you’re making a cheap sequel to one of the most beautiful animated movies made by an American studio in the twentieth century, and it’s to be animated by Disney’s notoriously shoddy Japanese TV animation studio. It’s not going to look good. Make your peace with that right now. But a good script is no more expensive to animate than a bad one so, y’know, you can still pull this off. You can still make a decent movie provided you don’t go out of your way to remind people of the original movie oh are YOU KIDDING ME…

You know what? I appreciate that. The movie just flat out dispenses with any pretense and shows us where we stand. The opening scene of the original is one of the single most powerful sequences in the whole canon. The gentle Latin chanting suddenly blasted away by the thunderous bells and those mountainous opening chords while Notre Dame looms impossibly tall over pristine white clouds, God, it nourishes my soul.

The opening scene of Hunchback 2 tries to replicate it and every single element is just so hideously inferior. Especially the animation. But especially the music. Especially everything. Everything is equally especial.

So, since last movie featured the Festival of Fools, this time around Paris is getting ready for the Jour D’Amour, with Clopin and Quasimodo OH SWEET JESUS MERCIFUL SAVIOR…


Yeah, so here’s an interesting thought experiment. What if you had a cartoon where the animators simply didn’t have the skill to animate the main character? James Baxter’s original Quasimodo design is quite possibly the most marvellous and intricate model of any hand-drawn character in any Disney movie. It breaks every rule and somehow it works, it’s asymetrical, and heavily detailed and yet it moves with fluidity and grace and somehow manages to look ugly and appealing at the same time which shouldn’t be possible.

This movie’s version of Quasimodo is the animation equivalent of badly performed Shakespeare. The brilliance of the source material actually makes the whole experience ten times worse. Quasi truly is “half-formed” now, veering so wildly in appearance from scene to scene that it’s kind of hard to tell what he was supposed to look like originally. The fact that they actually managed to get Tom Hulce back (and even more bafflingly, Kevin Kline, Demi Moore and Jason Alexander) lessens the pain not a jot.

So Quasi is hanging bunting by swinging from the rooftops like a kyphotic Spider-Man while Clopin sings about the coming Jour de L’Amour. On the one hand, I suppose it’s a positive that the movie doesn’t try to undo the previous film’s happy ending and shows that Quasi and Clopin are both now beloved and accepted members of Parisian society. On the other hand, this is the fucking worst, right here. It’s all so wholesome and saccharine. Seeing Quasimodo and Clopin dancing in the streets together while smiling onlookers cheer and clap just feels…wrong.

“Ha ha my friend! Remember the time I almost hanged you in a sewer?”
“Ho ho! We’re such good friends!”

The opening song…actually no. Let me talk about the songs for a minute to explain why I’m not going to talk about the songs. Imagine for a minute you were taken hostage by a cult of inbred hillbillies who proceeded to slowly eat you over the course of many months. You would, possibly, decide that one of the hillbillies was nicer than the others. Maybe Ol’ Uncle Zeke is a real peach because he only eats your toes. Having a favourite song from Hunchback 2 is kind of like having a favourite cannibal hillbilly. You might convince yourself that one was less terrible than the others but it’s just your brain trying to protect you. The fact is,  all the songs are regurgitated garbage and comparing them to each other is a waste of my time and yours. Moving on.

So Quasimodo is excited because on the Jour D’Amour he gets to ring “La Fidele” a bell that is plan on the outside but studded with gold and jewels on the inside.

Because it’s beautiful.

On the inside.

Do you understand? Do you see what they did there?

“Do you see? Do you see?”

Now you might say “Mouse, isn’t the inside of the bell the absolute worst place to put a load of gold and priceless jewels? Wouldn’t the jewels be damaged and the bell sound terrible thus making the entire undertaking a double failure?”

To which I reply “Yeah. Yeah. But…uh, I think we got a bigger problem here.”

The bell doesn’t even have a FUCKING CLAPPER.

No, no. I’m being unfair. How could I expect them to understand how a bell works, they’re notoriously complex instruments.

Anyway, the three gargoyles try to convince Quasi to get out and enjoy the Jour de L’Amour but he says he has too much work to do. The gargoyles are again voiced by Jason Alexander (Hugo) and Charles Kimbrough (Victor) with Jane Withers stepping in to voice LaVerne as Mary Wickes couldn’t appear in the film, as she had passed on by this point. Allegedly.

“That’s my story, and I’m stickin’ to it!”

We then meet Zephyr (Haley Joel Osmond), the six year old result of Phoebus and Esmerelda’s union and every bit as bad as the start of this sentence would lead you to believe. None of the original characters from the first film are anything but a pale shadow of their former selves, but I have to say that Phoebus and Esmerelda both suffer virtual character assassination, as they are here re-imagined as the kind of people who would name their child “Zephyr”. Phoebus and Esmerelda just start making out in front of Quasimodo (nice guys, classy) and talking about how they’re going to be yelling about how much they love each other when La Fidele rings. Zephyr asks Quasimodo who’s going to be screaming his name and he says “I don’t think anyone will” which is completely untrue. I haven’t stopped screaming his name since the movie started, usually followed by “WHY!?” and “WHAT HAVE THEY DONE TO YOU, MY CROISSANT SHAPED PRINCE?” Anyway, Esmerelda tells Quasi that there’s a girl out there for him, not her, obviously, I mean, Jesus, but you know…somebody.

