Daily Archives: January 21, 2025

Cameron Diaz’s First Movie In 11 Years Is Dominating Netflix

Netflix

2014 wasn’t a great year for Cameron Diaz. The actor who shot to stardom when she debuted in 1994’s “The Mask” suddenly found herself at the center of three films that garnered reviews ranging from lukewarm to downright malicious with “The Other Woman,” “Sex Tape,” and “Annie.” Diaz’s best movie (at least according to Rotten Tomatoes) was long behind her at this point, and the actor disappeared from movie-making after “Annie” bowed in theaters. Now, she’s back in a movie that will surely do little to make up for the poor reviews of 2014 but will, at least, give her global exposure, assuming the Netflix viewing figures are anything to go by.

Diaz appears alongside her “Any Given Sunday” and “Annie” co-star Jamie Foxx in “Back in Action” in which the pair play former spies who settle down and start a family in the suburbs of Atlanta. As you might have guessed from the title and the feeble premise, however, the couple are quickly drawn (sigh) back into action, with Foxx and Diaz’s Matt and Emily having to escape mercenaries sent by their former boss and protect their kids in the process.
Director Seth Gordon (“Identity Thief,” “Baywatch”), told Tudum that “Back in Action” came from him contemplating the idea of “What would it be like for Jason Bourne if he had kids?” Well, finally this question that surely every Bourne fan has been asking since Matt Damon’s franchise debuted has been answered with yet another sorta okay Netflix movie that will soon wash away amid the inexorable tide of streaming “content.” Before it becomes yet another forgotten streaming effort, however, it will evidently manage to capture our increasingly diminishing collective attention span, as the whole world appears to be happily streaming Diaz’s return to movie-making.

Cameron Diaz is back in action on Netflix

John Wilson/Netflix

Before Cameron Diaz disappeared from Hollywood, she was easily one of its biggest stars. While a middling Netflix action comedy might not seem like the sort of thing that would remind us of the actor’s star power, “Back In Action” is at least proving hugely popular on Netflix. The movie hit the streamer on January 17, and immediately proved to be nothing short of a sensation. According to FlixPatrol, a site that tracks streaming viewership data across the various platforms, the movie is an indisputable success for Netflix, not only topping the U.S. most-watched charts but also becoming a global hit.

Stateside, “Back in Action” debuted on the most-watched film charts the day after it arrived on the service, hitting number one on January 18, 2025, and staying there ever since. As of January 20, it’s still in the top spot and looks set to remain there for some time, becoming one of Netflix’s biggest releases of 2025 thus far. It’s the same story around the world, too, with “Back in Action” managing to repeat its chart-topping success in every other market.
As of January 20, the film is number one in 92 countries, only failing to top the charts in New Zealand, where it currently sits at number two. Even then, “Back in Action” was number one in New Zealand for its first two days on Netflix. If that’s not impressive enough, Diaz’s triumphant return has been number one every day since it hit Netflix in 88 countries around the world, suggesting it will not only be dominating the U.S. charts for some time, but that it will also likely remain in the global rankings for the foreseeable future — especially since in every country where it’s charting, it hasn’t dipped below the number two position in any of them.

Is Back in Action worth watching?

Netflix

You might think it unfair to belittle yet another Netflix movie when it has the star power of Cameron Diaz propelling it. Well, while I hesitate to direct your attention to Rotten Tomatoes, which maintains there are only two “perfect” war movies and that Sean Connery’s best movie is “Darby O’Gill and the Little People,” that 23% score for “Back in Action” ain’t great. Rotten Tomatoes is doing little to maintain the success of the film, which also bears a lowly 4.4 out of 10 average rating. In his two-star review, The Guardian’s Benjamin Lee wrote, “While it might prove that Diaz still possesses that same particular magic, it also shows that she should be far more discerning with how she chooses to share it.” “Back in Action” certainly seems like an odd choice for Diaz’s big return to filmmaking, but then, the audience numbers appear to suggest otherwise.

