Amazon.com

There is more pure, unadulterated joy in just the opening montage of classic moments and characters from Chuck Jones cartoons than in most recent feature films. Jones is the best known of the Warner Bros. stable of legendary animators. He is certainly the most honored. After winning three Oscars, the Academy in 1996 bestowed upon him its Lifetime Achievement Award. With impeccable comic timing and design, Jones redefined "character animation," creating the definitive screen personas of Bugs Bunny, Porky Pig, and Daffy Duck. He also unleashed on the world the Road Runner and amorous skunk Pepe Le Pew. This documentary--all-too-brief at 85 minutes--contains a generous sampling of clips that span Jones's career, from his early "aggressively cute" Disneyesque cartoons ("Sniffles Takes a Trip") to the masterpieces ("Duck Amuck," "One Froggy Evening"--hailed here by no less than Steven Spielberg as "the Citizen Kane of animated shorts") to the post-Warners book adaptations, "How the Grinch Stole Christmas" and the Oscar-winning "The Dot and the Line." But that's not all, folks. Jones reflects on his work and the method to his madness. There are also insightful appreciations by animators (Simpsons creator Matt Groening, Toy Story director John Lasseter), historians (Leonard Maltin), and some of Jones's biggest fans (Whoopi Goldberg, Robin Williams). This portrait of the man who would be Bugs (but who admits he is more akin to Daffy) was presented on the PBS series Great Performances, but perhaps American Masters would have been more fitting. "Chuck Jones is a given in our culture," Groening remarks. "You wake up in the morning and you know Bugs Bunny is out there doing something." --Donald Liebenson ... Read more

Reviews (11)

A must for film-majors and for all grown up children
This DVD is a must for all film majors and any one else interested in the art of animation! Not to mention Sociologists. In fact, any one who recalls with fondness those hours spent in movie houses or before a TV screen watching Jones' cartoons.

Being of the age I am, I grew up watching Bugs Bunny and Daffy Duck fighting the Axis all through World War II, and I was as influenced by their antics as much as a German child would be by the tales of Grimm. After all, how many real life heroes did we have? Joe DiMaggio and General MacArthur? (In fact, how many today? That is why we spend so much on Batman, Spiderman, and Indiana Jones films.)

Now among the greatest of the animated cartoon series was that of Merry Melodies and Looney Tunes, and possibly the greatest animator of them all was Chuck Jones, the inventor of Bugs Bunny, Porky Pig, Daffy Duck, Pepe Le Pew, the Coyote and the Road Runner, and others that still make children (and grownup children) laugh with delight. Having missed the PBS special a few weeks ago, I was very happy to receive the DVD recording of "Chuck Jones: Extremes & In-Betweens, A Life in Animation." With an 85 minute running time, this disc gives us the highlights of and insights into the genius called Jones.

Copious scenes from the cartoons are shown and analyzed, both from a technical point of view and as an extension of Jones' personality. From the talking heads of such notables as Robin Williams, Woopi Goldberg, Leonard Maltin, and Steven Spielberg, we get their impressions of what made these cartoons truly funny. But more important are the technicians and artists who actually worked at Warner Brothers back then, with whom we explore the major cartoon characters as well as such aspects of cartoon-making as animation, backgrounds, timing and dialogue, and background music.

Among the "special features" is about a half hour of what seems to be out-takes from the feature film, providing a very informative handbook for would-be animators. There is also a bonus of two complete Jones classics, "Feed the Kitty" and "Duck Dodgers in the 24 1/2 Century."

And, yes, you will enjoy this immensely regardless of your major.

A Good Guide to the father of Warner Brothers animation....
In 1937, with the huge success that Walt Disney studios was having with the Mouse, Warner Brothers decited to get into the animation business too, with Leon Schensinger creating the animation department of Warner Brothers and hireing a team of animators to do the cartoons. Among them Tex Avery, Fritz Freling, Robert McKimson, and Chuck Jones. By 1941, Warner Brothers had surpassed Disney in the amount of animated short cartoons that they were making and getting to theaters to be shown alongside the main Warners features. Chuck Jones was the most prolific of the Warners animators and had a long career doing cartoons from his days at Warner Brothers from the 40's to the early 60's. Then going to MGM and working on specials like Grinch, and then finally back to Warner Brothers in 1988 where they gave him a life long contract to continue to do Looney Tunes cartoons for the remainder of his life. The vast amount of work that he did for Warner Brothers. Doing Bugs Bunny and Daffy Duck cartoons and for the many other Looney Tunes charecters, is still unsurpassed in the history of American animation and has been of lasting importance for both Warner Brothers (who continue to do new Looney Tunes animation to this day) and for everyone who are fans of these characters and can never get enough of them.

Chuck Jones-Extremes and In-Betweens, A Life in Animation
I was somewhat disappointed to find only a snippet of "The Dot and the Line" and "One Froggy Evening" instead of the entire feature. I have been searching for these cartoons, without success for years and thought I'd finally hit the jackpot. But it was great getting an insight into the genius of Chuck Jones and hearing what other big stars thought of his work. It's a must see for anyone interested in the process of animation.

Cliff Notes on Chuck Jones' cartoons
This documentary is basically a 90 minute condensation of the work of Chuck Jones. Comprised of neat interviews, clips for cartoons, and photographs, this is a surprise for many.

The quality of the video is excellent... it's non-anamorphic 1.85:1, but it was made that way. Upconverting the image wouldn't result in more resolution. You see 100% of the resolution for the video parts. All cartoons are presented at 1.33:1, windowboxed within the 1.85:1 frame.

