Superfights (1995)

SOMETIMES, I WORRY that I won’t see another film worthy of Trashterpiece Theatre. But then along comes a movie like Superfights, and all is right with the world.

“Superfights,” as if I have to tell you, are a type of pro wrestling/martial arts hybrid – “where no one knows the outcome!” the announcer assures us – with Superfighters sporting gimmicky nicknames such as Budokai, Dark Cloud, and Night Stalker. Mega-fan Jack Cody (Brandon Gaines) attends every event, even teaching himself the moves he sees his favorite Superfighters perform. (Conveniently, he works in a warehouse full of mannequins, which he uses as practice dummies.)

After Jack becomes a local celebrity by beating up a trio of would-be muggers, he’s recruited by Superfights president Mr. Sawyer (Keith Vitali) to compete in the ring. Jack trains with Angel (Kelly Gallant), a freakishly muscular female Superfighter who overtly flirts with Jack but may have ulterior motives. Watch in amazement as Angel trains Jack using the latest advancements in 1995 technology, including punching at a stream of light and dodging giant phallic pipes that dart out of the walls.

Oh, I almost forgot: Mr. Sawyer’s Superfights empire might be a front for extortion, drug running, mind control, and murder.

Superfights captures the pure essence of direct-to-video, B-movie action flicks of the mid-‘90s. The B-level acting. The hokey, overly serious training montages. The meathead, be-the-best mentality of the fighters. The gratuitous violence. The melodramatic soundtrack, awash in mid-‘90s synth and squealing guitar riffs. This one’s got it all, set against the martial arts hotbed of…Harrisburg, Pennsylvania.

The film also features other ridiculous moments, such as Jack getting attacked by a ninja while jogging in broad daylight – a ninja who, while fleeing, literally tells Jack to “just say no” to the “vitamins” supplied by Angel as part of Jack’s Superfighters regimen.

All that being said, the fight scenes in Superfights are in-sane. Director and fight choreographer Tony Leung gives us dozens of fights featuring rapid-fire exchanges, impressive editing, and over-exaggerated impact with blood, sweat, and spit flying everywhere. It culminates in a multi-fight finale between Cody and Sawyer that’s so amazing, I immediately replayed it once the credits started to roll.

A real-life third-degree black belt, Gaines’ role in Superfights was his first and last in films; he’s now a public speaker, rabbi, and acupuncturist living in California. Gallant, unfortunately, has had her share of run-ins with the law since Superfights, including a wrongful death lawsuit and recent arrests for DUI and probation violation.

Highly entertaining and a candidate for repeat viewing, Superfights delivers the goods in both martial arts action and cheeseballiness – rightfully earning its spot in the Trashterpiece pantheon.

(Bonus: Watch for a brief appearance by wrestling legend Rob Van Dam as a doomed Superfighter. His fight was originally supposed to be much shorter, but the filmmakers were so impressed with his physical abilities that they made his fight longer and took a full day to shoot.)

Rating:

Is it suitable for your kids?

Violence: The Superfights get increasingly violent, leading to bloodied faces and broken bones. Superfighters beat up citizens and two-bit hoods while collecting “protection” money. Several people are beaten to death, many with blood spurting from their mouths. A man is bloodily decapitated by a ceiling fan.
Sex/Nudity: Angel is seen briefly nude from behind as she enters a shower. Jack and Angel share a kiss wearing nothing but bathrobes. Angel makes several overt advances on Jack, with lots of grabbing and groping. Sawyer and Angel are shown getting dressed post-coitus.
Language: “A**hole,” “bulls**t,” “s**t”
Drugs: Superfighters are shown taking Sawyer’s steroid-laced, mind-controlling “vitamins.” A man snorts cocaine.

Will your FilmMother want to watch it?

If she’s the kind of person who enjoys B-movies and talking back to the screen, but doesn’t mind some violence and bloodshed thrown in the mix, Superfights could be a great film for you to share. Otherwise, check it out yourself or with some friends.

Experience the awesome Superfights trailer,

then try in vain to fight your urge to see the film:

Superfights
* Director: Tony Leung
* Screenwriter: Keith W. Strandberg
* Stars: Brandon Gaines, Feihong Yu, Keith Vitali, Kelly Gallant, Chuck Jeffreys, Cliff Lenderman, Brian Ruth, Patrick Lung-Kong, Karen Bill
* MPAA Rating: PG-13


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The Iron Giant (1999)

RARELY DOES A FILM COME ALONG like The Iron Giant that ignites a passion in people.