Case in point: Jack Black actually forgot he was in a Christmas movie with Diaz which recently saw a resurgence on Prime Video for Christmas 2024. While “The Holiday” didn’t fare all that much better critically than “Back in Action,” it has a certain charm of its own, mostly because of Diaz’s own inherent charisma, which is on full display in the romantic comedy. As such, the revival of “The Holiday” in 2024 was arguably a better return for the actor than “Back in Action,” which, with its meta title, seems like exactly the kind of thing Netflix’s ungodly AI algorithms would churn out after crunching the viewership numbers.

The Two Best Animated 2024 Movies You Haven’t Seen Are About The Same Thing

Madman Entertainment

Content warning: the following discusses the death of a pet, so please proceed with caution.
At the time of writing, it’s only been a few days since my family and I bid farewell to one of our dear beloved cats (who had been diagnosed with cancer a couple of months earlier). A grey and white sweetheart, he was a part of our lives for nearly 13 years. I’ve never met anyone, animal or human, who loved to be petted by and snuggle other cats and people as much as him (nor a cat who purred quite so loudly when he was happy). He was also a charming rascal and lovable weirdo who left us with countless anecdotes to regale ourselves with. To say my family and I are heartbroken would be putting it mildly.

In my sorrow, as I’ve always done whenever I lose someone dear to me, I’ve found myself drawn to media that speaks to my feelings. (Yes, for whatever reason, I’m apparently an emotional sadist who only really wants to watch sad stuff when I’m sad. Go figure.) As chance had it, I’d already made plans to check out what wound up being the perfect movie for my current state of mind: “Memoir of a Snail.”
The latest “clayography” written and directed by Adam Elliot is loosely inspired by events in the Australian filmmaker’s real life. This underseen 2024 critical darling centers on Grace Pudel (portrayed as a grownup by Sarah Snook of “Succession” fame, who speaks in her native Aussie accent to deliver a graceful, empathetic voice performance). Grace is, by her own admission, an introverted oddball in a family of oddballs. Growing up in 1970s Melbourne, Grace spends her youth being bullied (first because of her cleft lip and then, after going through puberty, her body type) and enduring a string of tragedies. This culminates in her and her fiercely loyal, protective twin brother Gilbert (voiced by Kodi Smit-McPhee as an adult) being sent to different foster homes — each neglectful or, in Gilbert’s case, outright abusive in their own way — on opposing sides of the continent.

Over time, Grace retreats even further into herself, hoarding snails and snail-themed items to deal with her loneliness (including the homemade snail hat she’s been wearing since she was a kid). As the film continued, though, it occurred to me that “Memoir of a Snail” has a remarkable amount in common with another underseen animated 2024 gem — one that, on the surface, seems like it’s worlds apart.

Memoir of a Snail and Flow are both about how we survive in a cruel world

Janus Films

“Flow,” the much-celebrated new animated feature from Latvian filmmaker Gints Zilbalodis, is about as far removed from “Memoir of a Snail” as an animated movie can get … that is, at a passing glance. Where the latter features practically non-stop voiceover narration by Snook, “Flow” is completely dialogue-free. It follows a pack of animals (a black cat, a yellow Labrador Retriever, a ring-tailed lemur, a capybara, and a secretary bird) as they find themselves stuck together in the same small boat trying to survive a catastrophic and effectively Biblical global flood. “Flow” also takes place in what feels like a slightly fantastical version of the real world, whereas “Memoir of a Snail” is very much based in our reality, contrary to what its stylized stop-motion imagery might suggest.

In terms of their aesthetics and tone, the pair seem equally unlike. Whereas “Memoir of a Snail” is shot in mainly locked-down compositions that draw from a fairly subdued color palette, “Flow” is brightly lit, with its virtual camera frequently moving like it would in an open-world video game. (Not for nothing, Zilbalodis made his feature-length debut on the similar video game-inspired animated film “Away.”) Along those same lines, “Memoir of a Snail” has a predilection for quirky details and raunchy whimsy that recalls the work of Jean-Pierre Jeunet (parents be warned, this is not a movie meant for kids), while “Flow” is an all-audience affair despite dealing with some heavy subject matter.