The extras include a 15-minute "tutorial" which is a facinating look at the process of animation. It seems to be an outtake from the documentary. There are pencil tests for How The Grinch Stole Christmas and Mississippi Hare, as well. That's not all! Two complete Jones cartoons are provided: Feed The Kitty and Duck Dodgers in the 24 1/2 Century. Both are in perfect condition, with gorgeous Technicolor color.

This is a must-own for any animation fan...

A great film about a brilliant man
Chuck Jones, like Charles Schulz and Carl Barks, is one of those pure artistic geniuses who would be hailed as a Shakespeare or Michelangelo if not for the fact that the medium they work in is so frequently and unjustly frowned upon by elitists.

Jones, the director of the greatest "Looney Tunes" cartoons, several Tom and Jerry shorts and lots more, including the animated version of "How the Grinch Stole Christmas," was the greatest animator America ever produced. This documentary, produced a few years before his death, is a wonderful look at his life, how he shaped the cartoons and how he shaped the work of others such as Ron Howard (whose live-action "Grinch" borrowed liberally from the Jones version). The film includes conversations with Jones himself. Best of all, it is sprinkled with snippets from all of Jones' greatest cartoons, from "What's Opera Doc?" to "Rabbit Seasoning."

If you love the Looney Tunes and you want to learn about the man who made them greater than anyone else, you've got to check out this film. ... Read more

Description

The classic Chinese story, "Journey to the West" is all about Monkey King, a most unlikely hero, on a most extraordinary journey.This fantastic 72-minute feature will introduce you to the Monkey King and his loyal companions: Pigsy, Sandy, and the monk Tripitaka. Join them as they travel together on incredible adventures, encountering dangers of every sort, and watch as they use their magical powers to make sure that good always conquers evil. Originally produced in Chinese by CCTV, this series was China's most popular animated television series in 1999. Subsequently co-produced in English by CCTV and CINAR Corporation, all the characters now have their own English voices. Chinese children have known and loved the Monkey King for generations, and now your child can share in the fun and classic adventures of this amazing super hero! ... Read more

Reviews (2)

Great Movie:Weird Translations
I have the Chinese version of this movie and if I translate into English the names are totaly wrong. The Monkey King is supposed to be Sung Wukong, the pig is suposed to be Zhu Bajie and the monk with the big beard's name should be Wujing. Finally the monk's name is suposed to be Tang Sang Zhang instead of whatever the English version calls him. It's a good movie but lots of things are wrong in this version which makes me mad!!!!!!!

Pretty good but version description misleading.
My kids enjoyed watching this English version (very entertaining) but they were a bit disappointed that the storyline did not go so far as described on the cover --- Monkey does not yet meet Pigsy & Sandy and only just met Tripitaka when the movie ends. ... Read more

Reviews (226)

An Incredible Amount of Depth for a Film
Almost invariably, "Waking Life," the 2001 animated film from Richard Linklater is described as 'original.' For once, this oft-overused moniker is accurate: there isn't anything quite like this movie. It advertises itself as a series of philosophical vignettes, which range all over the subject spectrum but are usually united by a common thread of meaning: that of dreams and the reality of the 'dream world.'

A film based upon that premise could easily fall into the highschool-discussion/drug-induced-nonsense level of discourse, but "Waking Life" plunges headlong into the fray without batting an eye. Fairly early in the film, pretentious philosophy is dismissed with a nice rebuttal to the sophomoric question: "What if you're just a construct of my dream, and exist only in my mind?" "Well, then I'm as real as anything else." And that's the starting point for a meditation on the meaning (if any) of dreams, and some of the dreamlike things people encounter in their daily lives.

"Waking Life" is also animated, using a pretty unique form of animation: each scene was shot, and then "drawn over" by animation artists in a variety of styles, from expressionist art to nearly-photographic digital renderings, depending on the mood of each scene. The result is something that resembles an acid trip or a hallucination, where tables of restaurant patrons float above the ground, faces change while moustaches stay the same, and the background is in a near-constant state of flux. It can get nauseating after a while, but the overall effect is subtle enough not to draw attention from the content of the film, which is a rare quality for so-called "art" films. It's almost a crime that "Jimmy Neutron" was nominated for "Best Animated Film" while "WL" was not.

Because of these varied qualities, "Waking Life" isn't for everyone, and certainly gets a "rent-if-before-you-buy-it" caveat. The DVD presentation is as good as one could want: an anamorphic widescreen presentation with crisp colors and a 5.1 soundtrack (not that philosophical conversation requires dynamic sound), and a nice helping of extras. Don't write "Waking Life" off as something smart people (or those who pretend to be smart) will enjoy and yack about - it's just not the average, everyday film and requires an attentive mind and (perhaps) multiple viewings to fully enjoy. For those willing to take the plunge with an open mind, "Waking Life" is a rewarding film experience.

Final Grade: A

Glorious
"Waking Life" is so full of ideas, one flowing to the next, it really does feel like some sort of lucid dream. The animation adds to the overall vitality of the film. It jumps off the screen, challenging the viewer to wrestle with these questions, to take responsibility for his/her existence for at least a couple of hours. There is a sense of urgency bordering on desperation as the dream continues and the search for a center, for some kind of clear understanding begins to seem endless.

There is so much here to absorb, you can really loose yourself completely in the film. At one point, we watch two men discussing the nature of film as an art form (I can't remember who they were) and then the perspective widens and we see that they are, themselves, on a movie screen in a theater with our main character as its sole occupant, which makes sense since it only exists in his mind - in his dream. Of course, we are also in a theater watching the film, adding another level to this already multi-layered context.

After seeing this movie, I felt thoroughly invigorated. I wish there were more films like this.

