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FANTASIA 2000 was made during the beginning of the end for The Walt Disney Company's feature animation department. Since POCHAHONTAS Michael Eisner and his friend-filled board of directors had continually ruined many a project and tried to force in their false ideas that cheap and comupterisation win over audiences instead of heart, creativity, and devotion. With the exception of the excellent crew at Disney Feature Animation Orlando (Mulan, Lilo & Stitch) all of Disney was plagued by power struggles and the loss of most of the creative team that had revived feature animation in the early 1990s. Roy E. Disney, Walt's nephew, was the sole light of hope for the animators in Burbank and the only thing standing in Eisner's way. Desperate to live up to his uncle Walt's legacy and inject some much-needed creative energy and passion, he personally produced FANTASIA 2000, the realisation of Walt's original dream to make FANTASIA a true concert picture; upon every reissue, there would be new segments mixed with some old favourites. Using new tools, looks, and ideas, and with Disney defending the vision of the directors and animators, this was the last film (Lilo & Stitch aside) to be worthy of the Disney legacy.

The effort to save their craft and live up to their forefathers is present from all the divisions involved in FANTASIA 2000. Roy Disney and his crew were determined that this would not be another Eisner rip-off, quick-cash sequel, and they succeeded marvelously. The animation here is overflowing with beautiful detail and as much passion, creativity, and innovation as the original film in 1940. Traditional cel animation dominates, blending seamlessly with mild use of CGI. Of all the elements Walt possessed that the company has not fulfilled without him, it is trying new techniques in animation and taking risks. Nephew Roy finally brings this spirit back.

The opening number is rather original and goes well with the music. The most memorable segments, "Pines of Rome" and "Rhapsody in Blue," come very early and are back to back. The whales in flight and carefree jazz designs are some of the most beautiful images of recent years for the Mouse House. "The Steadfast Tin Soldier" is a nice, light piece. One can't help but feel it might better be suited for a full-length Disney feature. "Carnival of the Animals" and James Earl Jones's lead-in to the flock of flamingos and their yo-yo is extremely charming and very fun to watch. "The Sorceror's Apprentice" still hasn't lost its magic, and Donald Duck as Noah's assistant in "Pomp and Circumstance" gives a second classic Disney character the chance to shine with the music. Then comes our final piece, "The Firebird Suite." Dramatic, compelling, lush, and beautiful, this is what many the film ruined by Eisner and his cronies deserved to be.

As the last hurrah for Roy and his boys, it's hard to say anything bad about this film, especially considering all that went into it. It must be admitted, however, that some of the celebrity hosts are annoying (though James Earl Jones and Angelena Lansbury are wonderful). Although shorter than the original by a considerable amount of time, it never feels confined or cramped, but the last few segments do seem a bit rushed.

This is a beautiful and touching film, made all the more special when one understands the circumstances and motivations behind it. Roy Disney has proved himself in so many ways in the past, and his team's work on FANTASIA 2000 is no exception. Walt would have been proud.

Perhaps this is a bit early for reviewing the series; there have only been three episodes so far; but I quite enjoyed Butch Hartman's latest series DANNY PHANTOM. He definately wanted something different from THE FAIRLY ODDPARENTS. This show is a blend of action/sci-fi cartoons, teen shows, and the wacky, whimsical, unpredictable humor of FOP. It pulls off quite nicely. Each of the characters shows promise, and Danny, Sam, the principal, and Danny's dad have already endeared themselves to me. The action scenes are well-animated and the character designs are nice, if in the mould of FOP. All in all, quite a well-done piece of work. Keep up the good work, Mr. Hartman!

While I enjoyed the first X-MEN, it just didn't feel enough like a full-length movie to me. There was a lot of material to introduce, there were several things that were unrefined and not as good as they could be, and I think this might have been because of the music, but the film just reeked of a typical action film style. It had a good story, and it was much more science fiction then action, but it felt too much like another action film. Bryan Singer's direction didn't have much style, it went by too fast, and there was just so much about it that made it feel incomplete and not really a movie. X2 solves all these problems.

Loosely based on the X-Men book GOD LOVES, MAN KILLS, X2 raises the bar from X-MEN and goes above and beyond expectations. The film has much more style to it, it's longer, it feels more like an epic, and the action, special effects, story, characters, acting, direction, and music are all so much better than X-MEN. The film has spiritual messages within and maintains the underlying message of the X-Men universe; the irony and evil of racism and being against the very people who want to help you. As always, the X-Men are hated and feared by the world that they are sworn to protect. Unlike the first film, the X-Men fight not for humankind, but for their own kind.