Part of that passion comes from the fact that it’s a terrific film on all levels – a fantastic story featuring rollicking action, touching relationships, and the last gasp of top-notch 2D animation (only the Iron Giant himself is computer-animated).

Another part of that passion is even more fascinating: Watch the reaction of someone who’s seen The Iron Giant when another person tells them, “I’ve never seen it.” The first person will start to stammer, eyes widened, falling over themselves to tell the other person how great it is, and that they must see it immediately. That reaction is justified by the person, and earned by the film.

Set in Maine at the height of paranoia surrounding the Cold War, The Iron Giant follows nine-year-old Hogarth Hughes (Eli Marienthal), an avid reader of comic books and watcher of the many B-movie sci-fi flicks of the era. When a giant metal alien (voiced by Vin Diesel) lands in Hogarth’s town, he hides him as best he can from prying eyes, primarily those of sneaky government agent Kent Mansley (Christopher McDonald). While it feels like a childhood dream come true for Hogarth (“My very own robot!”) and the two start forming a bond, he seeks help from a local beatnik (the perfectly cast Harry Connick, Jr.) whose scrapyard provides a safe haven from the paranoid townfolk and the US Army…but for how long?

Director Brad Bird (The Incredibles, Ratatouille) does a masterful job of developing the relationship of Hogarth and the Giant (via Tim McCanlies’ terrific script) as Hogarth explains the ways of Earth as he sees them – from the awesomeness of Superman, to the joys of doing a cannonball into a lake, to the violence and sadness of guns.


Cynics may dismiss The Iron Giant as nothing more than E.T. with a robot, but they’d be wrong on several levels, the biggest one being that the source material for The Iron Giant – the 1968 novel The Iron Man by Ted Hughes – predates E.T. by nearly 15 years. However, there is one similarity: If you cried at the ending of E.T., you’ll probably blink back tears during The Iron Giant’s finale.

Warner Brothers’ mishandling of The Iron Giant’s theatrical release in 1999 is one of the more colossal blunders in the history of the business. The studio barely promoted or advertised the film, so it vanished from theatres in weeks. Luckily, it found a second life through home video and word of mouth, and is now considered a classic.

The Iron Giant is a tremendous, powerful story featuring lessons on life, death, friendship, love, and sacrifice. Simply writing this review makes me want to watch it again. If that’s not a ringing endorsement, I don’t know what is.

Rating:

What did FilmBoy think?

He and I share the rating. He couldn’t put his finger on any favorite part, but he thoroughly enjoyed The Iron Giant – laughing at several scenes of Hogarth and the Giant bonding and playing, and getting caught up in the finale when the Giant must evade and ultimately face off against the US Army, who are determined to destroy him.

Is it suitable for your kids?

The Iron Giant is rated PG for “fantasy action and mild language.”
Violence/Scariness: Hogarth gets a nosebleed after running into a tree branch; a deer is shot and killed (we hear the gunshot then see the lifeless body); Mansley knocks Hogarth unconscious with a chloroform rag; two boys are in peril of falling off the top of a building; the army shoots a mass amounts of weapons at the Giant, including guns, tanks, and missiles; the Giant responds with his own catalog of weapons that destroys several tanks and army trucks (no soldiers are killed). The finale, involving Hogarth’s town, the Giant, and a nuclear missile, may be emotionally intense for very young children.
Drugs/Alcohol/Tobacco: There are passing mentions of alcohol that will probably go over young kids’ heads. Mansley smokes a pipe on occasion. Hogarth gets comically wired after drinking an espresso.
Language: There are mild profanities: “hell” (2x), “damn it” (2x), and in the finale, Mansley declares, “Screw our country!”

Will your FilmMother want to watch it?

Yes. And if she’s not sure, make her. It’s a great film she shouldn’t miss.

 

That's either the Giant, or the squirrels are

throwing an all-nighter in their penthouse suite.

The Iron Giant
* Director: Brad Bird
* Screenwriter: Tim McCanlies
* Stars: Eli Marienthal, Vin Diesel, Harry Connick Jr., Jennifer Aniston, Christopher McDonald, John Mahoney
* MPAA Rating: PG


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Pokemon: The First Movie (1999)

IT FINALLY HAPPENED. You see it happen to other kids, but you think, “It’ll never happen to my son.” But it did.

