The best and worst Disney movies

Disney raids its back catalogue for a mousey sequel

This is the odd-film-out in the Disney Renaissance that began with 1988’s ‘The Little Mermaid’. A perfectly acceptable sequel to 1977’s ‘The Rescuers’, it finds mouse heroes Bernard and Miss Bianca travelling to Australia to battle a villainous poacher. Although mostly a time-passer, it does boast some early, eye-popping CGI animation. Keith Uhlich

Disney and dinosaurs – what could go wrong? Um…

In the wake of 1993’s colossal ‘Jurassic Park’, no studio could be blamed for wanting to get in on the prehistoric act. ‘Dinosaur’ goes for realism with its richly textured lizard skins and humid, swampy vistas – making it at the time one of the most expensive films ever. What a shame Disney didn’t put as much effort into the storyline.Joshua Rothkopf

Disney goes back to the future

‘Meet the Robinsons’ is the Tim Henman of animated features: likeable and with a few aces up its sleeve, but hardly inspiring stuff. Every character is an archetype – from the lonely science whizz kid to the nerve-racked robot – and the script merely supplies jovial quips where there should be jokes. The film was made just as Disney merged with Pixar, and suffers by comparison with the latter studio's catalogue. Still, the time-travelling plot serves up enough twists and neat gags to charm the kids. Alex Dudok de Wit

The jazz ‘Fantasia’

Created over several years after most of the Disney staff were drafted to fight in Word War II, ‘Make Mine Music’ is a compilation film consisting of ten shorts set to music by popular artists of the day. It’s inevitably a mixed bag, but the highlights – including controversially violent ‘The Martins and the Coys’ and experimental freakout ‘All the Cats Join In’ – are terrific. Tom Huddleston

Oliver with a kitten twist. No catastrophe

‘Oliver & Company’ is the last film made before the Disney Renaissance, a decade of solid gold winners that began with ‘The Little Mermaid’. And it shows. This is Disney still believing that a dog in sunglasses is cool in a retelling of Charles Dickens’ tale of little orphan Oliver Twist with a stray kitten in 1980s New York. Cath Clarke

The end of an era

Fun fact: ‘Fun & Fancy Free’ was the last time Uncle Walt himself voiced Mickey. Two short segments make up this enjoyable film: ‘Bongo’ the tale of a circus bear who wants to roam free, and ‘Mickey and the Beanstalk’ in which everyone’s favourite mouse stars in a riff on the classic boy vs giants fairy tale. Keith Uhlich

Wacky shenanigans in pre-Columbian America

Some of the plotting feels a little strained – Incan royals and slapstick aren’t natural bedfellows – but this tale of llamas and land grabs has a unique vibe that eventually settles into something close to fun. The production was troubled; it’s enough that Disney got a coherent movie out of it (if not a smash). And – whisper it – Sting’s musical number, ‘My Funny Friend and Me’, isn’t half bad. Joshua Rothkopf

A CGI adventure nipping at Pixar’s heels

It must have been frustrating for Disney when their junior partners at Pixar (not to mention those upstarts at Dreamworks and Blue Sky) began to surpass them at the box office. The response was ‘Bolt’, a witty, enjoyable but ever-so-slightly try-hard digital adventure about a movie-star dog. Still, the geeky hamster Rhino is an absolute treat. Tom Huddleston

Tricks and a treat from a 1940s double-bill

WWII put the brakes on Walt Disney’s plan for a full-length ‘Wind in the Willows’. A short version, ‘Mr Toad’, was eventually released as a double-bill with another short – an adaptation of Washington Irving’s spooky ‘The Legend of Sleepy Hollow’. ‘Mr Toad’ is a treat, trotting along at breakneck pace. The final scene of ‘Ichabold’, as horsemen terrorise the lanky schoolmaster, is a masterclass in family friendly scares. Cath Clarke

Sherlock squeaks!

