There is only one word that comes close to accurately describing the enchanting Mary Poppins, and that term was coined by the movie itself: supercalifragilisticexpialidocious! Even at 2 hours and 20 minutes, Disney's pioneering mixture of live action and animation (based on the books by P.L. Travers) still holds kids spellbound. Julie Andrews won an Oscar as the world's most magically idealized nanny ("practically perfect in every way," and complete with lighter-than-air umbrella), and Dick Van Dyke is her clownishly charming beau, Bert the chimney sweep. The songs are also terrific, ranging from bright and cheery ("A Spoonful of Sugar") to dark and cheery (the Oscar-winning "Chim-Chim Cheree") to touchingly melancholy ("Feed the Birds"). Many consider Mary Poppins to be the crowning achievement of Walt Disney's career—and it was the only one of his features to be nominated for a best picture Academy Award until Beauty and the Beast in 1991. —Jim Emerson

Sometimes referred to as "the Poor Man's Fantasia," Make Mine Music (1946) was the first of the "package features" Walt Disney released after World War II. Instead of Bach and Beethoven, the artists illustrated segments set to popular music by Benny Goodman, Dinah Shore, and the Andrews Sisters. Originally set to Debussy's "Claire de Lune," "Blue Bayou" remains an atmospheric evocation of the Everglades. "The Whale Who Wanted to Sing at the Met" is a charming fantasy about a cetacean with an extraordinary voice. "Peter and the Wolf," based on the Prokofiev score, offers brightly colored designs, but the narration by Sterling Holloway seems superfluous. "All the Cats Join In" is an upbeat evocation of the Bobby Sox era, but "Casey at the Bat" and "Johnny Fedora and Alice Bluebonnet" feel self-conscious and unfunny.

"Two Silhouettes" combines rotoscoped images of Ballets Russes de Monte Carlo stars Tatiana Riabouchinska and David Lichine with kitsch cupids, sparkles, and hearts. "The Martins and the Coys," a spoof of a hillbilly feud, has been excised in a bow to modern taste. The supplemental material includes The Band Concert, the first color Mickey Mouse short and one of the character's finest performances, and Music Land, a quirky Silly Symphony about clashing musical styles. —Charles Solomon

Disney's 1977 The Many Adventures of Winnie the Pooh may be the last word on (animated) Pooh because it so faithfully honors the first word on Pooh, penned in the 1920s by British storyteller A.A. Milne. Gently paced, subtly humorous, and blessedly understated, this adaptation reflects Walt Disney's original vision to develop the beloved British bear for a wider audience. The film is essentially a collection of the original Pooh shorts, "The Honey Tree," "The Blustery Day," and "Winnie the Pooh and Tigger Too." These storybooks are presented in seamless "chapters," narrated by the timeless Sebastian Cabot. The familiar musical score and original voices of Sterling Holloway as Pooh, and Paul Winchell as Tigger, cap this enchanting keepsake. (Ages 2 and up). —Lynn Gibson

From the moment that Prince Eric's ship emerged from the fog in the opening credits of The Little Mermaid in 1989 it was apparent that Disney had somehow, suddenly recaptured a "magic" that had been dormant for 30 years. In the tale of a headstrong young mermaid who yearns to "spend a day, warm on the sand", Ariel trades her voice to Ursula, the Sea Witch (classically voiced by Pat Carroll), for a pair of legs. Ariel can only succeed if she receives true love's kiss in a few day's time and she needs all the help she can from a singing crab named Sebastian, a loudmouth seagull and a flounder. The lyrics and music by song-writing team Howard Ashman and Alan Menken are top form: witty and relevant, and they advance the story (go on, hum a few bars of "Under the Sea"). Mermaid put animation back on the studio's "to do" list and was responsible for ushering 1991's Beauty and the Beast into cinemas. A modern Disney classic. —Keith Simanton

Les studios Walt Disney nous ont habitués, ces dernières années, à des productions plutôt sucrées et parfois même franchement mièvres. Mais force est de constater que le film d’animation Lilo et Stitch change le portrait et donne sérieusement envie de replonger en enfance.

