In the first of these two animated adaptations, both gently narrated by Vanessa Redgrave, Moley, Mr. Toad, and the rest of the right, proper riverbank battalion are portrayed tastefully, wittily, and with charm by the bucketsful. True to the tale, Mole abandons his modest home in favor of an apprenticeship on the ways of the river alongside knowledgeable Rat; Toad's enthusiasm for motorcars earns him a 20-year sentence; and young Portly the otter goes missing, giving everyone a scare. The lushness of Kenneth Grahame's writing is preserved throughout-those enchanted by the classic kids' story needn't be wary of memory muddling. Next up is the sequel, usually a letdown, but here a thrilling (though less literary) ride. If The Wind in the Willows tugs viewers through the river reeds with its graceful, enchanting words, The Willows in Winter hurtles them along with its bumpy adventures, all linked to the restless, irascible Toad. This time, the wily bugger takes to the skies in a search for Moley, who's lost in a river-swelling winter storm. Along the way he loops-the-loop one time too many, sending passenger Ratty tumbling. Then there's the small matter that he swiped the plane he's piloting, an offense punishable by a lengthy prison sentence. Well-connected, formidable Badger bails him out, but a lesson on humility awaits the shifty amphibian back at Toad Hall. [+]

The folks at Pixar can do no wrong with Monsters, Inc. , the studio's fourth feature film, which stretches the computer animation format in terms of both technical complexity and emotional impact. The giant, blue-furred James P. "Sulley" Sullivan (wonderfully voiced by John Goodman) is a scare-monster extraordinaire in the hidden world of Monstropolis, where the scaring of kids is an imperative in order to keep the entire city running. Beyond the competition to be the best at the business, Sullivan and his assistant, the one-eyed Mike Wazowski (Billy Crystal), discover what happens when the real world interacts with theirs in the form of a 2-year-old baby girl dubbed "Boo," who accidentally sneaks into the monster world with Sulley one night. Director Pete Doctor and codirectors David Silverman and Lee Unkrich follow the Pixar (Toy Story) blueprint with an imaginative scenario, fun characters, and ace comic timing. By the last heart-tugging shot, kids may never look at monsters the same, nor artists at what computer animation can do in the hands of magicians. -Doug Thomas.

Just as A Bug's Life was a computer-animated comedy inspired by Akira Kurosawa's The Seven Samurai, the funny and often enthralling Ice Age is a digital re-imagining of the Western Three Godfathers. The heroes of this unofficial remake (set 20,000 years ago, during the titular Paleolithic era) are a taciturn mastodon named Manfred (voiced by Ray Romano), an annoying sloth named Sid (John Leguizamo), and a duplicitous saber-toothed tiger, Diego (Denis Leary). The unlikely team encounters a dying, human mother who relinquishes her chirpy toddler to the care of these critters. Hoping, against all odds, to return the little guy to his migrating tribe, Manfred and his associates need to establish trust among themselves, not an easy thing in a harsh world of predators, prey, and pushy glaciers. Audiences that have become accustomed to the rounded, polished, storybook look of Pixar's house brand of computer animation (Monsters, Inc. ) will find the blunt edges and chilly brilliance of Ice Age-evoking the harsh, dangerous environment of a frozen world-a wholly different, and equally pleasing, trip. Recommended for ages 4 and up. -Tom Keogh.

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.

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. [+]

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.

Since the first chapters debuted as a direct-to-video release in 1990, this sprawling sword-and-sorcery epic has delighted fantasy fans with its ancient prophecies, lost kingdoms, enchanted swords, dragons, and wizards. The tangled story line borrows heavily from The Lord of the Rings, the Star Wars films, and numerous other fantasy works. Six mismatched characters find themselves thrown together to protect the land of Lodoss from imminent destruction: Parn is the impetuous young warrior with heroic potential who typifies the genre; in place of the usual spunky girl, there's Deedlit, an elf with magical powers. They're joined by Etoh, a young priest and healer; Ghim, a dwarf-warrior with a heavy heart; Slayn, a wizard in training; and the rascally thief Woodchuck. Their allies include the dashing lord of a desert realm, a mercenary and her Berserker companion, and a benevolent, Arthurian king. They're pitted against an array of villains that includes human warriors, an evil sorcerer, dragons, kobolds, zombies, and Karla, the mysterious "Gray Witch" [sic]. An elegant art nouveau sensibility runs through the designs of Lodoss War, especially the extravagant armor of the warriors. But the film lacks a coherent plot, probably the result of producing so much animation in a short time with multiple directors. Characters are forever dropping in and out of the story: the initial villain, the evil emperor Beld, is replaced by his henchman, Ashram, who is superseded by the dark sorcerer, Wagnard. The last three episodes build to a titanic climax that leaves a lot of plot points unresolved. [+]

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. [+]