Disney rifles through yet another beloved British kids’ novel (‘Basil of Baker St’ by Eve Titus) for this tale of a mouse who resides in the cellar of 221b Baker Street. It’s not quite up to classic standards, but the characters are lively, the voice cast (including Vincent Price) are well chosen and the film’s representation of foggy Victorian London is surprisingly atmospheric. Tom Huddleston

We’re all the same beneath our fur, man

This is a sweet, sometimes moving tale of the friendship between a young fox and a hunting dog who live next door as kids but meet later as enemies in the forest. It has enough to say about prejudice and the innocence of youth to not be dismissed as minor. In the history of Disney animation, it’s notable for the arguments and splits during production between Disney founding animators and a new guard coming up through the ranks.Dave Calhoun

Disney swaps a mischievous mouse for a noble bear

The last Disney feature in which Walt was involved isn’t actually a feature so much as a portmanteau film composed of three previously released shorts from the late ’60s plus one new one. Visually rather static, ‘Winnie the Pooh’ relies on the charms of A A Milne’s original characters for its kicks – though the conceit of a voiceover narrator who flips through the pages of the story yields some nice animated gags. Eeyore would steal the show if he had more screen time. Alex Dudok de Wit

Disney raid the Looney Tunes back catalogue

Closer to a Tasmanian Devil cartoon than a traditional Disney feature, ‘Lilo & Stitch’ is a rare blast of chaotic fun amid all the fairytales and morals. The tale of a sweet Hawaiian girl and her insane, ravenous, Elvis-obsessed extra-terrestrial pal, this is non-stop mayhem in the best possible sense. Tom Huddleston

Race, rioting, religion and raunch – Disney gets dark!

Those who expected Disney to transform Victor Hugo’s famously gritty and complex anti-religious novel into a jolly, kid-friendly romp were only half right. This is without doubt the darkest Disney flick to date, tackling themes of sexual obsession, religious hypocrisy and rampant materialism. Sure, everyone lives happily ever after, but it’s a grim and gripping ride to get there. Tom Huddleston

Portly yellow bear can’t kick his honey addiction

This delightfully digressive feature follows Pooh and his friends (Eeyore, Tigger, et al) as they go in search of the sweet golden treasure, even sailing on a sea of honey in one especially gorgeous sequence. It’s a keeper.Keith Uhlich

They don’t call it the Mouse House for nothing

If you happened to be the right age (raises hand), this mouse-terpiece was exactly the thrilling, swirling adventure advertised. The story of an the all-mouse Rescue Aid Society who go to the help of an orphan girl being held captive, ‘The Rescuers’ represents one of Disney's many comebacks: a solid critical and commercial success after years of duds. Joshua Rothkopf

He’s Tarzan, you’ll be drained

‘Tarzan’ is the last film in the decade-long Disney Renaissance, and while not quite a classic like ‘The Little Mermaid’ or ‘Beauty and the Beast’, there’s still a lot to love here. The aerial animation as Tarzan swings through the jungle is spectacular and there are some funny gags (‘Is it a sub species of elephant?’ ponders a gorilla looking at the little human cub). Tarzan’s sense of not belonging – to his gorilla family or mankind – is heart-touching and surprisingly moving. Cath Clarke

Not purr-fect but catchy songs go a long way

The first film made after Walt Disney’s death follows an aristocratic feline and her kittens as they try to reclaim their stolen fortune with the help of a back-alley stray. It’s a charming adventure, with plenty of fun musical numbers – like the jazzy ‘Everybody Wants to be a Cat’ – thrown in for good, toe-tapping measure. Keith Uhlich

Seventy years on, we finally have a black Disney heroine

Retro was the order of the day when Disney embarked on their first hand-drawn film in several years. The result feels at once classic and modern, with its creaky fairytale narrative transplanted to New Orleans and buoyed up by Randy Newman’s memorable oompah soundtrack and some lively voice casting. It’s breathtakingly beautiful, too. Tom Huddleston

A gift from the animation gods

Some find the smart-arse wisecracking in ‘Hercules’ irritating, but they’re wrong. Disney might have mangled ancient Greek myth with their reimagining of Hercules as a none-too-bright but lovable lunkhead. But this film is a winner, infectiously funny and chock-full of gags. Best of all is the deliciously droll, adult-friendly villain Hades, with his hapless sidekicks Pain and Panic. Cath Clarke