Dash discovered Pokemon.

For years, he’s been obsessed with all things Kirby, and still is. But earlier this year, somebody, somewhere – some enabler at his school – introduced him to the world of Pokemon and all it encompasses. And boy, it encompasses a lot.

Forget that the world of Pokemon has dozens, nay hundreds of characters to remember, each possessing unique powers and strengths – the Pokemon also battle each other at the behest of their human “trainers” (mostly tweens and teenagers), sometimes resulting in the winner’s trainer acquiring the defeated Pokemon from the losing trainer. Their never-ending mantra (“Gotta catch ‘em all!”) is so important that the main trainer, whose Pokemon includes the popular and adorable Pikachu, is actually named Ash Ketchum (get it?).

So it was only a matter of time till we tracked down the elusive, out-of-print* Pokemon: The First Movie, which chronicles the rise of Mewtwo, a genetically enhanced Pokemon cloned by scientists from the DNA of Mew, the rarest and most powerful of all Pokemon. Unfortunately, Mewtwo resents his existence as a scientific experiment with no true birth or purpose. Under the guise of a major Pokemon tournament, he lures the most powerful Pokemon and their trainers to his remote island, where he plans to destroy them all with his own army of Pokemon clones.

Don’t dismiss watching Pokemon: The First Movie just because you’re afraid you’ll be lost in a sea of Pokemon rules, strengths, weaknesses, and powers. The film actually puts plot and action first, probably in an attempt to reach a broader audience and not have parents scratching their heads or checking their watches. In short, you don’t have to know how to play the game to enjoy the movie.                                

Mewtwo is a surprisingly deep and dark character for the often bright yet occasionally violent world of Pokemon. He uses his psychic powers for everything from communication to devastation to personal assaults (think Carrie meets Darth Vader). And his ongoing internal dialogue about his existence and purpose in life brings up some heavy philosophical questions that we may ask ourselves from time to time.

I actually found myself compelled to find out how in the world the “good” Pokemon – led by Ash, Pikachu, and a handful of other Pokemon and trainers – were going to defeat Mewtwo and his Pokemon clones. Plus, the whole “invitation to mysterious island to compete in battle” has a nice Enter The Dragon vibe that, as a major fan of that Bruce Lee classic, I can truly appreciate.

In a terse but entertaining 75 minutes, Pokemon: The First Movie gives us a menacing foe with more depth and internal conflict than many live-action movie villains, as well as positive messages on the importance of friendship, the pointlessness of fighting (which some say goes against the whole premise of Pokemon), and the belief that teamwork and loyalty are the true ways to live your life. Then there’s the ending that, while a bit deus ex machina, might have you shedding a tear if you’re not careful.

Fun facts:

• For Pokemon: The Movie’s theatrical release, select theaters gave away exclusive Pokemon trading cards to ticketholders.
• The film’s soundtrack, featuring a who’s-who of late ‘90s pop music (Christina Aguilera, Britney Spears, 98 Degrees, N*Sync, Aaron Carter) reached #8 on the Billboard Top 200 in 1999.

Rating:

What did Dash and Jack-Jack think? 

Since Dash is a more fervent follower of Pokemon than Jack-Jack, I expected him to have a more vested interest in the movie, and he did. He said it was “really good,” and I think I caught him getting emotionally involved during the ending. Jack-Jack could not be reached for comment (he was too tired to form an opinion).

Is it suitable for your kids? 

Pokemon: The First Movie is rated G, but there are a few scenes to consider when it comes to very young viewers: Mewtwo uses his psychic powers to blow up the lab where he was created, and it’s implied the scientists who created him are killed; some of the Pokemon battles, as well as the actions of Mewtwo, may be too intense for preschoolers and younger (explosions, electrocutions, biting, slapping, punching); and there is the apparent death of a major character.

Will your FilmMother want to watch it? 

While she may not seek out Pokemon: The First Movie, she might actually get caught up in it (based on the reasons above) if she gives it a chance.

 

It’s like looking in a mirror, only…not.