This review reflects the film, not the DVD
which I assume I'll review again once I buy it.
Waking Life is for the most part, a successful experiment, that is beautiful to watch unfold. I'm a pretty big Richard Linklater fan, from Slacker, Dazed and Confused, Before Sunrise, and even School of Rock (I've yet to see Tape or the Newton Boys, however). I like him, because he seems to have a real love for making movies. But also, he seems to have a love for life. Think about it, not counting School of Rock most of the movies above are about wandering (and wondering) and talking and learning, and living. I don't think this movie is pretentious because that would imply Linklater is trying to be something he's not-and he is not doing that. He genuinely cares and is interested by these ideas, and I think if you thought this movie was pretentious, you weren't watching it close enough.
Yes, the movie is fascinating to watch. Different animators were brought in for every scene, right? Well, it shows. Sometimes, the scenes have a strong abstract feeling (like the scene with Wiley and the red-headed woman) where the characters have rough geometric shapes and blank or abstract backgrounds. Sometimes, they're very realistic (like Ethan Hawke/Julie Delpy scene). All of it is great to watch, however.
The "plot" of this movie, is that Wiley Wiggins is in a dream from which he cannot wake up. He floats and flies (on occasion) from scene to scene, and each scene features someone talking to him about anything. However, he's not in every scene, so some of the movie (in my opinion) is even more abstract than that: it's just a film about dreaming and living, sometimes starring Wiggins. Follow? Good.
And now for the scenes themselves. Most are good, and sometimes even enthralling. The best scenes in my opinion are scenes that unravel like someone telling you a great story (the ones that immediately come to mind are the ones with Wiley and the two guys that explain to him how you know you're in a dream, and the one at the very end with Linklater himself). Some are a little long-winded but none are boring, if only because of the great animation.
The only scenes that give me trouble are the one with the prisoner planning revenge, and the scene with the bartender telling the man about how he almost got killed (which ends bizarrely). I just don't know what to make of them.
The worst part of the film is that, yes, you are basically watching people talk for about ninety minutes. Until the end scene with Linklater, it can be a tad grating (especially on a first viewing) towards the middle-end, but you'll keep watching. I think this movie uses the film medium to its extent...I mean, can you imagine reading the novelization of this movie? It strikes a balance between abstract but watchable. If I have another problem it's that I wish it could be a little more exciting, like if the stories being told were visualized, but that would mean changing the whole format of the movie and going for something more obvious.
This movie itself is like a dream. It leaves you feeling a little dazed at the end and you're not quite sure what to make of it. It sure is inventive though and unique, though. I like Waking Life because it's full of ideas and original thoughts, maybe too many of them, which is why it's not exactly a masterpiece but certainly not a movie to pass over like so many bad Hollywood pieces of junk. I like it because it's a movie that has too many ideas, instead of too few.

Beautiful but boring!!!
Richard Linklater has made some good movies and I appreciate what he's trying to do here, but the film was downright excruciating to watch. I can't imagine anyone finding it interesting, but apparently, many do. Maybe Philosophy itself just bores me. I did think the animation was cool, and the Ethan Hawke, Julie Delpy Before Sunrise scene was inspired, otherwise, this film is better left on the shelf. It is definitely not for all tastes.

The best how to do animation DVD in the World
The real utility of this DVD - "Waking Life" - is that it is the ultimate "how to" book for any would be animator in this 21st century and a counting.

My comments arise from how I watched it - first without any of the special features, then I watched it with the text-feature, third I watched the movie under the animation and then I watched the special feature in which I watched the explanation by the director of how he had done things with the computer and why he had done so - or rather how he had managed to direct over twenty different animators and get it as seamless as he did - tips like taking the color from the movie instead of from the palette. I suppose if one animator did the entire movie that would be less an issue. As it is you may note that some of the other reviewers still note the movie is not seamless and no it is not but many of the methods that the director explains make it more so than would otherwise be so.

There is I suppose a message and medium issue - as for the message whether it is philosophy made simple or existentialism made simple to just concision is up to the viewer - If you view it 5x as I have you see how animation makes it work where the film does not - in the film there is too much information in how the speakers really look - each one could have been a movie in themselves and I can recommend the DVD to point new viewers to these ideas towards the real speakers - if you watch the film with the text on you can capture the names and hence go deeper - as it is - it is an astonishing concision of the meaning of lucid dreaming, cognitive science, existentialism and the big questions. And as the animation holds it together you hear not one speaker but twenty. And that is what makes it so extra-ordinary. The director tells you how they do that. I mean how they animate - it is amazing and an incredible act of kindness to share method. Wow wow. ... Read more

Amazon.com

The visual diversity of these striking personal films reflects JohnCanemaker's encyclopedic knowledge of animation history: the artist-author drawson the work of John and Faith Hubley, Oskar Fischinger, the National Film Boardof Canada, and the Disney tradition of character animation. In "Bottom's Dream,"a meditation on "A Midsummer Night's Dream," Canemaker blends pastels, pencil,water color, and cels to evoke the clown's bewildering experiences. He employssimilarly mixed media to explore the stream-of-subconscious ramblings of wannabeperformers in "Confessions of a Star Dreamer" and "Confessions of a Stand-Up.""Bridgehampton," an evocation of the changing seasons, is a genuine rarity--anindependent film the viewer wishes was longer. Canemaker is best known foradapting the look of children's artwork, which he uses to heartbreaking effectin two moving clips from the special "Break the Silence: Kids Against ChildAbuse." Unrated: Suitable for ages 10 and older. Mature themes. --CharlesSolomon ... Read more

Reviews (1)

Getting this Item
Before I got this item and saw It I was curious on what episode 16 was gonna be about cause I only liked yu-gi-oh for 9 months and I barley saw any episodes with Karate and caticisom I'am soooo busy!Anyway I really liked it cause I'am a big fan of Kaiba a charecter in Yu-gi-oh cause he's a computer geinous so am I.Plus me being a girl it is unusual to like Yu-gi-oh but anyway i think it is a great item for kids and adults ... Read more