It won’t shiver your timbers but it’s a giggle

Steering clear of the darkness, Disney amped up the comedy of JM Barrie’s play. Blustery Captain Hook is a loveable bad guy, hotly pursued by an ever-ravenous crocodile. The knockabout action, meanwhile, suggests that the Disney team had one eye on Warner Bros’ Looney Tunes cartoons. The best adaptation of Barrie’s play. Trevor Johnston

Walt weirds out with a whimsical tale

For years Walt Disney had wanted to animate Lewis Carroll’s surreal children’s novel, and when he finally got round to it in the early 1950s, he stuck pretty close to the original. Faithful to the John Tenniel illustrations (with added Disney cuteness) this is a love letter to Carroll’s visual imagination and playful language. A shame then, that it doesn’t quite manage to turn schoolgirl Alice’s odyssey into a satisfying story. Trevor Johnston

Hippie-era outlaw cool comes to Sherwood Forest

‘The Jungle Book’ director Wolfgang Reitherman’s decision to transplant hokey cowboy tropes to Merrie England should have been awful. But ‘Robin Hood’ is so sweet natured that it’s impossible to complain. The tiny budget meant that all the characters were lifted from earlier hits (check out Little John, the brown Baloo), and yet somehow this only adds to the film’s shaggy-dog charm. Tom Huddleston

The circle of life puts Disney back on top

Everyone (and that includes everyone at Disney, whose animators all wanted to work on ‘Pocahontas’) was stunned when ‘The Lion King’ smashed the box office in 1994. But it’s not hard to see why. The heroes are loveable and relatable, while Scar is one of the best Disney villains ever, equal measures bored and devilish. The soundtrack by Tim Rice and Elton John is exceedingly hummable and the animation is gorgeous. Cath Clarke

A new animated age began here

‘Aladdin’ heralded the modern era of animation. The cave of wonders sequence saw a major Disney feature employing computer animation for the first time, while the appearance of Robin Williams was a landmark in the use of celebrity voices. Most importantly, the film’s success proved that people were again ready to hand over their cash to a cartoon spectacular. Tom Huddleston

Back to basics with a sparky fairytale

Here’s a throwback to Disney’s classic era, with tongue firmly in cheek and belting out showtunes (the stage musical cannot be far behind). The shiny veneer may mask traditional ideals, but there’s no denying the ridiculously high entertainment value: ‘Frozen’ is beautifully animated, breathlessly paced and winningly goofy.Tom Huddleston

The evil fairy steals the show

They don’t call her the Mistress of Evil for nothing. Maleficent might just be the most villainous of Disney’s villainesses, cursing the newborn princess Aurora to prick her finger on the spindle of a spinning wheel and die before her 16th birthday. Why? All because she wasn’t invited to the little princess’s christening. Talk about bearing a grudge. Cath Clarke

Puppy love gets literal

It’s famous for that ‘spaghetti kiss’ – a legendary scene that Walt Disney almost cut out. But ‘Lady and the Tramp’ has many other charming moments: the script evolved out of years of personal pet stories shared by the studio's animal-loving writers and executives. A true labour of love. Joshua Rothkopf

No more Mr Nasty Guy

At night in an empty arcade, Donkey Kong-ish video game villain Ralph (John C Reilly, inspired) wants a career change badly. While loaded with eight-bit nostalgia, ‘Wreck-It Ralph’ somehow feels fresh: a sincere tale of finding your own identity. Joshua Rothkopf

A thoroughly modern Disney villainess

The Rapunzel fairytale gets a Disney overhaul, with a sparky princess who doesn’t need a prince charming to help her escape. Filled with energy and humour, this is near-vintage Disney. Best of all is the villainess, Mother Gothel, who looks like Cher and behaves like a hip mum on a bad trip. This manipulative madam has no special powers, so must rely on her acid tongue to keep Rapunzel in check. Cath Clarke