Sur la planète Turo, un scientifique maléfique est condamné pour avoir créé un monstre en faisant des manipulations génétiques. La créature, sorte de koala ailé à quatre bras programmé pour détruire, s’enfuit et atterrit sur la planète Terre, à Hawaï. Là, elle sera adoptée par une petite fille solitaire au caractère énergique, fan d’Elvis Presley, qui lui fera comprendre le sens du mot famille.

Avec ses héros impertinents, désastreux et parfois même méchants, Lilo et Stitch évite de prendre les enfants pour des imbéciles et, ainsi, réussit là où de nombreux dessins animés s’empêtrent. Fourmillant de références “adultes” à Godzilla, Men in Black, Alien ou même Baywatch, cette comédie à mi-chemin entre le récit d’aventures et la science-fiction est terriblement originale et dynamique. Le film profite également d’images magnifiques, grâce à un usage presque exclusif (outre quelques images de synthèse) de l’aquarelle. Parfois émouvant, souvent très drôle, Lilo et Stitch possède, enfin, une qualité rare et tout à fait respectable : l’irrévérence. —Helen Faradji

Ariel and her husband, Prince Eric, have a little problem with their daughter, Melody, in the sequel to Disney's landmark The Little Mermaid. Melody is threatened by Morgana, the evil sister of the sea witch Ursula (both voiced by Pat Carroll). Before you can say "Briar Rose," Melody's parents decide to keep their daughter's roots a secret, forbidding her to learn about the ocean while Morgana is around. Now the budding teenager secretly frolics in the sea with Ariel's old friends, Sebastian and Scuttle. When she learns the truth from Morgana, Melody becomes an unknowing pawn in her scheme—and Mom has to take to the sea again to help.

As with Disney's other made-for-video sequels, The Little Mermaid II looks and sounds wonderful (and reunites much of the same vocal talent). Four- to nine-year-olds who grew up with the original will certainly enjoy seeing the friends again. A new set of artists has come up with four catchy tunes and some fun new characters, including Tip and Dash, a pensive penguin and his blubbery walrus friend. Yet, where Beauty and the Beast had a deliberate Christmas-themed sequel, and Pocahontas told the tale of her historical trip to England, the plot here is very forced. It is pretty much a rehash of the first film with different characters. Tip and Dash are a reincarnation of Timon and Pumbaa, and Morgana is exactly like her sister, except thinner. Besides the stellar music, this unneeded sequel also misses another important aspect of the original—heart. —Doug Thomas

Anybody who struts around with Simba's hard-won authority deserves this royal DVD read-along from Disney. Kids can recoil at Uncle Scar's dastardly deeds en español and discover that "hakuna matata" sounds pretty much the same in Spanish, French, Italian, or German. And should the dynamic storytelling fail to thrill your 4- to 12-year-old fan, a flurry of other interactive options await. Toggle to "Songs" for sing-along renditions of movie hits, including "I Just Can't Wait to Be King," and on to "Music Videos," where Elton John roars soundtrack favorites "Circle of Life" and "Can You Feel the Love Tonight" and Jimmy Cliff and Lebo M groove to "Hakuna Matata." The "Vocabulary" feature allows for see-and-say mastery of a list of wildlife, while the "Game" section allows players to match paw and hoof prints to the proper beast and reassemble the scattered skeletal remains of an elephant. Original cast voices are featured, and grownups will be pleased by the package's reading component. —Tammy La Gorce