Pokemon: The First Movie 
* Directors: Kunihiko Yuyama, Michael Haigney 
* Screenwriter: Takeshi Shudo 
* Stars: Veronica Taylor, Philip Bartlett, Rachael Lillis, Eric Stuart, Madeleine Blaustein, Ikue Ohtani, Ted Lewis, Michael Haigney, Jimmy Zoppi, Kayzie Rogers 
* MPAA Rating: G

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* We found Pokemon: The First Movie in our local library system. If you’d rather not buy a used copy or pay a lot for a new one, try your library first. Sometimes they don’t realize the value or rarity of what they have.

L.A. Confidential (1997)

IF SOMEONE TOLD YOU they were making a movie about police corruption in 1950s Los Angeles, starring two unknown Australian actors, and directed by the guy who did The Hand That Rocks The Cradle, would you believe it would win two Oscars and turn out to be one of the best films ever made?

Plot:
Against the background of 1950s Los Angeles, L.A. Confidential intertwines stories of police corruption, the battle for control of the L.A. underworld, a mass shooting in a late-night café, and a pimp who has his prostitutes surgically altered to look like famous Hollywood starlets.

Critique:

It shouldn’t have worked. A period piece, two virtually unknown foreigners as the leads, and half a dozen plotlines running concurrently over a span of nearly two and a half hours. Yet L.A. Confidential is one of those rare instances when all the elements come together to create, without hyperbole, a modern masterpiece.

From the performances of the actors (perfectly cast by the legendary Mali Finn), to director Curtis Hanson’s vision of the L.A. of yesteryear (he’s a lifelong Angelino), to the Oscar-winning script by Hanson and Brian Helgeland (brilliantly pared down and adapted from James Ellroy’s mammoth book), to the infectious soundtrack (mixing standards and Jerry Goldsmith’s score), to Ruth Myers’ costume design, all the pieces of L.A. Confidential connect masterfully into one perfect, ambitious puzzle.

In terms of the performances: Yes, Kim Basinger’s Oscar-winning performance as high-end call girl Lynn Bracken is good and worthy of recognition, but it’s hardly the best performance. It doesn’t even come in second or third. She’s trumped by a top-tier ensemble cast that includes:

• Russell Crowe, whose brutish Bud White has a deep-rooted issue with criminals who abuse women
• Guy Pearce as clean-cut Edmund Exley, who won’t step outside the law to deliver justice, but learns how to work the system
• James Cromwell as police captain Dudley Smith, who questions Exley’s abilities to go above the law to stop criminals and get confessions
• Kevin Spacey as slick detective Jack Vincennes, who thoroughly enjoys his gig as advisor on Badge of Honor, the hottest cop show on TV
• Danny DeVito as Sid Hudgens, publisher of the scandal magazine Hush-Hush, who’s always looking for an angle or scoop
• David Straithairn as Pierce M. Patchett, a respected businessman and philanthropist who also employs prostitutes who are “cut” to look like movie stars

With L.A. Confidential, Hanson perfectly captures the dichotomy of Los Angeles that exists to this day: The idea of image versus reality. The glitter and fame of Hollywood that masks the city’s seedy, violent underbelly. And a supposedly honorable police force that’s mired in corruption, racism, and brutality. (The fact that Hanson opens and closes the film with Johnny Mercer’s “Ac-cent-tchu-ate the Positive” is no accident.) It’s a world where polar opposites join forces to help each other’s cases and uncover awful truths – and where one cop sworn to serve and protect turns out to be a callous, cold-hearted criminal behind the very crimes and corruption our anti-heroes are investigating. It all culminates in a final shootout that’s a master class in choreography and editing.

L.A. Confidential is one of those films that requires a second viewing to catch everything you missed, but it’s hardly a chore to do so. Character nuances become more noticeable, the narration and multiple storylines flow together better, and terrific instances of foreshadowing are much more appreciated.

Kevin Spacey has said that if L.A. Confidential hadn’t been released the same year as Titanic, it would have won the Oscar for Best Picture. Off the record, and on the QT: He’s absolutely right.

Rating:
Is it suitable for your kids?

Despite being set in a time when movies were largely free of inappropriate material, L.A. Confidential has plenty of content not meant for all audiences. There are scenes of brief nudity, discussions of drug use, graphically violent footage of mob hits, and more than a dozen people dying by bloody shootings. There’s also frequent adult language, plus occasional glances at vintage nudie and S&M magazines. High school kids and older is probably the benchmark to use when deciding if L.A. Confidential is suitable for your kids.

Will your FilmMother want to watch it?