Global warming metaphors aside, however, “Flow” is basically about the same thing as “Memoir of a Snail.” Each of them explores how we deal with loss and the life events that rock our world forever, setting us adrift (be it in a literal and/or figurative sense). Losing a loved one or dealing with everyday human bullies the way Grace does might seem like small potatoes compared to an actual apocalyptic event, and there’s likewise a part of me that almost feels guilty for calling attention to my current woes in light of the unfathomable disaster the L.A.-based folks I work with have had to deal with since 2025 got underway. But “Flow,” like “Memoir of a Snail,” doesn’t minimize its characters’ personal suffering, no matter how trivial it comes across in the grand scheme of things. Case in point: a scene where one of the movie’s animals is separated from a treasured object they picked up — a rare source of comfort in the face of the environmental devastation unfolding around them — is depicted with the same earnestness as anything else that happens in the story.

Nobody survives alone in either Memoir of a Snail or Flow

Madman Entertainment

Friendship and the role it plays in allowing us to survive a cruel world is a recurring theme in Elliot’s films, and “Memoir of a Snail” is no exception. As she gradually comes of age, Grace forms a most unexpected relationship with Pinky (a delightful Jacki Weaver), a far older and more experienced yet even more idiosyncratic soul who becomes a pillar of support for Grace throughout her many hardships and bouts of self-sabotage. To be sure, “Memoir of a Snail” recognizes we can often be our own worst enemies and that the people we care about, be they related by blood or members of our found family, are instrumental in helping us to not only stay alive but also to overcome our worst impulses.

So it also goes with the black cat in “Flow,” who essentially acts as the movie’s protagonist. Our nameless and extremely anxious four-legged hero spends the majority of the movie panicking and nearly getting itself killed, all the while struggling to figure out how to exist harmoniously with its newfound — and strikingly different — bedfellows. If that doesn’t make them one of the most relatable film characters in all of 2024, then, suffice it to say, we are very different people. Once again, though, it’s only through the kindness and support of others (even the smallest of gestures) that our lead makes it through thick and thin, a concept exemplified beautifully by the symmetry of the movie’s opening and closing shots.

The importance of community (no matter the shape or size) and the role it plays in supporting the most vulnerable members of society, helping them to live a full life even in the face of dire circumstances, is another common thread in not just “Memoir of a Snail” and “Flow” but a lot of 2024 and recent metamodern cinema in general (see also: the partly animated documentary “The Remarkable Life of Ibelin” and “The Wild Robot” for two other relevant, terrific examples). It’s a vital message we could all stand to take to heart as we head into the future, as well as an important lesson we all have to learn at some point in our own individual journeys.
These films also know it’s impossible to truly express our gratitude to those who’ve helped us along the way when the time comes to bid them farewell. Still, the very least we can do is take a moment and try, if only to briefly honor them, be they human or a pet (nay, a friend) who made our hearts just a little less lonely and filled even our darkest days with some much-needed light.
“Memoir of a Snail” is currently streaming on AMC+. “Flow” is available to rent or purchase on digital.

The 15 Best ’90s Kids’ Movies Ranked

Did movies for kids peak in the 1990s? It’s entirely possible. We arrived at this question after sifting through piles of our old VHS tapes to produce a list of the best ’90s kids’ movies, noting the amount of high-quality entertainment we had to choose from. Make no mistake, this was a hard list to assemble and required more than a few heartbreaking sacrifices. Even cherished Walt Disney productions like “Mulan” and “Tarzan” were left on the outside looking in, which speaks volumes about the last great decade. “Beethoven?” Nope. “Rookie of the Year?” Nadda. “Angels in the Outfield?” Non. The Lindsey Lohan “Parent Trap?” Nein.

Thankfully, the films that made the final cut are genuinely excellent. So, don’t get too mad if your favorite children’s flicks are nowhere to be found. Chances are, we love them too but had to make room for those that were marginally better. Okay, that said, turn off your pager, pop in a Mariah Carey CD, and look at the most fantastic kids movies produced in the ’90s, ranked from awesome to more awesome.

The Rocketeer (1991)

Buena Vista Pictures Distribution

It’s hard to believe that Joe Johnston’s “The Rocketeer” crashed and burned upon release, mainly as a result of a release date that placed it smack dab in-between blockbusters “Robin Hood: Prince of Thieves” and James Cameron’s “Terminator 2: Judgment Day.” Too bad because this thrilling action-adventure about a rocket-toting superhero battling Nazis in 1930s Hollywood has charm to spare and satisfied every kid yearning for more Indiana Jones.