A circus arrives in town and the magician/proprietor Sarousch puts on a show for the local rubes. However, his act almost comes a cropper when his assistant fails to appear. He finds her practicing a tight-rope walking act and chews her out, saying “You’re job is to stand there and look pretty.” but she says she want to contribute more to the circus. This is Madellaine.

Madellaine is voiced by America’s Sweetheart For Around Forty Minutes in 2000, Jennifer Love-Hewitt and she will be our love interest for this ordeal. This brings me neatly to what I call the “Quasimodo’s Girlfriend Dilemma”.

So, if we can acknowledge that this whole area is a minefield that we would run from if we valued our lives, let me say that I don’t object in principle to the idea of giving Quasi a girlfriend. I mean, pairing him up with Esmerelda is always going to be too far against the grain of the original novel (plus, two male and female Disney leads having  a loving but platonic friendship is important in its own right) but yeah, having Quasi never find love is problematic in a different way. So fine, a romance for Quasi, I’m game.

The trouble is that Madellaine…

Hold up. Has anyone, anywhere, ever seen that name spelled that way? Anyone? I’m half convinced Disney invented a new name just to trademark it. Anyway, Madellaine™ feels anachronistic in a way that none of the other original characters do. Everything about her mannerisms and performance screams “Meg Ryan Rom Com Heroine” and it jars in a way that’s difficult to describe. Oh, but she’s an unqualified success, a veritable Lando Calrissian of seamless sequel integration compared to Sarousch.

Sarousch is our villain and, believe it or not, actually makes for a worthy successor to Frollo. What’s that? You don’t believe it? Well done. I was testing you and you passed. Sarousch is garbage. Not even being voiced by Michael McKean can salvage this trainwreck.

There’s something about this that’s so crap, it’s like how much more crap could this be? And the answer is none. None more crap.

As well as being vain and obsessed with his own appearance, Sarousch is a thief who uses his circus as a cover for heists. Because, if there is one thing this movie wants you to know, it’s that circus folk are all dirty, dirty thieves. Sarousch tells Madellaine™ to go to the bell tower and charm the bell-ringer into showing her La Fidele so that he and the rest of the circus folk can steal it. Madellaine™ is not not happy about this but goes up to the bell tower anyway. Quasi hides because it’s a g-g-g-girl. He hides under one of the bells and talks to her, and they engage in some of the most excruciating romantic banter I have ever had the misfortune of sitting through. Madellaine™ tells Quasi it looks like he’s wearing a massive hat and, OH MY GOD BUT THEY MILK THIS. THEY MILK THIS ONE NON-JOKE UNTIL IT DIES ALONE AND IN AGONY.

Oh, and Madellaine™ can see the gargoyles. She shouldn’t be able to see the gargoyles, because as I made very clear in my last review, the gargoyles are all in Quasi’s head and even when we see the gargoyles interacting with other characters that’s just Quasi Tyler Durdenning.

I explained this. I made it very clear. This movie is undoing a lot of hard work on my part and this will not stand.

Quasi is amazed that Madellaine™ can see the gargoyles (SHUT UP SHUT UP SHUT UP). She thinks she’s going crazy but he says she just has an active imagination. She asks to see his face and when he finally comes into the light she of course doesn’t judge him by his appearence…oh.

In fairness, I’ve been making this face since the opening title.

She runs off and Quasi sadly goes back to his table of figurines to make a Madellaine™ doll that he can smush against the Quasimodo doll while making kissy noises. Quasimodo then sings An Ordinary Miracle and I know I said I wasn’t going to talk about the songs but seriously guys, you need to watch this shit. Come. Come and gawp at the carnage.

Not even Tom Hulce could save that that! It could not be Hulced!

The gargoyles tell Quasimodo…no wait, back up a step, what the fuck is happening with Victor and Hugo?

They’re changing colour so fast they looks you could stand beside them, play some techno music, drop some molly and get a rave going. Who was in charge of continuity on this? I mean God, they just did not care.

Back the circus Madellaine™ tries to explain that even in the circus she never trained for that kind of ugly but Sarousch tells her he wants the most useless bell in all Christendom and to seduce the Hunchback. Madellaine™ feels obligated to Sarousch because he didn’t turn her in to the authorities when he caught her stealing from him when she was six years old and also because she’s kinda dumb. She feels really guilty about lying to Quasimodo though, and stares at herself in the mirror so long that one of her eyes becomes larger than the other.

Is it a metaphor for the way her soul has become corrupted by Sarousch’s greed or is this just an awful cartoon? Who can say…

So after the magic show Madellaine™ catches up with Quasi and seems him carrying Zephyr home on his shoulders (so now he’s got two worthless lumps on his back, hi-yo!). Realising that anyone who could put up with Zephyr’s unending asinine prattle without dropping him down a well must have the gentle nature of a saint, she does…this.