Factoring in its subject matter, nearly all-male cast, and police procedural setting, I’d gamble that L.A. Confidential is more for dads. In fact, it should be required viewing for all dads who love movies.


L.A. Confidential
* Director: Curtis Hanson
* Screenwriters: Curtis Hanson and Brian Helgeland
* Stars: Russell Crowe, Guy Pearce, Kevin Spacey, Kim Basinger, Danny DeVito, James Cromwell
* MPAA Rating: R


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Gumby: The Movie (1995)

LAST MONTH would have been Gumby creator Art Clokey’s 90th birthday (he passed away in 2010). Google even honored Clokey’s birthday with an interactive Gumby-themed homepage logo:


Dash and Jack-Jack loved what Google did and, since they had never heard of Gumby, started asking questions about him and his friends. It was the perfect opportunity to show them Gumby: The Movie, which I had just put in my Netflix Instant queue a few weeks earlier.

Plot:
Gumby’s band, the Clayboys, decide to throw a benefit concert to raise money for local farm owners who are losing their farms, thanks for the evil Blockheads who run the local mortgage loan company. But when the Clayboys perform, Gumby’s dog Lowbelly cries tears that turn into valuable pearls – prompting the greedy Blockheads to kidnap Lowbelly and keep the pearls for themselves. In addition, they start kidnapping Gumby, Pokey, Pickle, Goo, and all the Clayboys and replacing them with robot look-alikes.

Critique:

Everything about Gumby: The Movie – the simple plot, the animation, the innocence of the characters – is a refreshing trip back in time for kids’ filmmaking. Granted, 1995 wasn’t that long ago, but Clokey (who directed the film) embodies everything that made his earlier Gumby series so endearing to generations of children. The ability of Gumby and his friends to enter storybooks and live the adventures within (farms, science laboratories, medieval times, etc.) adds to the magic.

That’s not to say Gumby, Pokey, and the gang only do it old school. Gumby’s band, the Clayboys, bring the rawk – jamming to the most hard rock/metal tunes ever shredded by animated lumps of clay.

Clokey’s “claymation” style of animation is pleasantly nostalgic, and the performances – aside from the Clayboys’ rockin’ numbers – are downright tame compared to today’s animated films.

The action in Gumby: The Movie does pick up in the second half, as Gumby and his evil robot twin chase and fight each other through different stories, even jumping into a few “videocassettes” (well, the film was made in the ‘90s). A couple of sequences even have subtle winks to Return of the Jedi and Terminator 2.

Nothing is heart-poundingly exciting or outrageously hilarious in Gumby: The Movie, but it gives kids and their parents a simple, enjoyable, fun family film that does Gumby – and Clokey’s legacy – proud.

aka Gumby 1.

Rating:

What did Dash and Jack-Jack think?

Since Dash and Jack-Jack have been raised on CGI and 2D animation, I had concerns they’d be jaded about the simplistic, occasionally crude claymation style of Gumby: The Movie. So I was happily surprised that they were glued to the screen for the entire film, even during the quieter moments – though at times, Jack-Jack was a bit confused (frankly, so was I) as to who were the “good” Gumby & Friends and who were the robots.

Is it suitable for your kids?

Gumby: The Movie is rated G and contains nothing overtly offensive. The robot dog falls in manure, and at one point Gumby and his evil robot twin fight each other with light sabers (leading to one of them losing a hand and the other getting sliced into pieces), but it’s not done violently or traumatically. Children of any age should be fine watching the film.

Will your FilmMother want to watch it?

If she watched Gumby as a child, Gumby: The Movie could definitely be a fun, nostalgic trip for her.

*Sigh* Where do you run the swipe key on these doors?

Gumby: The Movie
* Director: Art Clokey
* Screenwriters: Art Clokey, Gloria Clokey
* Stars: Charles Farrington, Art Clokey, Gloria Clokey, Manny La Carruba, Alice Young, Janet McDuff, Patti Morse, Bonnie Rudolph, David Ozzie Ahlers
* MPAA Rating: G


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Aladdin (1992)

EVER SINCE DASH AND I have been watching movies together, he’s had a very anti-princess policy. That is, he recoils at any movie that features a princess in its leading cast.

For weeks, I’ve been trying to convince him to watch Disney’s Aladdin. But forget the fact that the movie a) is named after the male lead; and b) features a big blue genie. All Dash saw was Princess Jasmine, and that was that.

