Originally published December 25, 1992, in Comics Buyer’s Guide #997
It seems that Disney keeps upping the stakes with every animated release. The animation crews look at the success of the previous film and must bite their fingers nervously, because they don’t want to be the ones who blow the current roll that the features are on.
It started with The Little Mermaid, of course, and the advent of Broadway-quality standards to the world of the animated film. It bypassed The Rescuers Down Under, which drew some accolades for some interesting computer tricks but not much beyond that.
Then it took a quantum leap forward with Beauty and the Beast, upping the stakes tremendously with not only audience and critical adoration, but the unprecedented Oscar nomination for “Best Film”–and quite a few people (myself included) felt it deserved to win.
So now the focus shifted to Aladdin, Disney’s 31st animated release. The pressure was on. The heat was turned up. Not to mention it brought with it the fact that it represented the final collaboration of composer Alan Menken and lyricist Howard Ashman, the latter having succumbed to AIDS prior to the release of Beauty and the Beast.
The verdict?





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