Bienvenue dans le monde du conte de fée irrévérencieux. Shrek est un pied de nez à toutes les merveilleuses histoires de notre enfance. En contant les aventures d'un ogre vert, d'un âne et d'une princesse aussi mal dégrossie que Blanche-Neige était délicate, le studio de production de Steven Spielberg a misé sur la pure fantaisie et l'humour décalé. Ce qui donne une petite merveille du genre. Tout au long de son parcours, Shrek rencontre des personnages magiques pris à contre-courant : un pseudo-prince charmant aussi teigneux que sa taille est petite, un impressionnant dragon qui se révèle en fait être une grande amoureuse, une princesse adepte du rot et cachant un terrible secret.
Affligé d'un âne qui parle plus vite que son ombre, Shrek part à la conquête de l'amour dans un divertissement familial à plusieurs lectures. Cela donne un dessin animé plaisant beaucoup aux enfants et énormément aux adultes. L'animation en images de synthèse est remarquable et marque les énormes progrès faits en la matière. Shrek est une petite révolution technique et une indéniable réussite artistique. —Marc Maesen

The lovably ugly green ogre returns with his green bride and furry, hooved friend in Shrek 2. The newlywed Shrek and Princess Fiona are invited to Fiona's former kingdom, Far Far Away, to have the marriage blessed by Fiona's parents—which Shrek thinks is a bad, bad idea, and he's proved right: The parents are horrified by their daughter's transformation into an ogress, a fairy godmother wants her son Prince Charming to win Fiona, and a feline assassin is hired to get Shrek out of the way. The computer animation is more detailed than ever, but it's the acting that make the comedy work—in addition to the return of Mike Myers, Eddie Murphy, and Cameron Diaz, Shrek 2 features the flexible voices of Julie Andrews (Mary Poppins), John Cleese (Monty Python's Flying Circus), Antonio Banderas (Desperado), and Jennifer Saunders (Absolutely Fabulous) as the gleefully wicked fairy godmother. —Bret Fetzer

Horse lovers young and old will celebrate this utterly enjoyable and marvelous-looking animated film. The titular stallion runs free in the Cimarron (New Mexico) wilderness until a series of men try to master the proud horse, leading to adventures through a U.S. Cavalry fort, Native American settlements, and a railroad camp. Despite a heavy dose of political correctness and realism (the animals don't talk; we only hear Spirit's internal monologue, voiced by Matt Damon), directors Kelly Asbury and Lorna Cook give their hero many only-in-a-movie moments, including an action sequence rivaling any of Rambo's escapes. The stirring mix of 2-D and 3-D animation is absolutely stunning and aptly fueled by composer Hans Zimmer's synthesized score. The film earns one demerit for '80s rocker Bryan Adams's abundant songs—a different singer could have brought more to the film. Rated G but there is some rough treatment of horses shown, so nix the sensitive preschoolers. —Doug Thomas

This live-action version of E.B. White's novel doesn't have quite the magic of, say, Toy Story. Instead of entertainment the whole family can be enthralled with, Stuart Little is squarely aimed, and successfully so, at the 4- to 10-year-old watcher. Does this make it a bad family film? Not in the slightest. The gee-whiz visual effects (created by original Star Wars wizard John Dykstra) and the film's ebullient wholesomeness make this a welcome addition to the home library.

In E.B. White's world, it's hardly surprising that human parents would adopt "outside their species." The smooth-talking mouse Stuart (voiced by Michael J. Fox) seems the perfect new child for parents Geena Davis and Hugh Laurie, especially with an adorable wardrobe of very small sweaters and pants. Harder is fitting in with the Little's family cat, Snowbell (voiced by Nathan Lane, who also deftly voiced Timon in director Rob Minkoff's last feature, The Lion King). The simple story deals with Stuart trying to fit in with his new life, including big brother George (Jerry Maguire's scene-stealing Jonathan Lipnicki). And of course there's an adventure when Snowbell's schemes lead Stuart into true danger, in the form of the devious plans of an alley cat named Smokey (voiced by Chazz Palminteri). Brisk—85 minutes—amusing, and tolerably cute, Stuart Little stands tall. Two curios: The effects are so cleanly done that we could call Stuart the first successfully computer-animated actor, and the screenplay was cowritten by M. Night Shyamalan, who made bigger waves in 1999 writing and directing The Sixth Sense. —Doug Thomas

A visual knockout, Titan A.E. is an ambitious animated feature that combines traditional animations, computer-generated imagery, and special effects in the service of a science fiction adventure plotted with narrative conventions familiar from Star Wars and Star Trek. Credit directors Don Bluth (An American Tail, The Secret of NIMH, Anastasia) and Gary Goldman with crafting a vivid, convincing look to this deep space saga, which conjures some stunning images. A tense opening sequence climaxing in the destruction of Earth, a watery planet where delicate but deadly hydrogen trees float, joyriding in a starship while pursued by playful "space angels," and a nerve-wracking journey through a lethal maze of massive ice crystals each qualify as mesmerizing sequences in any film context.