Finally, after much haggling and haranguing, I broke him down. Before he could change his mind, I grabbed his little brother Jack-Jack and threw the tape (yes, VHS) into the player.

Plot:

When resourceful "street rat" Aladdin (Scott Weinger) meets and falls in love with beautiful, independent Princess Jasmine (Linda Larkin), there's nothing he won't do to win her heart -- including enlisting the help of an outrageous genie (Robin Williams).

Critique:

It took this recent viewing for me to remember how great Aladdin is – it truly deserves to be called a Disney classic, without reservation. (A sobering thought: To locate classic Disney films, you now only need to go back less than two decades.)

Of course, the most remembered aspect of Aladdin is the genie, voiced by Robin Williams in a rapid-fire, tour de force performance. Williams fires on all cylinders without becoming overbearing or repetitive. To the contrary, he’s quite hilarious – spewing out dozens of jokes, pop culture references, and impersonations that largely hold up today.

It’s no surprise that little girls still love Princess Jasmine 20 years later. She’s not some passive, defenseless princess or possession; she’s a strong, independent heroine who’s not impressed by the arrogance and excesses of princely behavior. She draws on her authority as princess when needed – and puts the men in their place when they deserve it.

Like other animated Disney films of its era, Aladdin owes its amazing musical score to composers Howard Ashman, Alan Menken, and Tim Rice. And while our hero Aladdin’s solo songs at the beginning are a bit too Broadway, things change with the Genie’s more Disney-esque (and undeniably catchy) “Friend Like Me” and “Prince Ali.” And of course, the most successful song from Aladdin is the ballad, “A Whole New World,” whose version by Peabo Bryson and Regina Belle was a number-one hit.

Disney released Aladdin at a point when the Mouse House was on a tear, having resurrected itself a couple of years earlier with the critical and commercial blockbusters The Little Mermaid and Beauty and the Beast. (For an intimate look behind the scenes of this era of Disney, check out the documentary Waking Sleeping Beauty.)

In the history of animated films – CGI or 2-D, Disney or otherwise – Aladdin is an animated classic that shouldn’t be forgotten, overlooked, or ignored. Make a point to (re)visit it soon.

Tidbits:

• Watch for the quick yet funny nods to other Disney classics Pinocchio and The Little Mermaid.
• In the opening song "Arabian Nights," Arab-Americans took offense to the lyric, “Where they cut off your ear, if they don't like your face." The line was changed to, “Where it's flat and immense, and the heat is intense."
• Williams and Disney butted heads over pay, royalties, and usage rights – to the point where Williams withdrew his support for Aladdin. Things were not patched up between them for several years.

Rating:

What did Dash (and Jack-Jack) think?

While Dash was still initially resistant to watching Aladdin as the opening credits rolled, both he and Jack-Jack were quickly glued to the screen and thoroughly loved the film. (“This is a funny movie” declared Jack-Jack with a smile at one point.) When it was over, Dash pretended to be asleep – probably too proud, in my opinion, to admit he was wrong in his earlier protests against the film. The very next morning, Jack-Jack popped in Aladdin again – and I must admit, I stopped what I was doing and sat down to watch it again as well.

Is it suitable for your kids?

Aladdin is rated G, but depending on your sensitivities, there may be occasional content that you’ll need to explain or gloss over: a character says he needed to “slit a few throats” to acquire a certain artifact; there are mentions of death by beheading; a produce cart owner threatens to cut off Princess Jasmine’s hand; and at one point, Aladdin is given the Arabian equivalent of “cement shoes” and tossed in an ocean.

Will your kids like it?

I should probably just re-arrange that header to say, “Your kids will like it.” Aladdin is tons of fun for all ages, let alone kids, but yeah – they’ll have a blast with it.

Will your FilmMother like it?

Absolutely. With a strong female lead, a budding love story, a funny and endearing cast of characters, terrific musical numbers, and the Disney pedigree behind it, Aladdin is a guaranteed pleaser for everyone – FilmMother included.

Ow ow ow ow ow ow ow hot hot hot hot…

Aladdin
* Directors: Ron Clements, John Musker
* Screenwriters: Ron Clements, John Musker, Ted Elliot, Terry Rossio
* Stars: Scott Weinger, Robin Williams, Linda Larkin, Jonathan Freeman, Frank Welker, Gilbert Gottfried, Douglas Seale
* MPAA Rating: G


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