I’ve mentioned the weird phenomenon of bad acting in cartoon characters before. I don’t mean bad voice acting, I mean when actual cartoon characters give unconvincing performances and Madellaine™ is an excellent example of this. Every gesture she makes is so over the top, so completely excessive, that it makes the Wolf from Red Hot Riding Hood look like Philip Seymour Hoffman. And here’s the thing, that is hard to do. Cartoon characters exist in their own world, we don’t think of them as actors, we think of them as real beings inhabiting their own seperate reality. For a cartoon character to be unconvincing would be like you giving a bad performance as yourself in your every day life. Sucking that hard is an achievement.

So they go far a walk and before you know it she starts falling for him for real. Meanwhile, Phoebus is suspicious because there’s been a wave of thefts since the circus arrived in town and he suspects Sarousch’s troupe. Esmerelda, Quasimodo and Zephyr all get mad at him when he blames the circus folk the thefts and theorises that Madellaine™ is using Quasi to get something else. So, big problem right here. Phoebus, is one of my favourite characters in the original movie and here he’s presented like a bigoted authoritarian jerk. But if your movie is going to be about bigotry you can’t have the bigot be right about every single thing. It is really suspicious that the crimes only began when the circus arrived. The circus troupe actually is behind the the thefts. And Madellaine™ really did get close to Quasimodo to steal something. And frankly, if Phoebus wants to investigate the circus troupe he has really good, compelling reasons to do so.

Meanwhile, Sarousch tells Madellaine™ to lure Quasimodo away from the belltower so that he can steal La Fidele. She doesn’t want to, but he tells her that if she doesn’t, Quasimodo could get hurt. Uh huh. Yeah. Sure. Oh gee, I really hope Sarousch doesn’t hurt Quasimodo. I am so fearful for Quasimodo’s safety. That Sarousch sure is a dangerous force to be reckoned with.

God I would pay money to see that.

Never happens of course. In fact, Quasimodo and Sarousch never actually exchange dialogue. In two movies we’ve gone from one of the most emotionally rich and dark hero-villain relationships in the Disney canon to a movie where our hero and villain never even speak to each other. I just realised that. This movie keeps finding new and ever more galling ways to show me that that it is the fucking worst thing.

Phoebus shows up at the circus and interrogates Sarousch who pins all the thefts on Madellaine™. While Phoebus looks for her, Sarousch’s men break into the bell and steal La Fidele. They’re discovered by Zephyr and Sarousch decides to take the kid as a hostage.

Quasi and Madellaine™ arrive back at Notre Dame to find the bell stolen and Quasi is furious at her for lying to him. Madellaine™ is arrested but when Esmerelda discovers that Zephyr has been kidnapped Madellaine™ offers to help them find Sarousch. She leads them into the catacombs and Phoebus’ gaurds block off Sarousch’s escape but he threatens Zephyr so they have no choice but to let his boat pass. Madellaine™ convinces Quasi to free her from her shackles and they work together to rescue Zephyr.

She tightrope walks over the boat and grabs Zephyr and Sarousch yells “What are you doing here?” and she replies “Just standing here looking pretty.” because that was the thing that he said and that was the thing she was doing and that’s how screenplays work.


And the movie ends with Sarousch getting thrown in jail and all our couples celebrating La Jour D’Amour, Quasimodo with Madellaine™, Phoebus with Esmerelda and Hugo with Djali. Yes. That happens. The gargoyle and the goat are our first official gay Disney couple. I wanted this for so long.

But not like this. NOT LIKE THIS!


This is probably breaking some kind of movie-critic omerta but I enjoy bad movies. The Room brings me real, pure joy. I enjoy the first Transformers and Armageddon and probably more of Michael Bay’s oeuvre than I care to admit. Bad movies can be wonderfully enjoyable and even intellectually stimulating. They have a way of getting my creative juices flowing, wondering how I’d fix this character or that plot point. Pocahontas 2 was a bad movie but it was interesting and weird and hilarious and I honestly got more enjoyment out of it than its staid, bland, competent predecessor. But Hunchback 2 hits that awful, awful bad movie deadzone between good enough to be enjoyable and bad enough to be hilarious. However bad it gets, it’s never stunningly bad. It’s suffocatingly bad. Numbingly dull. It’s hideousnesses never sinks to the level of the bracingly garish. It’s ugly, but “seventies Tory” ugly, not “freakshow” ugly. It’s a bad, bad time, is what it is. I’ll watch Foodfightagain before I watch this.


How butt ugly is the animation? Is it as ugly as a butt: 2/20

Well, the characters move. So it meets the criteria of being “animation”.

Are the main characters jerks? I bet they’re jerks: 2/10

This Quasi makes me queasy.

Bet the villain’s a real shitpile, character wise: 2/20

Shit sandwich.

“You can’t print that!”