Cliff Secord (Billy Campbell) is a down-on-his-luck pilot trying in vain to make a life for himself and his girlfriend, Jenny Blake (Jennifer Connelly). By chance, he happens upon a rocket pack that immediately changes his fortunes for the better but also attracts the attention of loathsome villains such as actor Neville Sinclair (Timothy Dalton) and gangster Eddie Valentine (Paul Sorvino), who want to use the device for their own nefarious purposes. Teaming up with his old buddy Peevy (Alan Arkin), Cliff must summon his super heroic instincts to save the day and maybe even the world.  
Boasting stellar production values, a top-flight score from James Horner, and several high-octane set pieces, “The Rocketeer” is pure, old-fashioned entertainment.

Hook (1991)

Tri-Star Pictures

“Hook” arrived in theaters less than six months after “The Rocketeer” and likewise stumbled at the box office. While not an outright bomb, Steven Spielberg’s Peter Pan fantasy failed to meet the sky-high expectations placed upon it, receiving mixed reviews from critics, causing it to flounder against its bloated budget and squash any happy feelings before it could even get off the ground.

Kids, however, dug it. There are likely only a few ’90s youngsters who didn’t shout “RUFI-OOOOO” in their backyards or blast John Williams’ majestic score over their CD player. Time has certainly been kinder to “Hook,” which tells the tale of a grown-up Peter Pan (Robin Williams) forced to confront Captain Hook (Dustin Hoffman) in Neverland to rescue his children. And while there are indeed cracks in the product — notably Julia Roberts’ silly Tinkerbell and a third act that lacks imagination — this Spielberg adventure hits quite a few high notes and remains watchable thanks to its terrific cast, a few splashy effects, and more than a few memorable set pieces. When Pan finally takes to the skies, you’ll want to stand up and scream, “Bangarang!”  

Cool Runnings (1993)

Buena Vista Pictures Distribution

Loosely based on a true story, “Cool Runnings” chronicles the first-ever Jamaican bobsled team that competed in the 1988 Winter Olympics and, despite the odds, earned respect and admiration from their peers.

Released amidst Disney’s ’90s sports run alongside “The Mighty Ducks,” “Angels in the Outfield,” and “The Big Green,” “Cool Runnings” is the classic underdog story in which a group of people must work together to overcome cultural, physical, and logistical challenges to achieve a singular goal. In this case, buddies Derice Bannock (Leon), Sanka Coffie (Doug E. Doug), Junior Bevil (Rawle D. Lewis), and Yul Brenner (Malik Yoba) decide to create a bobsled team to participate in the upcoming Olympic games. Seeking out former bobsled champion Irv Blitzer (John Candy), the crew vacates their tropical locale and heads to the frigid cold of Calgary, Alberta, where other teams mock them. Through hard work and determination, our boys ascend the ranks and eventually achieve the respect they long for, just not in the way you expect.

Directed by Jon Turteltaub, “Cool Runnings” is a briskly paced comedy with big laughs, exciting action, and a positive message about friendship that undoubtedly inspired a generation of kids to reach for the stars.

Homeward Bound: The Incredible Journey (1993)

Buena Vista Pictures Distribution

Another Disney entry — and get ready, because the Mouse House appears a lot on this list — “Homeward Bound: The Incredible Journey” is one of those movies that doesn’t do anything particularly novel but somehow winds up satisfying your thirst for adventure. A remake of the 1963 film of the same name, this enjoyable tale follows three domestic animals — Chance (voiced by Michael J. Fox), an American bulldog, Shadow (Don Ameche), a Golden Retriever, and Sassy (Sally Field), a Himalayan cat — as they make a treacherous journey to return to their owners. Along the way, they bump into several obstacles, including a bear, a mountain lion, and dognappers — oh my! — growing closer as a family with each passing step.

Released a mere year before “Babe,” which employed CGI to make its animal actors talk, “Homeward Bound” emphasizes simplicity to fulfill its calling. Heck, the dog’s lips don’t even move when they speak! No matter, in the end, when humans and dogs predictably reunite, every kid is locked in on the magic.

