EDITOR'S NOTE: According to a Warner Home Video technician involved in the production of The Stanley Kubrick Collection, Kubrick authorized all aspects of the Collection, from the use of Digital Component Video (or "D-1") masters originally approved in 1989, to the use of minimalist screen menus, chapter stops, and (in the case of 2001: A Space Odyssey and The Shining on DVD) supplementary materials. Full-screen presentation of The Shining and Full Metal Jacket was also approved by Kubrick, who recomposed his original framing, reportedly believing that those films looked best on video in the full-screen format. (In fact, the original theatrical aspect ratio of The Shining was 1.66:1, meaning that a relatively small portion of the image is lost.) Kubrick also chose mono over stereo, believing that inconsistencies in theatrical sound systems resulted in loss of control over theatrical presentation. In every respect, the Warner spokesman said, the films in the Collection remain as Kubrick approved them. Any future attempt to remaster or alter them would have to be approved by an appointee of the Kubrick estate.

As a Disney oddity, they don't get much odder than Three Caballeros. Donald Duck receives a birthday package from South America, and the film proceeds to unravel like some peyote-induced hallucination. It starts out reminiscent of other Disney films, where shorts are cobbled together, such as "Make Mine Music" or "Fun and Fancy Free." The film has vignettes such as "The Cold-Blooded Penguin" and "The Flying Guachito." After them it careens straight into part-travelogue, part-stream-of-consciousness animation. Not helping out much are Donald's "friends," Joe Carioca (a parrot) and Panchito (a rooster). They spend most of the rest of the film watching Donald chase skirt. That's right, Donald Duck is a wolf in this movie, and he chases every live-action señorita who bustles across the screen. Although some will say otherwise, Caballeros is for die-hard Disney, Donald, or psychedelia fans only. —Keith Simanton

Whereas the original Tarzan tells the story of a man raised by gorillas who learns to bring together the human and animal worlds, Tarzan II is a prequel, of sorts, focusing on a chapter from Tarzan’s childhood where he realizes he is not an ape and sets out to discover his true identity. The young misfit runs away from his loving mother, Kala (voiced by Glenn Close), and wanders up the Dark Mountain to come face to face with the monstrous Zugor. But all is not serious in this 72-minute boondoggle; there is Disney’s usual foray into frivolity by way of a few wisecracking sidekicks—a couple of gorilla brothers named Uto and Kago, and their nettlesome Mama Gunda (voiced by Estelle Harris, a laudable choice). Despite the star-studded voice cast, there is a sense of re-tread ground here, and the story (loosely based on Edgar Rice Burroughs’ distinctive tale) shows signs of formulaic Disney. Nonetheless, Phil Collins’ trio of original songs livens the pace to make the effort a short-lived smile. (Ages 6 to 14) —Lynn Gibson

After viewing Snow White and the Seven Dwarfs, Edgar Rice Burroughs wrote to Walt Disney about adapting his novel of an ape-man into a feature animated cartoon. Sixtysome years later, the tale is finally told with brilliant design work that looks unlike any previous animated film. The story is a natural for Disney since the themes of misunderstood central figures have been at the heart of its recent hits. Disney's Tarzan doesn't wander far from the familiar story of a shipwrecked baby who is brought up by apes in Africa. What gives the film its zing is its clever use of music (the songs are sung by Phil Collins himself rather than onscreen characters) and the remarkable animation. Deep Canvas, a 3-D technology, was developed for the film, creating a jungle that comes alive as Tarzan swings through the trees, often looking like a modern skateboarder racing down giant tree limbs. The usual foray of sidekicks, including a rambunctious ape voiced by Rosie O'Donnell, should keep the little ones aptly entertained. The two lead voices, Tony Goldwyn as Tarzan and Minnie Driver as Jane, are inspired choices. Their chemistry helps the story through the weakest points (the last third) and makes Tarzan's initial connection with all things human (including Jane) delicious entertainment. Disney still is not taking risks in its animated films, but as cookie-cutter entertainment, Tarzan makes a pretty good treat. (Ages 5 and up) —Doug Thomas

Based upon T.H. White's beloved novel, this Disney-fied version chronicles the tutoring of the Once and Future King, Arthur, as handled by the magician Merlin. Sword was a portent of things to come, with slapstick upbraiding storytelling, and cultural in-jokes substituting for wonder. But there's much to enjoy here as Merlin shows Newt, the young Arthur, things that will help him become the ruler of the Britons. The transformation sequences, where the boy is turned into a fish, a bird, and a squirrel are vintage Disney. The oft-repeated scene of Merlin battling it out with the mean old Madame Mim still is worth a few chuckles, but it belies the problem with most of the film—the scenes are only there for the chuckles. References by Merlin to television and other items of modern life also mar the generally innocuous landscape. Children will like it, but they won't cherish it. —Keith Simanton

Disney figured out that it's not necessarily how many extras a DVD offers, it's how effortlessly the fan can view them. In two "guided tours," a viewer can see a selection of the excellent extras on the history and creation of Walt Disney's crown jewel. Disc 1 has an informative 40-minute documentary, plus karaoke songs, a neat trivia game, and Barbra Streisand's new version of "Some Day My Prince Will Come." Like Fantasia, the commentary track is expertly made up of historical recordings from over the years by Disney himself. The second disc brings out abandoned concepts, a crisp storyboard-to-film comparison, hundreds of well-organized drawings, and many historical recordings. The centerpiece, "Disney Through the Decades," is a mixed blessing of information and hype. Disney pride aside, they have done well with the film (now looking better than ever) that laid the foundation of their empire. —Doug Thomas

This is not a fantasy about talking dogs—it's a heartwarming story about personal growth starring Cuba Gooding Jr. and a sled team of Siberian huskies. When Dr. Ted Brooks, a successful, sun-loving dentist from Miami, receives a summons to the minuscule town of Tolketna, Alaska, his mother is forced to confess that he was adopted. Teddy's desire to quickly return to Miami yields to a burgeoning curiosity about his deceased mother and biological father. Teddy's experiences in Alaska acquaint him firsthand with the wonders of sled dogs, the sport of mushing, human sacrifice, and love. The city slicker's hilarious attempts to mush even culminate in a hero's reception at the finish of the prestigious "Arctic Challenge." Snow Dogs is 99 minutes of breathtaking vistas, amusing comedy, and entertainment suited for the entire family. Rated PG due to the occasional outhouse joke and other mild crude humor. —Tami Horiuchi