Reviews (1)

OH MY GOD THEY DISAPPOINTED ME.!
Great anime but they disappoint me so. I won't tell you really why but over all it was great. Tell the end of this tape. I would give it like four but it deserves so much more than that, So you are still my favorite anime of all times. Come on I thought this ANIME SEREIS WAS SUPPOSE TO BE DIFFERENT, THAN OTHER ANIME. Ok it has some great twists and creative plots. But it ended like I hope it didn't. Anyways it was still heart warming and to see Yusuke finally getting somewhere with his power and in touch with his emotions. Kuwabara starts to show his powers of sight & he has a great sense of honor in him. I would give his life for a stranger. Hiei thinks Kuwabara is stupid for his honor of a man. In away Hiei also admires it, but he will never say.
Hiei and Kurama don't not fight in this battle. They was ambushed by the other team. So Yusuke, Kuwabara, and the mask fighter must fight on their own, with out the help of the demon allies. Kurama is so smart and so handsome, Hiei is so damn cute.
Yusuke is a smart mouth from HELL. I love that dudes personality.
There are 4 complete Episodes on this tape.
33).A Day in Waiting
34).Percentage of Victory.
35).Glimpse Beneath the Mask
36).Ambition Destroyed: A Trial of Light
But In the end this is a series that should collected. I have tape so far of what they released and still collecting them.
That's it for now. See Ya.
YU YU HAKUSHO SO RULES. ... Read more

Reviews (3)

Cute and unexpectedly funny
I thought Hamtaro was just another Hello Kitty clone, but boy was I wrong. This series is fall-down ROFLMHO hilarious. True, the stories are all at a pre-K to 2nd grade level, and the characters are all unbelievably sweet and nice... but there are moments that will tickle viewers of all ages, even if they profess to be too cool for such unbridled cute. My only complaints are really about the R1 DVD release - there are only 3 episodes per disc, there's no Japanese track, and it's obvious that some central plot elements have been significantly altered for American audiences, which is just a shame. Hence the 3-star review.

bring on the hamhams
Both my children love these cartoons. My three year old can sing the entire theme song. A cute cartoon for little children with out the crash and bang of more frentically paced kid's stuff but offering a good story and friendly characters.

WOW!!!
I love the ham-hams! It's hamtaro time! hamtaro! Little hamsters big adventures, Ham-ham Hamtaro! ... Read more

Reviews (9)

Hamtaro Rocks
This DVD is great! It has everything you could want in a DVD and more including the three episodes, captions, and an epiosde scelection menu. For all those who are not going to buy this because of other reviews please reconsider! I love this DVD and you should also.

get a life
Why would you buy this dvd if you didn't already know and love Hamtaro? Considering this is the fourth dvd, why are you buying this, just to get online and write bad reviews? I LOVE Hamtaro. This is awesome, it just makes you happy to watch. Who cares if the animation isn't quite Matrix? It's a kid's show!!!!! Get over it, Hamtaro is awesome and you know. You're just afraid to admit it.

Awesome!!!
This is a great movie! Don't listen to anyone who says it isn't! It is a wonderful movie for kids and has not only values, but is alot of fun,too!

Hamtaro
This movie and all Hamtaro shows are great. Don't listen to those biased "tough guys" who say, "This show stinks!" and stuff like that. Its not true and this is the greatest show ever made!

all of the hamtaro merchandise are great!
i have a lot of hamtaro merchandise and i find them all to be 5 stars. they're sweet and funny and worth every dollar. for the people who didn't like it, maybe they just lack a sense of humor and are too jaded by life. furthermore, maybe it would have helped if they either knew more about hamsters (at least the spelling of it) or actually realized they were not MICE. ... Read more

Amazon.com

Spider-Man vs. Daredevil isn't a question of vs. for verylong, as they soon get over their initial misunderstandings and team up tobattle the Kingpin. It parallels the original Marvel comics on which the storyis based, which also saw the corpulent crime lord becoming the nemesis of bothheroes. Several more of their arch-foes, such as the Chameleon, also put inappearances in a plot that revolves around Peter Parker accepting a job offerfrom philanthropist Wilson Fiske, not realizing that Fiske is in fact... butthat would be telling. Suffice to say that Daredevil has at least some of theanswers.

This whole generation of Marvel animations, which began with the groundbreakingX-Men series, is of an extraordinarily high quality. Their visual styleis influenced by the best of the comics' artists, the protagonists are properlyfleshed out, and--proving that cartoons don't have to be dumb--the plots andstory arcs often have the kind of sophistication you'd expect from the best kindof adventure novel. This example is typically faultless in execution and, unlikemost Saturday-morning fodder, bears repeated viewing. --Roger Thomas ... Read more

Reviews (8)

Bad Title But Good DVD!
This features my favorite Marvel Team Up ever! Whenever Stan Lee and Co. used to put together Spider-Man with Daredevil in the comics, it was always entertaining and exciting. Even the bad stories were still good with these two! This animated version is no exception as these two team up after a brief misunderstanding to take on the Kingpin (a major DD foe as well as Spider-Man) and his goons!

The extra episode with FF and Daredevil was also entertaining. A slight lighter DD in that one but no less intrigiging. A good addition to the other Spider-Man DVD's out there!

By the way, I agree with the previous reviewer. It should've been called Spider-Man: Enter Daredevil.

Spider-Man Teams Up With Daredevil!!!!!!!!
It's a great animated film based on the ABC family animated series.Too bad it didn't have my two favirote villians of all time Kraven The Hunter and Venom.Anyway good film BAD title I have it on DVD it should be called Spider-Man:Enter The Daredevil becuase they only fight eachother for fifthteen seconds then they team up!The villians are Kingpin,Smythe,Dr.Landon,The Ultimate Spider-Slayer(Smyte),Richard Fisk the Kingpin's son and I hate this villian The Chamelon.Good movie Super BAD Title.As I said it should've been called Spider-Man:Enter The Daredevil.