The Lion King 1½ is an ingenious sequel that retells the original film's story from the perspective of best pals Timon the meerkat (voiced by Nathan Lane) and Pumbaa the warthog (Ernie Sabella). Anyone who has wondered how this odd couple met will find out here, beginning with Timon's flight from home following disgrace and his chance encounter with the sweet but lonely Pumbaa. With the arrival of young Simba (Shaun Flemming), The Lion King's familiar tale is reborn via a fresh angle, fleshed out by returning characters Rafiki the wise monkey (Robert Guillaume), Shenzi (Whoopi Goldberg), and Simba's love interest, Nala (Moira Kelly). While the retooled narrative proves a novel experience, The Lion King 1½ is really a vehicle for voice actors Lane and Sabella, whose comic performances are shamelessly, broadly funny. Matthew Broderick, Julie Kavner, and Jerry Stiller are also in the vocal cast. —Tom Keogh

Another made-for-video sequel to a Disney masterpiece. As with the Beauty and the Beast and Pocahontas sequels, most of the recognizable vocal talents return, creating a worthwhile successor to the highest-grossing animated film ever. We pick up the story as the lion king, Simba (voiced by Matthew Broderick), and Nala (Moira Kelly) have a new baby cub, a girl named Kiara (Neve Campbell). Like her father before, she seeks adventure and ends up outside the Pridelands, where lions loyal to the evil Scar (who died in the original) have lived with revenge in their hearts. The leader, Zira (a spunky turn from Suzanne Pleshette), schemes to use her son Kovu (Jason Marsden) to destroy Simba. As luck with have it, Kiara has bumped into Kovu and fallen in love.

This all sounds familiar since all of Disney's straight-to-video sequels have played it very safe, nearly repeating the originals' story, tone, and pace. Perhaps there were too many cooks for this production. Besides the two screenplay credits, there are eight other writers credited for additional written material. The look of the film has none of the surprise of the original but is far superior to other animated videos. In fact, the film played in European theaters.

For kids, the sequel will be a favorite. The comic antics of Timon (Nathan Lane) and Pumba (Ernie Sabella) are enjoyable, as is Andy Dick as Nuka, the mixed-up older son of Zira. And there's plenty of action. The best element is the music. Relying on more African-influenced music, the five songs featured are far superior to those in Disney's other sequels. Zira's song of revenge, "My Lullaby," was cowritten by Buffy the Vampire Slayer creator Joss Whedon. The standout opening number, "He Lives in You," was created for the Lion King Broadway smash and now finds a whole new audience. —Doug Thomas

Disney's first animated feature in CinemaScope is now available in widescreen presentations on video, and it is definitely good to get the whole picture. One of the studio's most original and charming movies, the 1955 film tells the story of a rakish, street-smart dog named Tramp, who helps an aristocratic pooch named Lady out of some trouble and then commences a romance with her. Sweet, funny scenes abound, and the combination of innocence and sophistication would have done well in a live-action picture. Peggy Lee cowrote the songs and provides the voice of the Siamese cats in one of the film's best-known musical sequences. This newly restored version spruces up both sonics and visuals, and a letterbox version is available. —Tom Keogh

One of the remarkable things about making an animated sequel is that actors don't age. It took Disney 46 years to make a sequel to its 1955 hit Lady and the Tramp, yet the events of this made-for-video sequel take place only six months later. Lady and Tramp are getting along fine with their human family, the Darlings, and they have four new puppies. The three girl puppies take after mom, the boy, Scamp, has a lot of dad in him. Scamp dreams of "being a real dog," and that means living on the street as a member of the Junkyard Dogs. Despite his dad's warnings, Scamp (voiced by Scott Wolf) runs off and goes through the trials of a mutt, including run-ins with Junkyard leader Buster (Chazz Palminteri); the dog catcher (Don Knotts); and a fellow stray, Angel (Alyssa Milano). The formula here is the same as other Disney direct-to-video sequels The Lion King and The Little Mermaid, and the justification to return to a classic movie is flimsy at best. To its credit, Disney has made a quality effort in the animation department, adapting sets and characters from the original with great success. But the story is never engaging, the songs are forgettable, and the impact unsustainable (and at 62 minutes, quite trite). Nevertheless, a Disney kid should dig Scamp's rough-and-tumble adventures and the cute tale of puppy love (Scamp and Angel even revisit the Italian diner). The purist: beware. —Doug Thomas