Oh what’s this? Supporting characters? Fuck you supporting characters!: 1/20

No, you know what, I can’t, I just can’t I’m welling up guys…

Man, fuck the music. I hope it dies: 1/20



NEXT UPDATE: 07 September 2017

NEXT TIME: Taking a bit of a break to focus on other writing but I’ll back in September for a slightly belated extra special fifth-anniversary review. When I started these reviews five years ago I didn’t really know what I was doing.

“Plus ca change.”


So I thought it might be fun to revisit a movie I reviewed way back in 2012 and see what an older, wiser Unshaved Mouse review might look like. What’s the movie?

What else?

Disney(ish) Reviews with the Unshaved Mouse: Pocahontas 2: Journey to a New World

I was once a mouse of honour.

Once I had a code.

My very first post on this blog, half a goddamn decade ago, set out some rules that I swore I’d follow come hell or high water:

No live action movies.

No Pixar movies.

No direct to video Disney sequels.

So here we are. Come and witness as my last scrap of virtue is torn away. Today, I review a direct to video Disney sequel, the cinematic equivalent of hiring a prostitute to dress up like your high school sweetheart, something beautiful and pure rendered tawdry and mercenary.

Oh come, come, Mouse, I hear you cry. Are they really as bad as all that? Well…

Okay, real talk time. None of the direct to video sequels made for the canon movies are as good as or better than the movies they are based on. Not one. By definition, really. I mean. If Disney Toons had somehow made a sequel to The Little Mermaid that was even better, they wouldn’t have released it straight to video, right? They’d have given it a full theatrical release and made it an official entry in the canon like The Rescuers Down Under or Winnie the Pooh (is Winnie the Pooh still in the canon? Disney?)

“Um…yes? I dunno. Look, the canon is just a marketing gimmick, who even cares?”

“Oh yeah, sure, I understand, I just dedicated FIVE YEARS OF MY LIFE to this, no biggie.”

But, y’know. I’m fair. I’m a fair mouse. Everyone says so. Believe me. And while all of the Disney cheapquels are objectively worse than the movies they were based on, that doesn’t mean that they were entirely without merit. In fact, let’s play the game that’s taking the globe by storm, Mouse Says Nice Things About Disney Sequels For As Long As He Can!

Return of Jafar: Obviously (OBVIOUSLY) not as good as Aladdin but it actually did some interesting stuff plot wise by giving Iago a character arc and actually leaving a real, lasting change to the status quo by having him become a hero. Maybe not a great movie but a very decent pilot for a better than decent TV show.

King of Thieves: Robin Williams back as the genie, some much needed delving into Aladdin’s backstory and a fairly satisfying conclusion to the story of the Agrabah gang.

Lion King 1 ½: As a sequel it busts the original’s continuity straight to hyena infested hell buuuuut…great cast, really nice animation, some genuinely funny gags and Diggah Tunnah is honestly a good enough song that it could have been in the original movie (and a good song in a Disney sequel is a rare, precious thing indeed).

Bambi 2: Patrick Stewart as the Prince of the Forest. It’s truly sad when a Disney Sequel is making better use of Patrick Stewart than the actual canon movies.

Cinderella 3: A Stitch in Time: Faced with the task of making a second sequel to Cinderella and with the imminent closure of their studio, Disney Australia went all in on a batshit insane time travel caper. They went out fighting. They went out weird. And we salute them.

And as for today’s movie…

Okay, look. We need to take a minute to talk about the plight of a certain persecuted minority. A proud people who have suffered indignity after indignity in the face of a hostile and uncaring majority.

I refer, of course, to Pocahontas fans. And I am sorry that I must add to their legacy of suffering, because the truth is this:

I prefer Pocahontas 2 to the original.

“Never thought we’d be mobbin’ for Pocahontas of all gol-durn things.”

No, I’m not joking.

No, I’m not just trolling you.

No, I’m not being contrarian.

No, I haven’t suffered some kind of head injury.

Here’s the thing, if you love Pocahontas you probably love it for the music and the animation and I’m obviously not going to pretend that Pocahontas 2 holds a single solitary candle to the original in either of those categories. But in terms of story…

Okay. It’s not perfect. It’s not even particularly good. But. This is the story of a young Native American woman who most leave her home, travel across the sea and navigate the intrigue of a strange and hostile foreign court with the survival of her entire tribe hanging in the balance. And that, to me, is automatically more compelling than the warmed-over Romeo and Juliet plot of the original.

Let’s take a look.


Disney Reviews with the Unshaved Mouse #56: Moana

Question. Do you think that when Ron Clements and John Musker show up at the Disney studios they’re all…

‘Cos they’d kinda have to, wouldn’t they? I mean, they’ve earned that. If they wanted to stop at every cubicle and say “Oh by the way, we’re the reason you have a job. You’re welcome.” who among us would begrudge them that? With The Little Mermaid, Clements and Musker kick-started the Disney Renaissance, catapulting the animation studio back to cultural relevance and critical and commercial acclaim. And then, just for poops and giggles, they did it again in 2009, with the Princess and the Frog marking the end of the Lost Era and inaugurating the current golden age of the canon. Come to think of it, I have a feeling that Disney could have saved themselves a lot of worry and financial distress over the decades if they’d just hung a sign on the wall saying “WHEN THINGS ARE GOING BAD, JUST MAKE A PRINCESS MOVIE”. Seriously, never fails. Okay, apart from that one that almost drove the company to bankruptcy.