Disney  gets its mojo back

This Cheery adaptation of Hans Christian Andersen’s fairy tale set a new template for Disney animation. That formula  -  take a story everyone knows, preferably featuring a plucky princess, then add a bunch of catchy-as-chlamydia show tunes – still works. But ‘The  Little Mermaid’ also has emotional resonance and staying power… plus sea witch Ursula is surely  among the greatest Disney villains. Guy Lodge

The start of something beautiful

The elements of the story are now bedrock components of the Disney formula: plucjy heroine, gang of animal sidekicks, the promise of total transformation. But this was, by no estimates, a sure thing. Fortunately, the charm offensive proved overwhelming. If you love the brand’s theme parks (and doesn’t that castle look familiar?) here’s the movie that allowed them to happen. Joshua Rothkopf

The magic comes together for a Disney classic

Witty and charming, sunnily confident and filled with cockle-warming innocence, ‘Beauty and the Beast’ harks back to the Disney glory days. But it also took the studio to a new level – becoming the first animated film to be nominated fot Best Picture at the Oscars. What works? The emotional heart the story plus a soaring. Broadway-on-steroids score. Not to mention the adorable talking objects in the castle. Trevor Johnston

The hippies are taking over the studio

Were the Disney animators passing the bong around when they made ‘the Jungle Book?’ Just look at the vultures (who bear more than a passing resemblance to The Beatles). Hippy-ish 1960s vibe aside, ‘the Jungle Book’ stars some of Disney’s best-loved characters, including Baloo (the Bill Murray of bears) and the devilish Shere Khan. And its musical numbers have never been beaten: ‘Bare Necessities’ and ‘I Wanna Be Like You’ are püre heaven. Cath Clarke

Walt Disney’s favourite movie ( if he did say so himself)

In medieval times, they tested for witchcraft by dunking suspects in water. Perhaps they could test for serial killers today with the scene of Bambi’s mother dying. Walt Disney called ‘Bambi’ ‘the best Picture I have ever made, and the best ever to come out of Hollywood’. And he might have a point. At any rate, Thumper really should have won an Oscar for Best Supporting Actos. Cath Clarke

I got 99 problems

She is perhaps the most villainous of Disney villainesses. Where you see an adorable puppy, Cruella De Vil sees a fashion statement. Her evil plan is to turn 99 adorable dogs into a coat. With its London setting, ‘101 Dalmatians’ pull Disney into the modern age, casting off fairy godmothers and princesses. And the twilight bark is Disney at its best. Cath Clarke

Classical kitsch of the highest order

While in postproduction on Mickey Mouse comeback ‘The Sorcerer’s Apprentice’, Walt Disney decided to surround the short with similar classical-music-scored vignettes. ‘Fantasia’ was born. Silly and süblime, in which a hippo and an alligator do a slapstick ballet an deven the devil himself appears, it’s one of the studio’s finest. Keith Uhlich

Disney’s feature-length debut is still effortlessly charming

It may not have been the firs animated feature, but with ‘Snow White’ Walt Disney and his animators created an entirely new genre. Just look at ‘frozen and ask how far mainstream animation has really advanced: ‘Snow White’ has brave heroines, hunky but slightly dumd dudes, slapstick sidekicks, gorgeous animation, unforgettable tunes and the greatest femme fatale in film history. Tom Huddleston

Ain’t nobody’s fault he’s got them big ears

Unromantically, the idea for ‘Dumbo’ came from the prototype of a new toy. But this tale of a baby elephant born into a traveling circus is tender, moving and packed with energy. At its heart is a piercingly sad story of a mother separated from her chil. That’s pretty straightforward, but Disney finds room for inventive set pieces. The jazzy dance of the pink elephants when Dumbo mistakenly gets drunk is a scene the ages. Dave Calhoun

The best animated movie ever?

The high point of Disney’s invention comes with its second feature – still the studio’s most magical. The film begins with a sweetly singing cricket, yer plunges into scenes from a nightmare: Pinocchio’s extending schnozz is animation’s most sinister and profound metaphot. Containing a universe of anxiety and wonder, this movie is nothing short of immortal. Joshua Rothkopf