Seeing Red
If you love Marvel Comics superheros,this DVD is a must!In different adventures Spider-Man and the Fantastic 4 team up with Daredevil.In the Spider-Man deries,Peter Parker is accused of a crime he didn't commit.His attorney is Matt Murdock-Daredevil's alter ego!The "versus"part doesn't last long.Soon the team up to catch the Kingpin.Calling this DVD action-packed is an understatement!I like it because it has great Marvel heros and villains,storylines that keep you on the edge of you seat,and it shows blind people can see in ways we can't.

Nothing wrong with a good cartoon
Animation in the best tradition of G.I. Joe, voiceovers a la X-Men, dialogue like Gargoyles. No surprises here, just fond memories of weekday afternoons and Saturday mornings.
Pluses: the overarching plot ("Sins of the Fathers") does not disappoint, though admittedly no other element here comes close to that quality. The Kingpins' voice is the best one there; all others (including Majel Barrett) overact in the finest cartoon tradition.
Minuses: the digitization is poor, catching half-frames and getting quite jerky at times. Some of the dialogue is downright cheesy, and logic... well, this is a cartoon, not a comic.
All good fun, just don't expect more than a cartoon can provide.

Awesome
This DVD is totally awesome. The two coolest superheroes in one action-packed episode series? Who can ask for anything better. Spidey and the Devil make one great team. A must-buy for sure. No Marvel fan is complete without this. ... Read more

Amazon.com

Frank and Ollie is a highly controlled glimpse at a unique friendship. Frank Thomas and Ollie Johnston, two of Walt Disney's famous Nine Old Men original animators, are such naturals on camera, they'll put a smile on any audience member. The two met at the Stanford Art School in 1931. Sixty years later the next-door neighbors are so close they meet when taking out the garbage. They have seldom been farther apart. Director, writer, and coproducer Theodore Thomas (Frank's son) is at his best when his film is at its simplest. When Frank and Ollie are at a desk talking to the unseen narrator, it's magical. The two are so in tune they unselfishly finish each other's sentences.

Frank and Ollie is basically a handsomely produced home movie. Nary a negative remark is heard, a procedure challenged, a spark of unpredictability captured. The early scene of Ollie and Frank "accidentally" meeting at the garbage cans is embarrassingly contrived. Yet these aged animators win the audience over. Who cares if the documentary is rehearsed? Anyone who grew up with Disney animation (who hasn't?) will revel in the tidbits Frank and Ollie reveal, including Thumper's origin in Bambi and the ending of The Jungle Book (the film's funniest and most spontaneous bit). --Doug Thomas ... Read more

Reviews (7)

A wonderful look into the lives of Frank and Ollie
This is a wonderful tale of 2 of Walt Disney's "nine old men". I had no idea that the two of them were as close as they were. Shot in a documentary-style, so the viewer has a sense of being their houseguest. Lifelong friends, who shared the same career, and very similar, and disimilar life experiences. This film is for anyone who truly appreciates classic animation. By the end of the film, I understood their artistic motivations, as well as their struggles and triumphs. I also got some insight into their relationship with Walt(Disney), and how his death affected them. A truly wonderful film. I own a copy, and highly recommend it.

Disappointing.
This video focuses on two famous animators for Disney, Frank Thomas and Ollie Johnston. A big fan of their Disney animation, I expected to see more emphasis on their work for the co., like the creative process involved in designing specific characters and conveying emotions/actions through animation. The ads and even the cover of the VHS box made it look like that's what I'd be getting, but this video is a somewhat boring look at the two's histories, their friendship, their wives, etc. It was not exciting to watch and would have been pepped by more animated clips. I could not recommend this.

A wonderful look into the lives of Frank and Ollie
This is a wonderful tale of 2 of Walt Disney's "nine old men". I had no idea that the two of them were as close as they were. Shot in a documentary-style, so the viewer has a sense of being their houseguest. Lifelong friends, who shared the same career, and very similar, and disimilar life experiences. This film is for anyone who truly appreciates classic animation. By the end of the film, I understood their artistic motivations, as well as their struggles and triumphs. I also got some insight into their relationship with Walt(Disney), and how his death affected them. A truly wonderful film. I own a copy, and highly recommend it.

For animation buffs, it doesn't get any better than this!
"Frank and Ollie" is the most fasinating documentary I've ever seen. It takes a look at two of Walt Disney's "Nine Old Men," Frank Thomas and Ollie Johnston, from their early years at Disney in the 1930s to their everlasting friendship today. I am amazed at how they were able to get the expressions, emotions, and feelings on the characters they animated. They made faces to get the expressions of the characters, acted them out, and asked what the characters were thinking, and why were they feeling that way. This documentary kept a big smile on my face right from the beginning. I love documentaries about movies of all genres, and about the people who make them. This is no exception. It is very informative, affectionate, and heart-warming. This is a real and rare treat for serious animation buffs, or fans of Disney in general.