Totally worth it.

Where was I? Oh right, Clements and Musker. These two men wrote the book on the modern Disney Princesses movie. They are O fuckin’ G, or at least as gangsta as one can be while making movies about princesses and their talking animal friends. They are the Biggie and Tupac of this one very specific movie sub-genre.

In this analogy, Walt would be Ice-T.

Moana honestly feels less like a Disney Princess movie, and more like the Disney Princess movie, an attempt to make as definitive a version of this kind of movie as it’s possible to make. That may sound like a compliment…but…

This movie feels like it’s trying to take everything that worked about the previous nine modern Disney princesses (Merida doesn’t count FIGHT ME) and distill them into one character. Moana is all those princesses combined into one. But is she an awesome Megazord or a shambling Frankenstein’s monster?

Let’s take a look.


Adorable Couple (2014)

Comebacks are tricky things to pull off, and tend to fail more often than they succeed. For every Elvis there’s a dozen Lil’ Kims. It takes a mixture of luck, talent and, most importantly, perseverance. The character of Mickey Mouse has been pretty vaguely defined over the years, but one thing that does stay constant about him is that he never gives up, which is appropriate for a guy who’s been trying to make a comeback for eighty years.

See, Mickey Mouse was, at one point, no question, the most popular cartoon character in the world. A beloved American icon. And that period lasted from his debut in 1928 aaaaaaaaaall the way to…1935. When he lost the top spot to a tattooed stroke victim.


Mickey was a perfect salesman for early talky cartoons, but his generic everyman persona was quickly outshone by more distinct, dynamic characters like Popeye, Bugs Bunny, Daffy Duck and even his fellow Disney stablemates Donald Duck and Goofy and he never regained the kind of adoration he’d had in the years after Steamboat Willie.

The uncomfortable fact is this: Mickey Mouse is pretty difficult to like. Aside from an…interesting…vocal performance by Walt Disney who decided long ago that his flagship character should sound like a castrato in agony, his ubiquity on every piece of over-priced tat the Disney corporation has tried to sell over the last nine decades has made him more mascot than character, with more in common with Ronald MacDonald and the Nesquik Bunny than his fellow cartoon stars.


You sold out, man.


This left Disney with a conundrum. They were a company famous for creating beloved cartoon characters, whose mascot was a cartoon character beloved by virtually no one. And so, over the decades, Disney tried to relaunch Mickey not just as a brand but as a character. And they tried it again…


And again…


And again…

And again…


And again…


And again…


And again…


And again…

And while some of these attempts were definitely worthwhile in their own right, no one’s going to claim that Mickey Mouse is what makes Fantasia an all-time classic.

This guy. This guy is what makes Fantasia a classic.

It seemed that Mickey was simply a character that could not be salvaged and made interesting*, and the Disney corporation’s insistence on trying to make him happen was starting to get downright sad. To put it in perspective, imagine if Warner Brothers, instead of embracing Bugs Bunny as their mascot, was still trying to make America fall in love with Bosko the Talk-Ink Kid.

“Too racist!”- 1930’s America.

But then, in 2013, Disney unveiled a new series of Mickey Mouse Shorts directed by a coterie of modern animation stars including veterans of shows such as Dexter’s Laboratory, Sym-Bionic Titan and Powerpuff Girls.

And stick cheese in my cheeks and call me a gerbil, but they actually did it. They found a way to make Mickey Mouse work in a modern cartoon. These cartoons are awesome, almost definitely the best use that’s ever been made of the character outside of some classic Golden Age shorts and honestly? I’m not even sure if that’s not just nostalgia talking. What makes them so good? Well, if I might get a little technical here, they’re really good because they’re really good. By which I mean the animation is fluid and engaging, the backdrops are gorgeously designed, the voicework is top-notch, the music is beautiful and expertly integrated into the action and they’re crammed with great jokes both visual and verbal executed with crack timing. They’re also crammed with shout-outs to Disney fans, which, with all manner of obscure character showing up for a cameo. I knew this series was for me when Mickey and Minnie went to a dance with the kids from the “All the Cats Join In” sequence from Make Mine Music. I mean, that is a deep cut.

It’s fascinating to compare and contrast the new Mickey Mouse shorts with the older classic shorts to see how they’re different and also how they’re similar. Because they are different, no question. They have a very modern sense of humour despite being set in a classic Golden Age cartoon world where everything from the animals, to the sun, to the buildings is a sentient, talking being. And they’re…I don’t want to say “dark and edgy” because that conjures up some kind of twisted Frank Millar-esque nightmare whereas these shorts are glorious, sunny little things fit for all ages. But they are darker than the original cartoons, and certainly more willing to actually see Mickey Mouse suffer for comedic effect. The characters are also more flawed. Goofy is a bit more of a jerk, Donald is much more of a jerk. But the real revelation is how the cartoons treat the character of Mickey Mouse. And the remarkable thing is, Mickey hasn’t really changed at all. He’s still the same perpetually happy, squeaky clean, goody-two shoes that he’s always been. The key difference here, is that now that’s the joke. The cartoons take Mickey’s essential lameness and find ways to mine rich humour from it. Take for example, today’s short: “Adorable Couple”.