Space Jam (1996)

Warner Bros.

Yeah, yeah, “Space Jam” is the ultimate corporate product, a combination of different popular elements strung together by a flimsy story to make a gazillion dollars at the box office and through merchandising sales. Yet, despite its cynical foundation, this 1996 feature is better than it has any right to be.

Here’s the gist: the “Looney Tunes” gang is kidnapped by aliens seeking entertainers for their amusement park. Rather than go quietly, Bugs Bunny (voiced by Billy West) challenges the extraterrestrials to a game of basketball and recruits none other than Michael Jordan — at the time, a struggling baseball player following his abrupt retirement from the NBA — to guide his animated squad to victory.
Again, the plot is flimsy at best, but somehow it works and results in a delightful romp that combines wacky “Looney Tunes” gags with exciting, albeit mostly animated, basketball. Also, how can you discount a picture featuring Charles Barkley, Muggsy Bogues, Shawn Bradley, Patrick Ewing, and Larry Johnson? Oh, and big, bad Bill Murray. Did we mention him? Add a sweet soundtrack, and you’ve got a finely pressed piece of kid-friendly cinema. Just stay away from the dispiriting sequel.

The Nightmare Before Christmas (1993)

Touchstone Pictures

A beloved favorite by practically everyone, everywhere, “Tim Burton’s The Nightmare Before Christmas” chronicles the misadventures of Jack Skellington (voiced by Chris Sarandon and Danny Elfman), the “Pumpkin King” of Halloween Town, who has grown bored with the ghouls and goblins hanging around his backyard every year. Fortuitously, he happens upon a door that leads to Christmas Town and decides to try his hand at playing Santa Claus. Unfortunately, his macabre sensibilities clash with the jovial cheer of Christmas, leading to disaster.

Co-starring Catherine O’Hara, this stop-motion animated treat from director Henry Selick (taking his cues from Burton) is a visual marvel packed with bouncy songs, creepy characters, and a little romance. It may be too Tim Burton-y for some, as Disney presumed before its release, and, sure, Elfman goes a little nuts with the endless musical numbers. Still, nitpicks aside, “Nightmare” is a wholly original work for children and grownups alike. Now, the ultimate question: is it a Christmas movie or a Halloween flick?   

Matilda (1996)

Tri-Star Pictures

Hollywood has adapted several of Roald Dahl’s works for the big screen over the years, but none are quite as charming as 1996’s “Matilda.” Directed by and co-starring Danny DeVito, this family comedy follows six-year-old Matilda Wormwood (Mara Wilson, who vacated Hollywood shortly after) and her misadventures at Crunchem Hall Elementary School, where she deals with a terrifying principal (Pam Ferris), befriends a benevolent teacher (Embeth Davidtz), and does her best to learn as much as she can despite the efforts of her neglectful parents (DeVito and Rhea Perlman).

Oh, and Matilda also develops telekinetic powers that allow her to exact revenge against her enemies, albeit in a playful manner. Like, she doesn’t go full “Carrie” and murder her classmates. Instead, she tosses carrots at bullies, spooks her insane principal, and saves innocent children from certain death. You know, typical kid stuff.
Like a remnant of those freaky kids’ films of the ’80s, “Matilda” doesn’t shy away from darker thematic material or essential lessons about life, love, and family. Enjoy the film, then check out the “Matilda” musical.  

Jumanji (1995)

Tri-Star Pictures

Forget Dwayne Johnson/Kevin Hart, the “Jumanji” franchise peaked in 1995 with Joe Johnston’s classic original, an exciting adventure that (special effects aside) holds up well nearly three decades later. Starring Robin Williams, Kirsten Dunst, David Alan Grier, and Bonnie Hunt, “Jumanji” brings Chris Van Allsburg’s children’s story to vivid life, spinning a fantasy about a mysterious board game that unleashes chaos with every roll of the dice.