What's visually stunning proves intermittently stunted on the narrative front, however. Orphaned when the evil Drej atomize Earth, protagonist Cale (voiced by Matt Damon) must journey across space to unlock the mystery of his late father's final project, the Titan spacecraft, in a test of faith and filial identity that echoes Star Wars. The Titan itself ultimately poses a cosmic potential familiar to admirers of Star Trek II: The Wrath of Khan. Comical sidekicks (Nathan Lane, Janeane Garofalo, John Leguizamo), a sultry love interest (Drew Barrymore), and a roguish mentor (Bill Pullman) all verge on the generic, narrowly redeemed by dialogue from a writing team including Buffy the Vampire Slayer creator Joss Whedon.

It's likely that Titan's target audience of young males prompted the filmmakers to walk a tightrope between softer family features and more violent, hard-edged anime. Titan's brief bloodshed and coy nudity stop short of PG-13 terrain, though younger viewers might be unsettled by the violence. Young teens will find the proceedings tamer than the video games and anime fantasies that have influenced it. —Sam Sutherland

Just as A Bug's Life was a computer-animated comedy inspired by Akira Kurosawa's The Seven Samurai, the funny and often enthralling Ice Age is a digital re-imagining of the Western Three Godfathers. The heroes of this unofficial remake (set 20,000 years ago, during the titular Paleolithic era) are a taciturn mastodon named Manfred (voiced by Ray Romano), an annoying sloth named Sid (John Leguizamo), and a duplicitous saber-toothed tiger, Diego (Denis Leary). The unlikely team encounters a dying, human mother who relinquishes her chirpy toddler to the care of these critters. Hoping, against all odds, to return the little guy to his migrating tribe, Manfred and his associates need to establish trust among themselves, not an easy thing in a harsh world of predators, prey, and pushy glaciers. Audiences that have become accustomed to the rounded, polished, storybook look of Pixar's house brand of computer animation (Monsters, Inc.) will find the blunt edges and chilly brilliance of Ice Age—evoking the harsh, dangerous environment of a frozen world—a wholly different, and equally pleasing, trip. Recommended for ages 4 and up. —Tom Keogh

The best of the half-dozen short segments on The Grinch DVD mirrors the best part of the movie itself, namely Rick Baker's Oscar®-winning make-up. Baker and star Jim Carrey are such interesting personalities that their stories about the time-consuming process are entertaining. For the kids, Max's Playhouse has some simple games and three sing-alongs. How interesting you find the rest of the extras will depend on how much you liked the film. An unhosted segment on deleted scenes is nothing special, and the segment on how the movie extras, including members of the Cirque de Soleil, worked on their bits could have been far longer. Trying to match the movie's scale, the DVD even boasts recipes. —Doug Thomas

There was such a magic on the screen in 1995 when the people at Pixar came up with the first fully computer-animated film, Toy Story. Their second feature film, A Bug's Life, may miss the bull's-eye but Pixar's target is so lofty, it's hard to find the film anything less than irresistible.

Brighter and more colorful than the other animated insect movie of 1998 (Antz), A Bug's Life is the sweetly told story of Flik (voiced by David Foley), an ant searching for better ways to be a bug. His colony unfortunately revolves around feeding and fearing the local grasshoppers (lead by Hopper, voiced with gleeful menace by Kevin Spacey). When Flik accidentally destroys the seasonal food supply for the grasshoppers he decides to look for help ("We need bigger bugs!"). The ants, led by Princess Atta (Julia Louis-Dreyfus), are eager to dispose of the troublesome Flik. Yet he finds help—a hearty bunch of bug warriors—and brings them back to the colony. Unfortunately they are just traveling performers afraid of conflict.

As with Toy Story, the ensemble of creatures and voices is remarkable and often inspired. Highlights include wiseacre comedian Denis Leary as an un-ladylike ladybug, Joe Ranft as the German-accented caterpillar, David Hyde Pierce as a stick bug, and Michael McShane as a pair of unintelligible pillbugs. The scene-stealer is Atta's squeaky-voiced sister, baby Dot (Hayden Panettiere), who has a big sweet spot for Flik.