“You want to protect the world. But you don’t want it to change.”

The Marvel comics universe is overflowing with some of the greatest villains created in any medium, from the regal majesty of Doctor Doom to the saturnine, brooding splendour of Galactus to the cackling, twitching megalomania of Annihilus. And amongst these villains, one of the greatest is, without question…not Ultron.

Just my opinion, mind.

The character was first created in 1968 and introduced in the pages of The Avengers as the creation of Hank Pym, whose long storied history of fucking up we will touch upon at a later point in these chronicles. But make no mistake, Hank Pym fucks up in the same way that Michaelangelo painted. He fucks up like it’s what God put him on this earth to do. Created by Pym as an artificial intelligence based on his own brainwaves, Ultron decided pretty quickly that it hated Hank Pym like the Sharks hate the Jets and tried to kill him. Which, considering that Pym based it on his own mind, should tell you everything you need to know about the state of Pym’s self-esteem (dude needs a hug).  Ultron later expanded his to do list to wiping out all human life and returned to bedevil the Avengers and threaten the world again, and again, and again. My problem with Ultron is that there’s just not much “there” there. He’s an angry shouty robot who wants to kill everyone. Have there been good stories with the character? Sure. Have there been writers who found interesting things to do with him? No doubt. But Ultron’s basic default setting has just never grabbed me as particularly compelling. Nevertheless, Ultron is generally regarded as the Avengers’ ultimate arch-enemy, the Moriarty to their Holmes if Sherlock Holmes was a conglomeration of brightly coloured WW2 era adventurers, Norse gods, billionaire tech-messiahs and former circus performers (and who wouldn’t read that?). But even that’s kinda by default. Loki is a Thor villain who sometimes fights the Avengers. Red Skull is a Captain America villain who sometimes fights the Avengers. Ultron would technically be a Hank Pym villain, but since Hank has never been popular enough to headline an ongoing series of his own Ultron just kinda became an arch-enemy for the whole team, like how the rest of the family adopts your little brother’s hamster once it becomes clear he can’t look after it himself. So when it came time for Marvel to follow up The Avengers with a sequel, choosing Ultron to be the villain was about as obvious as having the Joker be the bad guy of The Dark Knight. Who else was it going to be?


Now, let’s get this out of the way. For all you people who ask why I don’t, for example, review Moana the very second it comes out? This is why. To do a review justice takes time, preparation, fasting and prayerful contemplation. The review/tongue bath I gave Age of Ultron the day after it came out back in 2015 was written while I was still basking in the afterglow of explosions and Whedonisms falling on my ears like confetti and I did not see the plotholes and padding and questionable charecterisations and clear signs of executives sticking their grubby oars in. Honestly if I had it all to do again, I imagine I’d be a lot more critical. Oh hey, look at that. I have it all to do again.


Darby O’Gill and the Little People (1959)

Americans calling my nation’s national holiday “Saint Patty’s Day” is one of those things that, as an Irishmouse, I am supposed to be Very Annoyed About. Honestly, it doesn’t bug me. Way I see it, if Irish Americans hadn’t turned March 17 into a major celebration of Irish identity and history in the eighteen hundreds, today the feast of Saint Patrick would be about as big a deal as the third Sunday of Ordinary Time so I say let ‘em call it whatever they like. At this point, it’s as much theirs as ours. Ireland and America have always had a very close relationship, culturally. This has often been a very positive thing, but it does cause problems. Picture Ireland as a man with a very quiet voice and a huge megaphone with the words “MADE IN AMERICA” emblazoned on it. Ireland has a global cultural presence and clout far, far beyond what you’d expect for a small country with a relatively paltry population and that’s largely due to the outsize influence Irish emigrants have had in the shaping of the world’s only cultural hyperpower. But what that means is that what the world perceives as “Irishness” is often filtered first through an American prism. Small Irish voice, big American megaphone. The result is that how we’re perceived by the rest of the world is often completely out of our hands.  Take a look at this picture:

The photo was taken in 1946 in County Kerry in the West of Ireland. The gentleman on the left is one Séamus Delargy, the founder of the Irish Folklore Commission, an organisation tasked with collecting and cataloguing the vast body of oral folklore, songs and poetry that had been passed down by word of mouth by the Irish people since time immemorial. The Irish Folklore Commission, incidentally, later became the Irish Folklore Department in University College Dublin where I got the degree that has made me the wealthy, eminently employable mouse I am today.

Oh, and the guy on the right is Walt Disney.