The Original Odd Couple of Animation!
Without sounding hackneyed, this cute little story about The Odd Couple of feature animation is at once uplifting, charming and heartwarming. As a cartoonist I found myself inspired, informed and - most importantly - appreciative of Frank Thomas' and Ollie Johnson's places in our hearts and memories. Much, much better than a home movie by Frank Thomas' son, Frank & Ollie is guaranteed to leave you reaching for your pencil with a huge smile on your face. ... Read more

Reviews (1)

It just keeps getting better.
Ok now yusuke and the others are forced
to fight in a dark tournament, against the
most powerful demons all around the underworld.
The first fight the Rokuyukai Team. The first
episode finshes up with Kurbara's fight with one
of fighters from Rokuyukai's Team. You should see
what happens, it's very surprizing. Then Kurama
starts to fight with a treachery demon that is
no match for Kurama, but why is Kurama not
fighting back. Then Hiei fights the supposed
leader of the Rokuyukai"s Team. But Hiei uses
a attack that seems to made himself injured.
Then the really good battle begins with
Yusuke and the real leader of the Rokuyukai Team.
His name is Chu. He my seem like a crazy but don't
late that fool you, he is very strong and dangerous.
In the last episode with Yusuke and Chu, they both
use up all their spirit energy and now must fight
with only their fist. It is great ending for this
volume to see this great battle. A+++++ ON THIS GET SERIES.

YU YU HAKUSHO IS THE FAR OUT BEST ANIME I HAVE EVER SEEN. ... Read more

Amazon.com

In this 1999 documentary, Leslie Iwerks offers viewers a lookat the work of her grandfather, one of the unsung giants of animationand film technology. Ub Iwerks (1901-1971) was a teenager in KansasCity when he and his friend Walt Disney taught themselves animation. In1928, Iwerks designed Mickey Mouse's physical appearance and animatedthe first three Mickey shorts almost single-handedly. He left Disney in1930 to start his own studio, but his cartoons failed to attractaudiences. In 1940, he returned to the Disney Studio, where he wonOscars for his work on optical printing and traveling-matte technology.He also revolutionized the animation process by modifying a Xeroxmachine to print the animators' drawings directly onto cels. LeslieIwerks has assembled an impressive array of photographs, film clips,and interviews, including young Walt and Ub clowning for the camera inthe '20s. But the viewer feels closest to the artist when his loose,vivid drawings of Mickey, Oswald Rabbit, and other characters are onscreen. Hand falters when the filmmaker suggests the Hays Codeand a shift in national mood were responsible for the failure of theIwerks studio. Ub Iwerks was one of the great animators of the silentand early sound eras, but he was not an effective director. If thepublic failed to respond to his Flip the Frog and Willie Whoppercharacters, it was because they never developed real personalities, aweakness the reissues of the shorts confirms. Suitable for all ages,this 90-minute documentary is often cut in half when it plays on TV.--Charles Solomon ... Read more

Reviews (4)

An eye-opener
As a citizen of the UK I have had no chance (I believe) to see this documentary on TV; thus I ordered and bought it from Amazon. It is an eye-opener, filling in much I had only half discovered from books. To appreciate an Iwerks cartoon it has to be seen; every frame positively vibrates with life.
The downside is that one wants to see full examples of the Iwerks films, not easy if you want to see good copies. I have a few on tape but they tend to be from public domain originals in low cost anthologies. Who has the rights? could there be a Disney standard issue? who knows.
However, it should be noticed that a fuller version of Steamboat Willie is available on the Disney Treasury "Mickey Mouse in Black and White" along with other Iwerks - drawn Mickey Mouse cartoons.

Perfect companion piece for the book
Ub Iwerks. By rights, that very unusual name should have been equal to that of Walt Disney. And for a brief time, it was.

Yet Ub is little remembered today, despite the fact that he was the true creator of Mickey Mouse. He was certainly a far better draftsman than Walt, a technical genius who succeeded in every endeavor he ever tried--animation, archery, even bowling. Everything, that is, except one--escaping the imposing shadow of his old friend and onetime partner Walt Disney.

Directed by Ub's granddaghter Leslie Iwerks and narrated by Kelsey Grammar, this documentary takes us through the various twists and turns of Ub's career. It has one distinct advantage over the Iwerks/Kenworthy book--one can see for oneself the extent of Ub's genius through his work, presented on-screen for the first time in decades. We see the first primitive efforts he and Walt produced as young commercial artists in Kansas City--the "Laugh-O-Gram" films and the "Alice in Cartoonland" series. We are also treated to rare clips of the silent "Oswald the Lucky Rabbit" series (far superior to the later ones by Walter Lantz). And of course, the earliest Mickey Mouse cartoons (two of which, "Plane Crazy" and "Steamboat Willie", are shown at the end of the film, animated almost exclusively by Iwerks).

In seeing the films, (particularly the ones he made as an independent producer) one gets the impression there were some pretty strange things going on in Ub's head. His best work, most of which was produced before the Hollywood crackdown on film morals, had a surprising edge to it. In one of his cartoons as an independent (he had left to form his own studio in the thirties) St. Peter in heaven is buzzed by a speeding motorist, whom the venerable saint promptly gives "the finger!" His work could be bizarre, and even morbid--one cartoon, "The Pincushion Man", took place in a land of balloon people. They were constantly menaced by their worst enemy, a humanized pincushion who delighted in popping the poor little balloony people into oblivion, effectively killing them. This, we are told, is perhaps the real reason his cartoons are not shown today. One interviewee in the film noted that Ub's cartoons could at any moment slip from "Never-Never Land into the Twilight Zone."

The only flaw in this production is that it skips over some aspects of his career, particularly the brief period he assisted cartoon producer Leon Schlesinger in making two Porky Pig cartoons. That would reunite Iwerks with one-time studio cel-washer Chuck Jones, who states in the film that Iwerks was the one who got him interested in animation. The oversight is understandable, given that this documentary was done for the Disney studio, and is not likely to give competitors any free publicity.

