Don Bluth's An American Tail is based on the story of a young Russian mouse who is separated from his family in America and who later heads with his reunited kin out to the American West. It's pleasant, though not spectacular, and has its greatest problems in story development. Steven Spielberg produced with an eye toward creating animation hits outside of Disney, and he and Bluth certainly took a big step in that direction here. Kids like it a lot, and adults will warm to the sound of various familiar voices, such as Dom DeLuise as Tiger and Madeline Kahn as Gussie Mausheimer. It's also the source of the pop single "Somewhere Out There. " -Tom Keogh.

An evil sorceress plans to wreak havoc on Swan Lake by stealing the forbidden arts-a treasure that gives its keeper unlimited power. Odette is kidnapped as part of her master plan, prompting a showdown with Derek. Ambitious in narrative only, this potboiler doesn't look like much in contrast to the first film in the series. It's also a shame the producers couldn't bring back some of the original vocal cast: John Cleese and Steven Wright. -Tom Keogh.

After viewing Snow White and the Seven Dwarfs, Edgar Rice Burroughs wrote to Walt Disney about adapting his novel of an ape-man into a feature animated cartoon. Sixtysome years later, the tale is finally told with brilliant design work that looks unlike any previous animated film. The story is a natural for Disney since the themes of misunderstood central figures have been at the heart of its recent hits. Disney's Tarzan doesn't wander far from the familiar story of a shipwrecked baby who is brought up by apes in Africa. What gives the film its zing is its clever use of music (the songs are sung by Phil Collins himself rather than onscreen characters) and the remarkable animation. Deep Canvas, a 3-D technology, was developed for the film, creating a jungle that comes alive as Tarzan swings through the trees, often looking like a modern skateboarder racing down giant tree limbs. The usual foray of sidekicks, including a rambunctious ape voiced by Rosie O'Donnell, should keep the little ones aptly entertained. The two lead voices, Tony Goldwyn as Tarzan and Minnie Driver as Jane, are inspired choices. Their chemistry helps the story through the weakest points (the last third) and makes Tarzan's initial connection with all things human (including Jane) delicious entertainment. Disney still is not taking risks in its animated films, but as cookie-cutter entertainment, Tarzan makes a pretty good treat. [+]

This film contains graphic violence and brief nudity. Known as Gunnm in Japan and then Battle Angel Alita to Western manga readers, Battle Angel (in all of its incarnations) is now part of the canon of Blade Runner-inspired anime cyberpunk. The film version follows a "Hunter Warrior" and cyborg healer named Ido. Ido formerly lived in the floating land of Zalem (Tiphares in the book), the paradise that hovers over the refuse heap of Scrap Iron City in which he now resides with his former lover, Chiren. In his travels as a bounty hunter (killing spine thieves in a world in which human nerve tissue has become the most precious commodity), Ido one day discovers and repairs the remnants of a cyborg whom he names Gally (Alita in the manga). Though possessing the body of a young woman, Gally embodies Ido's most sophisticated and lethal cybernetic skill. In the first episode on the DVD, "Rusty Angel," Gally challenges Chiren's own creation, Greweicia-a brain-eating gladiator-to a death match. In "Tears Sign" Gally discovers that her first love, Yugo, has put himself in the employ of the spine trader Vector so that he can earn his way, he thinks, to Zalem. Gally confronts her fellow bounty hunters to protect Yugo, only to watch him horribly wounded in a plot to capture her for Vector. Yukito Kishiro's finely detailed line drawings in the original manga (like a cleaner version of Miyazaki's style in the Nausicaa books) are impossible to translate into film. [+]

"I would've gotten away with it if weren't for you meddling kids!" Equal parts remake and spoof, this tongue-in-cheek live-action resurrection finds the old Saturday-morning-cartoon gang reunited to investigate the zombie teens of a haunted amusement park. Frantic action and big-screen special effects stand in for logic, but for a while it makes for a spirited send-up. Freddie Prinze Jr. , under a blond hairdo and an ascot, turns Fred into a preening pretty boy, and Sarah Michelle Gellar plays with her own Buffy image as eternal damsel-in-distress Daphne (in magenta mini-dress and maxi-boots, no less), but this show belongs to gangly Matthew Lillard, who is the adenoidal beatnik Shaggy. His loyal-to-the-end friendship with the computer-animated Scooby-Doo is the most convincing relationship in the whole two-dimensional goof. Some of the supernatural nasties may be scary for young kids and the humor careens from winking self-awareness to Scooby doo-doo gags, but otherwise this is as harmless as a Saturday-morning chapter and as substantial as a Scooby snack. -Sean Axmaker.

A minor classic from Disney, this 1973 all-animal, all-animated musical version of the familiar story is more charming than one might expect. Perhaps it's the warm, chummy take on key relationships within the legend-the way Robin Hood (Brian Bedford) gets twitterpated whenever the subject of Maid Marian (Monica Evans) comes up or the way best pal Little John (Phil Harris voicing a variation on his own Baloo from The Jungle Book) admonishes the Sherwood Forest hero, "Aw, Rob, why dontcha just marry the girl?" (Then, of course, there's the canny "casting" of the romantic leads as foxes: Robin the sly one and Marian the, well, foxy one. ) The rest of the vocal cast is lively and eclectic: Peter Ustinov, Andy Devine, Terry-Thomas, George Lindsey. Roger Miller provides the songs and voice for the minstrel character Allan-A-Dale. The film is ably directed by Wolfgang Reitherman, whose decades of work in Disney's animation division helped create the studio's rich legacy. -Tom Keogh.