So, around the end of the second world war, Disney had set his heart on making a film based on Irish legends (Disney’s great-grandfather was from Kilkenny). He was put in touch with Delargey and over the next decade the two men corresponded continously. Delargy viewed Disney’s film as a chance to bring some of the treasure trove of Irish folklore his commission had uncovered to a wider audience, and dispatched crates of books, plays and manuscripts to Burbank. To Delargy’s disappointment however, Disney eventually decided to base his Irish film on Herminie Templeton Kavanagh’s “Darby O’Gill” books. Here we have the relationship between Irish folklore and it’s American amanuenses personified. Delargy says “Here is a huge and varied body of folktales full of magic, heroes, epic quests, tricksters and romance.” and Disney replies “That’s nice. Leprechauns, please.”

This movie’s reputation is a little hard to assess. In America, it’s fairly obscure, but amongst those who know of it it’s quite highly regarded. Hell, no less an authority than Leonard Malthin, a man who eats Disney movies and shits special limited edition Blu-Rays , called it “not only one of Disney best films, but certainly one of the best fantasies ever put to film.”

Well. Clearly SOMEONE’s never seen Hawk the Slayer.

 In Ireland it is most certainly not obscure. And our relationship to this particular movie is…complicated. It was a huge hit when it was released here, with Disney himself attending the Dublin premiere which virtually brought the city to a standstill. But it arrived at a very crucial period in Irish history, when Taoiseach Seán Lemass was trying to cast off the nation’s image as a rural backwater and promote Ireland as a modern economy ready to do business with the world. The success of this movie and it’s bucolic image of rural towns and cheerfully superstitious peasants had many in government muttering between clenched teeth: “You. Are. Not. Helping.” Today it remains a staple of Irish television, particularly around Saint Patrick’s day, and is one of those movies that almost every Irish person has seen once, along with Michael Collins and Die Hard*. But there has always been an undercurrent of resentment to this movie, with many feeling that it’s…what’s the word I’m looking for?


“Ah, no.”

But “Darby O’Gill” has definitely become a shorthand for fake, inauthentic Oirishness in film. But is that reputation justified? Let’s take a look, just to be sure. To be sure.

To be sure.


Bill Cipher reviews WEIRDMAGEDDON!

Previously on Unshaved Mouse: Mouse tried to review the series finale of Gravity Falls and it went about as well as you’d expect, with Mouse being possessed by the infinite evil of Bill Cipher who now threatens to turn the real world into an eternal playground for his cosmic malice and doom all humanity. Because it’s always something with this blog, isn’t it? Just saying, you never see this kind of shit on Alternate Ending.  Meanwhile, at the secret headquarters of the Legion of Animators.

Image result for meanwhile at the legion of doom





"Somehow, I always knew you'd destroy the world, man."

“Somehow, I always knew you’d destroy the world, man.”



"It's the smell of artistic integrity, man."

“It’s the smell of artistic integrity, man.”

"Gentlemen. Calm yourselves. The situation calls for unity."

“Gentlemen. Calm yourselves. The situation calls for unity.”

"Miyazaki-san is right. We should listen to him. He is the wisest of all of us."

“Miyazaki-san is right. We should listen to him. He is the wisest of all of us.”

"Let us consider: An Nth level fictional construct has gained sentience and escaped to the real world. Even now it's power grows, and any hope of defeating it becomes slimmer by the second."

“Let us consider: An Nth level fictional construct has gained sentience and escaped to the real world. Even now it’s power grows, and any hope of defeating it becomes slimmer by the second.”



"So I'm thinking, bail?"

“So I’m thinking: Bail?”

“Listen to this man. He’s wise, he’s Japanese, he knows the score. Let’s leave this reality and never come back.”

“Listen to this man. He’s wise, he’s Japanese, he knows the score. Let’s leave this reality and never come back.”

“Groovy, man.”

“Groovy, man.”

“No! Listen to yourselves! If we abandon this world it’s only a matter of time before Bill conquers all of reality. We have to stay! We have to fight! We’re animators! Masters of the Arcane and Dark Arts! Immortal warlocks of inestimable power!”

“No! Listen to yourselves! If we abandon this world it’s only a matter of time before Bill conquers all of reality. We have to stay! We have to fight! We’re animators! Masters of the Arcane and Dark Arts! Immortal warlocks of inestimable power!”

“I’m not.”

“I’m not.”

“Shut up Park!”

“Shut up Park!”



“We have one chance to stop Bill. Listen up...”

“We have one chance to stop Bill. Listen up…”




Gravity Falls (2012-2016)

Hey everybody! Man, it is so good to be back you have nooooooo idea! I have been waiting for this for a really, really long time.You see, Gravity Falls is my favourite TV show help. Not favourite kid’s TV show. Not favourite cartoon. Favourite TV show help me. Period. Why is it so good? That’s actually an incredibly easy question. With some shows you have to explain the appeal but with Gravity Falls it’s pretty cut and dry.

  • It’s gorgeously animated.
  • Wonderfully acted.
  • Impressively scored.
  • Brilliantly written. help
  • Frickin’ hi-larious.

