As if becoming a new father isn't enough, Balto the half-wolf is puzzled by a recurring nightmare involving a treacherous journey, some threatening characters, and plenty of unanswered questions. Chalk it up to parenthood: nightmare turns into reality when the last of his litter, whom no human will adopt, learns the devastating truth about her mixed heritage and embarks on a dangerous Wolf Quest, with papa Balto hot on her trail. The result is 75 minutes of engrossing action, beautifully integrated songs, well-timed humor, polished animation, and a refreshing tendency to surprise rather than shock. As thoughtfully composed as the original Balto (based on the true story of a heroic Alaskan sled dog), this made-for-video sequel promises to be a deeply satisfying selection for families with 3- to 8-year-olds. -Liane Thomas.

All Dogs Go To Heaven is a musical, animated exploration of the fundamental conflict between good and bad and of the notions of caring and friendship. While all dogs may be welcome in heaven, the open admission policy doesn't necessarily ensure that a dog is worthy of, or even ready to accept his heavenly blessing. When criminal dog Charlie Barker (Burt Reynolds) and his sidekick Itchy (Dom DeLuise) escape from the dog pound, it isn't long before they realize that former business partner-in-crime Carface (Vic Taybak) has turned against them. Carface puts a permanent end to the partnership by killing Charlie, but Charlie ascends to heaven only to spurn his promised life devoid of surprises and fight to return to a life of vengeance, danger, and adventure on earth. When Charlie realizes that Carface has been using the animal-talking talents of young orphan girl named Anne-Marie (Judith Barsi) to further the success of his gambling business, Charlie steals her away and starts his own lucrative business venture. Charlie and Anne-Marie begin to become friends, but Anne-Marie's strong sense of what is right conflicts with Charlie's complete lack of moral standards and puts their friendship at risk. Worse, Charlie's quest for revenge threatens his own life as well as the lives of his friends Anne-Marie and Itchy. (Ages 6 and older) -Tami Horiuchi.

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.

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. [+]

As long as there is a need for adolescent male sexual fantasy, there will be an audience for Heavy Metal. Released in 1981 and based on stories from the graphic magazine of the same name (possibly the greatest publication to simultaneously provoke imagination and masturbation), the film has since become the most popular single title in Columbia/TriStar's entire film library. That's an amazing fact considering just how silly and senseless the movie really is-an aimless, juvenile amalgam of disjointed stories and clashing visual styles, employing hundreds of animators from around the world with a near-total absence of creative cohesion. It remains, for better and worse, a midnight-movie favorite for the stoner crowd-a movie best enjoyed by randy adolescents or near-adults in an altered state of consciousness. With a framing story about a glowing green orb claiming to be the embodiment of all evil, the film shuttles through eight episodic tales of sci-fi adventure, each fueled by some of the most wretched rock music to emerge from the 1980s. The most consistent trademark is an abundance of blood-splattering violence and wet-dream sex, the latter involving a succession of huge-breasted babes who shed their clothes at the drop of a G-string. It's all quite fun in its rampantly brainless desire to fuel the young male libido, and for all its incoherence Heavy Metal remains impressive for the ambitious artistry of its individual segments. Courtesy of producer Ivan Reitman (who'd just scored a hit with Stripes), voice talents include several Canadian veterans of Second City comedy, including John Candy, Harold Ramis, Eugene Levy, and Joe Flaherty. -Jeff Shannon.

Disney's adaptation of the beloved fairy tale became a classic in its own right, thanks to some memorable tunes (including "A Dream Is a Wish Your Heart Makes," "Bibbidi-Bobbidi-Boo," and the title song) and some endearingly cute comic relief. We all know the story-the wicked stepmother and stepsisters simply won't have it, this uppity Cinderella thinking she's going to a ball designed to find the handsome prince an appropriate sweetheart, but perseverance, animal buddies, and a well-timed entrance by a fairy godmother make sure things turn out all right. There are a few striking sequences of pure animation-for example, Cinderella is reflected in bubbles drifting through the air-and the design is rich and evocative throughout. It's a simple story padded here agreeably with comic business, particularly Cinderella's rodent pals (dressed up conspicuously like the dwarf sidekicks of another famous Disney heroine) and their misadventures with a wretched cat named Lucifer. There's also much harrumphing and exposition spouting by the King and the Grand Duke. It's a much simpler and more graceful work than the more frenetically paced animated films of today, which makes it simultaneously quaint and highly gratifying. -David Kronke.

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 excellent theatrical feature is loosely based on the Swan Lake story. Princess Odette, having been turned into a swan by a sorcerer's spell, is held captive at the enchanted lake with friends Jean-Bob the frog, Speed the turtle, and Puffin the bird. Along comes Prince Derek, who becomes involved in liberating her by taking on the villain. The movie has been criticized for being too similar to Sleeping Beauty, but once you're watching it-with its strong characters, entertaining vocal performances (John Cleese and Steven Wright are particularly funny), fine artwork, and action-such complaints are negligible. -Tom Keogh.