More gentle and kid-friendly than Antz, A Bug Life's still has some good suspense and a wonderful demise of the villain. However, the film—a giant worldwide hit—will be remembered for its most creative touch: "outtakes" over the end credits à la many live-action comedy films. These dozen or so scenes (both "editions" of outtakes are contained here) are brilliant and deserve a special place in film history right along with 1998's other most talked-about sequence: the opening Normandy invasion in Saving Private Ryan.

The video and DVD also contain Pixar's delightful Oscar-winning short, Geri's Game. —Doug Thomas

Toy Story
There is greatness in film that can be discussed, dissected, and talked about late into the night. Then there is genius that is right in front of our faces—we smile at the spell it puts us into and are refreshed, and nary a word needs to be spoken. This kind of entertainment is what they used to call "movie magic," and there is loads of it in this irresistible computer animation feature. Just a picture of these bright toys on the cover of Toy Story looks intriguing, reawakening the kid in us. Filmmaker John Lasseter's shorts (namely Knickknack and Tin Toy, which can be found on the Pixar video Tiny Toy Stories) illustrate not only a technical brilliance but also a great sense of humor—one in which the pun is always intended. Lasseter thinks of himself as a storyteller first and an animator second, much like another film innovator, Walt Disney.

Lasseter's story is universal and magical: what do toys do when they're not played with? Cowboy Woody (voiced by Tom Hanks), Andy's favorite bedroom toy, tries to calm the other toys (some original, some classic) during a wrenching time of year—the birthday party, when newer toys may replace them. Sure enough, Space Ranger Buzz Lightyear (Tim Allen) is the new toy that takes over the throne. Buzz has a crucial flaw, though—he believes he's the real Buzz Lightyear, not a toy. Bright and cheerful, Toy Story is much more than a 90-minute commercial for the inevitable bonanza of Woody and Buzz toys. Lasseter further scores with perfect voice casting, including Don Rickles as Mr. Potato Head and Wallace Shawn as a meek dinosaur. The director-animator won a special Oscar for "the development and inspired application of techniques that have made possible the first feature-length computer-animated film." In other words, the movie is great. —Doug Thomas

Toy Story 2
John Lasseter and his gang of high-tech creators at Pixar create another entertainment for the ages. Like the few great movie sequels, Toy Story 2 comments on why the first one was so wonderful while finding a fresh angle worthy of a new film. The craze of toy collecting becomes the focus here, as we find out Woody (voiced by Tom Hanks) is not only a beloved toy to Andy but also a rare doll from a popular '60s children's show. When a greedy collector takes Woody, Buzz Lightyear (Tim Allen) launches a rescue mission with Andy's other toys. To say more would be a crime because this is one of the most creative and smile-inducing films since, well, the first Toy Story.

Although the toys look the same as in the 1994 feature, Pixar shows how much technology has advanced: the human characters look more human, backgrounds are superior, and two action sequences that book-end the film are dazzling. And it's a hoot for kids and adults. The film is packed with spoofs, easily accessible in-jokes, and inspired voice casting (with newcomer Joan Cusack especially a delight as Cowgirl Jessie). But as the Pixar canon of films illustrates, the filmmakers are storytellers first. Woody's heart-tugging predicament can easily be translated into the eternal debate of living a good life versus living forever. Toy Story 2 also achieved something in the U.S. two other outstanding 1999 animated features (The Iron Giant, Princess Mononoke) could not: it became a huge box-office hit. —Doug Thomas

America's first family of dysfunction, the Simpsons, appear in all their depraved glory in this wonderful DVD compilation of their show's premiere season. Fans accustomed to the slick appearance of the later episodes will be delighted by the rougher nature of these earlier episodes, when the characters weren't as well defined (Homer isn't quite as dumb as he is in later seasons) and the animation was still evolving. This only adds to the charm of these 13 episodes, which begin with "Simpsons Roasting on an Open Fire," the December 1989 Christmas special in which a down-and-out Simpson family adopt Santa's Little Helper. Throughout the season, familiar faces are introduced, as we catch first glimpses of Smithers, Mr. Burns, the Flanderses, and Patty and Selma. Highlights of the season include "The Crepes of Wrath," in which Bart is sent to France as an exchange student ("Don't mess up France the way you messed up your room"); "Bart the Genius," in which Bart ends up in a school for the gifted; and "Krusty Gets Busted," in which Bart's lifelong animosity with Sideshow Bob begins. —Jenny Brown