Gravity Falls is basically Golden-Age Treehouse of Horror: The Series, combined with some of the best ongoing mystery plotting I can ever recall seeing in a TV don’t listen to him show, regardless of demographic. The show is the creation of Alex Hirsch who was born in 1985…

Screw you, Alex Hirsch.

Just screw you.

The show is the creation of Alex Hirsch and centres on the don’t trust him adventures of the 12 year old Pine twins, Mabel (Kristen Schall) and Dipper (or “Pine Tree” to his friends) (Jason Ritter) who are sent by their parents to spend the summer with their Grand Uncle Stan who’s voiced by Alex Hirsch…

Screw you, Alex Hirsch.

Pine Tree discovers a mysterious journal it’s not me hidden in the forest and soon the twins are investigating the spooooooky goings on in Gravity Falls with the help of Grunkle Stan, loveable dim-witted handyman Soos (Alex Hir…SCREW YOU ALEX HIRSCH) and Wendy Corduroy (Linda Cardellini), a teenage girl who works at Grunkle Stan’s Mystery Shack and who Pine Tree has a massive crush on.  So it’s a pretty standard set up for a half hour cartoon; kids chasing monsters. Hanna Barbera sucked that tell Walt well dry long ago. But it’s all in the execution. Gravity Falls did what so few series have ever managed to do; it came, it told its hurry story, it wrapped it up in the most satisfying and awesome way possible and then it ended right when leave now it needed to, in stark contrast to its biggest influence.



And because I really want to do the show justice and stop reading because I’m still very busy with UNNAMED HORROR I am actually going to split this review into two parts. The first half is going to discuss the series as a whole and then review running out of time the first episode of Weirdmageddon, the three part finale, with the second review finishing off the final two episodes. Got that, meatsacks? Good, let’s get started. LAST CHANCE GET OUT OF HERE


Deathmatch 2017: This aggression will not stand, man.

During the 2016 election there was considerable debate as to whether Donald Trump was simply a con man using nativist rhetoric to win the nomination and who would then swiftly abandon populism and ram through a hard-right platform designed to enrich the one percent, or whether he was actually the racist authoritarian that he played on TV. The answer turned out to be: “Yes.”

Things have gotten real bad, real fast and I think it’s clear that we are living in times that will have large, detailed chapters in future history books. I awoke this morning to learn that a close friend of mine is now banned from entering the United States purely because of her place of birth. The wall is being built. A white nationalist is now sitting on the National Security Council. The nation built by the poor, the tired and the huddled masses is refusing to admit refugees. The most powerful office in the world is less trusted and respected after eight days of Trump than after eight years of George W. Bush. I confess that I am deeply afraid.

As well as being afraid, I am angry, frustrated, appalled and sickened. But one thing I am not is despondent. I am not pessimistic. I am not disheartened.


Because the last week has reaffirmed what I already knew. The American people did not elect Trump. Trump was elected by a combination of fluke, a rotting and archaic electoral system, voter suppression and intervention by a hostile foreign power. The American people are the ones who voted for Hillary Clinton by a massive margin, who staged the largest demonstration in the nation’s history against Trump’s nascent kakistocracy and who are now fighting against the illegal detention of refugees at American airports.

The good outnumber the wicked and they always will.

This is a time when all people of good will must put whatever skills they have towards resisting Trump. For me, that means writing snarky reviews of movies which I will be the first to admit is not the most obviously useful skill in an anti-fascist resistance movement.

But that is why this year’s Unshaved Mouse Charity Movie Deathmatch is in aid of the American Civil Liberties Union.

So, how does the Deathmatch work?

  1. Make a donation of $5 or $10 to the ACLU.
  2. Email your receipt to unshavedmouse@gmail.com letting me know which movie or series gets your vote (a 5 dollar donation counts as one vote, 10 counts for two)
  3. Deathmatch runs all through February. Every two weeks, the lowest scoring three movies/series will be eliminated in ways not for the faint of heart or weak of stomach.
  4. Highest scoring three movies/series at the end of the month get reviewed and get to go home to their loved ones.

Mouse, I’m wealthy, I’m charitable and I want you to review something NOW.

A $35 dollar donation gets you any movie or episode of a TV show reviewed that you like. $60 gets you two. $100 gets you four and quite possibly a statue somewhere when this all blows over.

What if I buy a review for a movie or series that’s competing in the death match?

In the case of movies, if you give a $35 donation and request a movie that loses the deathmatch, you get the review anyway. If your movie wins the deathmatch then I will contact you and ask you for your second choice and you get two movies that you wanted reviewed instead of one. Fair enough?

In the case of a TV series  that wins the deathmatch, I’ll review an extra episode for every person that gave a $35 donation for that series.

Boring stuff done, so let’s MEET OUR FIGHTERS!


Frog Reviews – Pete’s Dragon





Actually, just regular form. Yes, hello again my internet friends and internet lovers (you love the internet, I mean, not me – although hopefully you’ll come to love me. Eventually).

We’re back in action for another fresh review, this time on the actually correct day of Monday.

And what cinematic treat did I consume this week?