Ub is often unfairly portrayed in animation histories as being more interested in gadgets than art, and he did seem most at home coming up with new technical advances for film. The earliest multiplane camera (a device designed to give dimension to cartoons) and the travelling matte process are among his greatest achievements. But it is likely he lost interest in animation after Mickey Mouse because there was nowhere else he could go. One man who knew him was quoted as saying that Ub, having taken up bowling, put his ball in the closet after bowling a 300 game, never to use it again. With Mickey, Ub had already "bowled a 300" in a sense, and sought new areas to conquer.

And conquer he did. Returning to Walt in 1940 after a ten-year estrangement, he immediately set to work on devices that would make Disney's animated world more real than it had ever been. Donald Duck cavorted with Latin senoritas and Dick Van Dyke danced with animated penguins with the aid of devices invented by Ub Iwerks. Even after winning two Academy Awards for technical achievement in film, Ub retained his characteristic modesty. Of Mickey Mouse, he would say, "It's not creating (the character) that matters, it's what you do with it." For making Mickey what he bacame, Iwerks gave full credit to his friend Walt.

Iwerks died in 1971, five years after Disney. One wonders what might have occurred if he had lived long enough to witness the coming of computer animation and the Internet. One can be sure of one thing--before long, he would, as always, be three steps ahead of the rest of us, pondering what more he could do.

More on Steamboat Willie
Steamboat Willie is also available on "The Spirit of Mickey," which is a collection of classic Mickey Mouse cartoons including "The Band Concert" (first color cartoon) and "Lend a Paw" (Academy Award winner featuring Pluto's shoulder angel and devil).

The Classic "Steamboat Willie" and the man who drew Mickey
As near as I can tell, "The Hand Behind the Mouse," which tells the story of Ub Iwerks, the animator who first drew Mickey Mouse for Walt Disney, is your ONLY chance to see "Steamboat Willie." Of course, that was the first Mickey Mouse Cartoon, which was added to the National Film Registry in 1998. However, the video biography of Iwerks, who left Disney briefly to start his own stuido before returning to win Oscars, is equally fascinating. For all his undeniable artistic talent, Iwerks simply did not have the spark of genius that made Walt Disney a Hollywood legend. "The Hand Behind the Mouse" is a rare opportunity to see a lot of the forgotten animation of the late silent and early sounds eras ("Steamboat Willie" was the first animated film with sound, albeit without dialogue). If you are fans of Disney or Mickey Mouse, then you certainly will want to know more about Ub Iwerks. ... Read more

Reviews (4)

Max Fleischer's Forgotten Milestones
OUT OF THE INKWELL is an award-winning look at not only the man, but even more importantly, his work. If you are new to Fleischer and/or only know him from his more famous efforts such as the 1940's Paramount Superman cartoons or perhaps GULLIVER'S TRAVELS, an animated feature that was a favorite of t.v. syndicators for decades, you will be astonished by the imagination and creative vitality on display in these early masterpieces. And if you think only Betty Boop 'toons still play without apologies today, warts and all, wait until you experience the amazingly imaginative "Inkwell" series, many collected here in one highest-quality, meticulously enhanced edition for the first time ever.

The "Out of the Inkwell" series focused on the rascally clown later called Koko. The basic set-up: Fleischer himself (along with other animators in his studio) would draw the clown using a special ink that literally and figuratively brought him to life. Rather than be a cooperative stand-in as requested, however, Koko desires to play by his own rules, frequently upsetting Fleischer's attempts to reign him in.

It's amazing how surreal and post-modern the Fleischer works are today when you truly stand back and appreciate them with the proper awe as this flick does. For example, audiences swooned when a 120+ animators brought realism to interaction between Jessica and Roger Rabbit in the 1980's, but consider: nearly 60 years previously Fleischer invented the technique.

You may think that all sounds quaint and historical, but consider today every c.g.i. shot you see is basically imported and created in a computer, the most significant advance over Flesicher's contributions. Sure, you can easily render photo-realism now, but to the standards of his day? Fleischer set them and he was pioneering the medium.

Fleischer did more when the stakes were higher and did it largely by himself, albeit with an increasing crew of worthy and equally talented animators on his slowly growing staff. So while perfecting the techniques is wonderful, you're not re-inventing the wheel, merely making it faster, easier and more manageable to produce.

These amazing and digitally-restored "Out of the Inkwell" cartoons are produced from the best film masters available. Combined with the meticulously well-done enhancements by Ray Pointer both visually and aurally, OUT OF THE INKWELL becomes not only essential viewing by any fans of the medium, but also the definitive versions of these shorts available anywhere else.

MAX FLEISCHER'S FAMOUS OUT OF THE INKWELL delivers the goods and then some.

An Amazing Production...
Ray Pointer has outdone himself! "Out of the InkWell: Volume 2" is a very inspired and wonderfully undertaken venture. Mr. Pointer has not only presented us with the animation stylings of Max Fleischer and the directorial talents of his brother Dave Fleischer, but has included some biographical information in the form of an introduction/narration (narrated by Ray Pointer) about the history of the Fleischer brothers. Mr. Pointer has also included insights from Berney Wolf (an animationist working for the Fleischers) and Max's nephew Bernard Fleischer.

As far as the visual and audio quality of this production; to quote Jerry Beck (Animation Authority/Historian) "The print quality is the best...and the transfers are excellent." This is an understatement! Ray Pointer also makes the very best use of sound effects and music (by Winston Sharples...Fleischer cartoon music composer) which, to quote animation instructor Brian LeMay, "...didn't intrude on the original animation..." and gives each cartoon a wonderful vintage feel.

The fact that the original "Out of the InkWell" releases on VHS (which were the inspiration for the DVD for Volumes 1 and 2...go to [a website]...won the "GOLD AWARD in the Entertainment Category for the Houston International Film and Video Festival in 2001", is only the icing on the cake.

Thank you Ray, for preserving this piece of history and for giving us an insight into the mind and talents of Max Fleischer!"

