When Walt Disney was just 19 years old, animated cartoons were an established novelty on the movie theater program. And while working at The United Film Service Company in Kansas City, he began experimenting with animation, as seen in NEWMAN'S LAUGH-O-GRAMS (1920) and PUSS AND BOOTS (1922). Examples from OUT OF THE INKWELL, AEASOP'S FABLES and FELIX THE CAT are among the examples of Disney's formative years seen in this program.

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.

Robbie the Reindeer is as short as many of the made-for-TV classics that have preceded it, like How the Grinch Stole Christmas, but so much action, zippy dialogue, and witty visual puns have been packed into its 29-minute running time that you'd swear it was longer. For this reason, it also stands up to repeat viewing better than some of the more straightforward programs of recent years, although it is directed toward a slightly older audience-age 10 and up-due to some sexual innuendo. Whether Robbie will become a holiday perennial in the U. S. is yet to be seen, but he appears to have won the hearts of the U. K. and shares a lineage with another stop-motion favorite, Rudolph, the Red-Nosed Reindeer. Robbie just happens to be Rudolph's son, and Pop is keen to see his lovable-but lazy-progeny follow in his famous hoof prints. Adults may get a kick out of the fact that the story line was actually inspired more by Rocky than by Rudolph. As in Rocky, there's a supportive female (Donner) and a crusty old trainer (Old Jingle). [+]

This straight-to-video sequel to The Swan Princess concerns the kidnapping of Prince Derek's mother, a crime that lures the prince into danger himself. Princess Odette can save him-but only if she becomes a swan herself. Even given the lesser ambitions and budgets afforded direct-to-video sequels, it's hard to accept that this boxy, unexciting movie has the same director (Richard Rich) as the fine, first feature in the series. More like a Saturday-morning cartoon than a real film, this is a disappointment, though kids who couldn't care less about scale might get caught up in the story. -Tom Keogh.

This charming British animated short film (it's just 23 minutes long) is a 1982 production of London's Channel 4, based on the classic children's book by Raymond Briggs and crafted with a colored-pencils-on-paper look, like fluffy, hand-drawn illustrations. Small children should be entranced by the story of a small boy in rural England whose lovingly constructed snowman comes to life and takes him flying over the white-blanketed landscapes, in a beautiful rotoscoped (traced) sequence based on live-action flying footage. Part of the charm of the film is the gentle, everyday quality of its fantasy adventures: the snowman is invited in to try on clothes and play with the Christmas decorations, then plays host to the boy at a party in the woods, at which his snowy relatives do English country dances. This is one of the very few Christmas tapes on the market that really deserves to be a holiday perennial, a gentle fable of friendship and the power of imagination. -David Chute.

Ethan Hawke, fresh faced and full of determination, tackles the icy wilds and rowdy boom towns of Alaska in Disney's 1991 adaptation of Jack London's turn-of-the-century gold rush classic. Though somewhat tamed for young audiences, the story of a city kid who befriends a feral half-wolf/half-dog orphan while learning to survive the dangers of nature and man has its share of peril and rousing scenes of wilderness adventure. But the humans are upstaged by both the animals (the standoff between White Fang and a wild brown bear is a highlight) and the Alaskan landscape, from the snow-covered mountains and frozen lakes of winter to the rich green forests and whitecap rivers of summer. The scenes of dogfights and wild wolves hunting game are carefully shot to avoid bloodshed (the opening disclaimer takes pains to remind viewers that all such scenes have been simulated), but they may still be too intense for young children. Recommended for 9 and up. -Sean Axmaker.

Dinosaurs come alive like never before in this costly computer-animated film from Disney. After a breathtaking opening (a dino egg is kidnapped), the film changes style; realistic dinosaurs are given human characteristics and voices. The kidnapped egg grows into an iguanodon named Aladar (voiced by D. B. Sweeney), who is raised by lemurs (shades of Tarzan) on a lush island void of other dinosaurs. When a meteorite destroys their island home in a thrilling sequence, the lemur family and Aladar become part of a dinosaur troop roaming the mainland deserts looking for the lush nesting grounds (shades of the fourth installment of the Land Before Time series and Fantasia). Disney's usual mix of modern language (one lemur calls himself "a love monkey") is present, as is its typical capital punishment law: anyone against our forward-thinking hero (or even disagreeing with him) ends up dead. Curiously, the meanies, a pair of carnotaurs following the group, are nameless and voiceless. This more realistic approach might have been a bigger wow, as in the BBC's Walking with Dinosaurs, which looked extraordinary with only a fraction of the budget. The complexity and scope of Dinosaur's visual scale is impressive, and group shots and a point-of-view angle are stunning. [+]