Following a prologue that sees young Alan Parrish (Adam Hann-Byrd) sucked into Jumanji, a board game he found buried at a construction site, the film leaps forward to the mid-90s, where two young children (Dunst, Bradley Pierce) continue the game and unwittingly set loose hordes of monkeys, lions, a deranged hunter (Jonathan Hyde) and other exotic animals into their town. Luckily, they also free Alan (now played by Williams), who, along with Sarah Whittle (Bonnie Hunt), tries to finish the game and put things back to normal. 

Toy Story 2 (1999)

Buena Vista Pictures Distribution

Yes, “Toy Story” is the classic original that paved the way for feature-length computer-animated films and put Pixar on the map. However, “Toy Story 2” takes the cake in terms of pure entertainment and proved Pixar was here to stay. Directed by John Lasseter, this delightful follow-up sees Woody (Tom Hanks) kidnapped by an eccentric toy collector (Wayne Knight), necessitating Buzz Lightyear (Tim Allen) and the gang to mount a rescue mission.

Where “Toy Story” served as a solid introduction to this colorful, zany universe, the sequel expands its world and characters in unique ways. Here, we meet Jessie (Joan Cusack), the yodeling cowgirl, and learn about Woody’s past as a famous hero in an old black-and-white TV series. The look on his face when he bumps into novelty toys featuring his likeness says it all.
Moreover, Lasseter and his army of screenwriters pack the sequel with as many gags, set pieces, and character beats as possible. Every scene leaves an impact, and every character gets a chance to shine. A finale at an airport is a visual marvel, and a subplot involving Buzz and his archenemy Zurg (Andrew Stanton) is downright hilarious. You’ll laugh, you’ll cry, and that’s before those clever post-credit outtakes. 

The Iron Giant (1999)

Warner Bros.

Brad Bird’s “The Iron Giant” was a surprising dud upon release in 1999. However, it has since evolved into a beloved masterpiece. Rightfully so. This thrilling tale about a young boy named Hogarth (Eli Marienthal) and his unlikely friendship with a massive iron robot (Vin Diesel) features gorgeous animation, excellent voice work, particularly by Christopher McDonald as a slimy government agent, and an emotional finale that’ll leave all but the hard-hearted reaching for a Kleenex.

Hogarth is a typical young boy living with his mom (Jennifer Aniston) in the town of Rockwell circa 1957. While exploring the woods one night, he encounters a massive robot that crash-landed nearby and instantly forms a connection. The pair soon begin partaking in day-to-day activities while evading a paranoid government agent. Unfortunately, it’s only a matter of time before this iron giant is discovered, possibly spurring a terrible conflict during the height of the Cold War.  
Blending elements of “E.T.” with some pretty intense action, this magical tale captures the spirit of childhood where everyone would give their left arm to befriend an iron giant.   

The Sandlot (1993)

20th Century Fox

In many respects, “The Sandlot” is the perfect family film with elements designed to satisfy practically every age group. Older folks will latch onto the nostalgia factor, recalling a late ’60s period where an afternoon with friends involved running to the nearest field for a game of baseball; kids will dig the nonstop banter between the young characters — “You’re killing me Smalls!” — and become enamored in their wild adventures; younger audiences will enjoy a subplot involving a monster-like Saint Bernard that consumes every baseball hit inside its yard. There’s something for everyone, making “The Sandlot” a joyful viewing experience.

When Scotty Smalls (Tom Guiry) moves to San Fernando Valley in the spring of 1962, he immediately latches onto a group of baseball-obsessed boys led by Benny Rodriguez (Mike Vitar). Naive and insecure, Scotty is no ballplayer but eventually learns the ins and outs of the game and quickly becomes part of the crew. Problems arise when Scotty hits a baseball signed by Babe Ruth into the yard of a monstrous animal, forcing the gang to traverse dangerous territory to retrieve the prize.         

Aladdin (1992)

Buena Vista Pictures Distribution

The zany antics of Robin Williams and the incredible artistry of Disney animators propelled 1992’s “Aladdin” to box-office glory and immediately placed it in the upper tier of animated classics. Not bad for a film that almost didn’t get made. Based on the Arabic folktale from “One Thousand and One Nights,” this colorful, often hilarious tale follows the young, poor, savvy Aladdin (Scott Weinger) as he scrambles to survive the treacherous streets of Agrabah. Tricked into retrieving a magical lamp for the treacherous sorcerer Jafar (Jonathan Freeman), our cunning hero suddenly finds himself amidst a powerful genie (Williams) and the beneficiary of three wishes. With the world, nay the universe, at his fingertips, Aladdin uses the opportunity to woo the heart of Princess Jasmine (Linda Larkin) while avoiding Jafar’s slimy machinations and desperate attempts to seize ultimate power for himself.