Richard Kish
Animation Enthusiast and Devotee

THE INKWELL STUDIO
The first three volumes are # 1 The Bray Years 1919-1921, #2 The Inkwell Studio and #3 The Birth of Ko-Ko. Volume #1 is only 35 minutes with examples of Fleischers earliest films. Volumes #2 & 3 are 60 minute programs - and contain on camera commentary by Fleischer animator Berny Wolf and Dick Huemer's son Richard P. Huemer.The prints are superb (or at least the best we'll ever get), many are tinted. and come with the "classic" Winston Sharples Ko-Ko music (added for TV release in the 1950s).
DVD editions will be available next month.
My only request is more of his wonderful Fleischer collection.
RECOMMENDED

THE INKWELL STUDIO
Andrew Gilmore laments that out of 100 entries, only 23 of this landmark series are available. Wait no more! Just as KOKO THE CLOWN Cartoons released by Republic represents the end of the series, MAX FLEISCHER'S FAMOUS OUT OF THE INKWELL released by Inkwell Images showcases the very begining with a fine selection of eight early titles from 1921 to 1923. The transfers are sharp and well sychronized to complemenatary music and sound effects that work with the action,and enahance the comic effect.

One title in particular, MODELING (1921) has historical significance on several levels. First it was the first release after the Fleischer brothers formed their own studio. Second, it has one of the earliest known examples of claymation, as a clay bust is given life with the help of Koko's mischief. This title has been released by other distributors in a dark and murky form. The Inkwell Images version is very bright and sharp, obviously transferred from a 35mm source. It is so clear the the texture of the clay and patterns in the Persian rug on the floor can be clearly seen. Other titles on the tape have tints and tones, and are also very sharp. Considering the age of this material, it is remarkable that these films look as good as they do.

But the one thing that makes this tape stand out more than all others is that is has an interesting profile on the role of Dave Fleischer in the founding of the Fliescher Studio, with interviews with 90 year old veteran Animator, Berny Wolf,making this a documentary showcase program rather than an arbitrary string of cartoons. Obviously, the producer has taken great care in assembling this package. If the third volume is as good as this, Mr. Gilmore's wish may be realized after all. ... Read more

Description

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. ... Read more

Reviews (1)

BEFORE WALT
This tape reminds the viewer of the wonderful programs on animation that used to appear on the old DISNEYLAND television show in the 1950s. In the process we see a nicely done summary of the development of cartoon animation from 100 years ago, with some revealing evidence of Walt Disney's influences in his formative years. Although the texts on Disney always created Paul Terry's AESOP'S FABLES as his inspiration, it is very clear now that Max Fleischer had the strongest influence, as Disney

copied many of the formats, gags, and techniques from Fleischer's OUT OF THE INKWELL films. This is more than obvious in Disney's ALICE COMEDIES, which placed a live action girl in a cartoon world, which was a reverse of Fleishcer's concept. Included are two examples of Disney's Kansas City period, two ALICE films, an AESOP'S FABLE, and one FELIX THE CAT cartoon.

Lastly, the transfers are bright and clear, and the use of music is superior, making this program superior to the Winstar releases and many other tapes of silent cartoons now on the market. ... Read more

Reviews (3)

The Birth of Ko-Ko is GREAT!
The Birth of Ko-Ko is fantastic! The added music is fantastic too! These are the cartoons you will find on this VHS:

KO-KO IN 1999---It's funny to see Ko-Ko go forward into a time which the Fleischer studio knew nothing about but we know all about!

BIG CHIEF KO-KO---My least favorite on this tape. It's still pretty good, though.

KO-KO THE BARBER---Hilarious! Ko-Ko owns a barber shop and cuts everybody's hair off. This is animation at it's best!

KO-KO TRAINS 'EM--- The audience enjoys the show Ko-Ko and his dog put on until they get fleas!

KO-KO NUTS--- This is also one of the best on the tape! Ko-Ko and his Fitz go cuckoo but instead of going to the nut house they run it.

KO-KO HOT AFTER IT--- Max Fleischer and some other guy go looking for treasure. Ko-Ko and the mut do too but it leads them into an entirely different place!

KO-KO BACK TRACKS---The best on the tape. Every thing is backwards!

KO-KO BAFFLES THE BULLS--- Max can't find Ko-Ko and then Ko-Ko can't find Max!

These are definatley cartoons you want to own, buy this at all cost (I gave it 5 stars but it doesn't really deserve that! It deserves 2345 STARS!!!!)

THE BIRTH OF KO-KO
The first three volumes are # 1 The Bray Years 1919-1921, #2 The Inkwell Studio and #3 The Birth of Ko-Ko. Volume #1 is only 35 minutes with examples of Fleischers earliest films. Volumes #2 & 3 are 60 minute programs - and contain on camera commentary by Fleischer animator Berny Wolf and Dick Huemer's son Richard P. Huemer.The prints are superb (or at least the best we'll ever get), many are tinted. and come with the "classic" Winston Sharples Ko-Ko music (added for TV release in the 1950s).
DVD editions will be available next month.
My only request is more of his wonderful Fleischer collection.
RECOMMENDED

THE BIRTH OF KO-KO
Finally the entire mystery of the creation of KO-KO the CLOWN is revealed in this enlightening edition. Before 1924, the character had no name until the arrival of Cartoonist/Animator, Dick Huemer. These eight cartoons from 1924 to 1927 represent the established character and drawing style that OUT OF THE INKWELL was to be known for. The program contains excellent interviews that reveal many details of Huemer's work and influence that moved the Fleischer Studio forward.

Most of these titles have not been previously released, and are refreshing and entertaining with the added dimension of well used music and authentic period sound effects. Surely to be a big hit with fans such as Andrew Gilmore! ... Read more