While the story may follow a predictable Disney path, Williams’ immaculate voice work, the film’s stunning animation, and memorable songs by Howard Ashman, Tim Rice, and composer Alan Menken elevate this fast-paced adventure to astronomical heights. Even now, nearly every ’90s kid can quote this film verbatim.    

Beauty and the Beast (1991)

Buena Vista Pictures Distribution, Inc.

An astonishing animated feat, 1991’s “Beauty and the Beast” continued Disney’s powerful resurgence following 1989’s “The Little Mermaid.” The two films created the foundation for the Disney Renaissance, resulting in classic animated hits like “The Rescuers Down Under,” “Aladdin,” “The Lion King,” “Mulan,” and “Tarzan.”

Adapting the fairy tale by French novelist Gabrielle-Suzanne Barbot de Villeneuve, “Beauty and the Beast” concerns Belle (Paige O’Hara), a beautiful woman who agrees to stay at a castle with a cursed prince (Robby Benson) in exchange for her father’s (Rex Everhart) freedom. After a contentious start, Belle and the “Beast” begin to care for one another, much to the ire of the vile hunter Gaston (Richard White). Will Belle learn to love the Beast, thus lifting his curse and freeing him and his friends?
It’s a tale as old as time, brought to vivid life by Disney’s talented animators and the songs of Alan Menken and Howard Ashman. “Beauty and the Beast” changed Disney animation forever, and clearly still appeals to younger audiences enamored with adventure, magic and romance.

Home Alone (1990)

20th Century Fox

We interrupt this Disney schmooze fest to discuss one of the biggest films of the 1990s — Chris Columbus’ “Home Alone,” the tale of a precocious kid named Kevin (Macaulay Culkin) who accidentally gets left behind by his parents over the Christmas holiday. Of course, the film’s draw is a subplot in which our young hero battles a pair of bumbling burglars (Joe Pesci and Daniel Stern), a slapstick-filled dustup that practically created an all-new comedy genre Hollywood milked for the next decade. Still, there’s so much more to this comedy than meets the eye. Be it Kevin’s steady maturation from a scared, wide-eyed youngster to a Rambo-esque action hero prepared to defend his house at any cost, or the frantic attempts by his mother (Catherine O’Hara) to return home, or even a side plot about a lonely old man in dire need of a friend, “Home Alone” is more than a series of simple-minded (though hilarious) pratfalls.

That said, the climactic burglary sequence is pretty darn funny. Pesci and Stern bring their A-game, and Kevin’s traps, while terrifying to imagine in real life, are pretty clever in their conception. As kids, we all looked up to Kevin. He’s intelligent, quick-witted, and enjoys the ultimate childhood dream for a few days. Keep the change, you filthy animal!

The Lion King (1994)

Buena Vista Pictures Distribution

Finally, “The Lion King,” Disney’s crowning achievement, tops the list mainly for having the cojones to tell a mature, thoughtful story about self-discovery and forgiveness that appeals to children and adults alike. Sure, familiar Disney tropes remain — the goofy side characters, cute critters, catchy songs, and a finale set amidst a lightning storm — but they resonate on a deeper level.

Directors Roger Allers and Rob Minkoff keep raising the stakes, allowing our young hero, Simba (voiced by Jonathan Taylor Thomas and later Matthew Broderick), to endure a horrible tragedy that drops him to his lowest point before giving him a redemption arc worthy of Shakespeare. Toss in a complex villain, Scar (a superb Jeremy Irons), a powerful father figure (James Earl Jones), and one of Hans Zimmer’s best scores — to say nothing of the musical numbers by Elton John and Tim Rice — and “The Lion King” proudly stands as the de facto king of ’90s era kids flicks, one of the top 100 musicals of all time (according to IMDb), and easily the greatest animated film ever produced.