Bovie Movie

After Chicken Little causes widespread panic—when he mistakes a falling acorn for a piece of the sky—the young chicken is determined to restore his reputation. But just as things are starting to go his way, a real piece of the sky lands on his head. Chicken Little and his band of misfit friends, Abby Mallard (aka Ugly Duckling), Runt of the Litter and Fish Out of Water, attempt to save the world without sending the town into a whole new panic.

Set in 1914, young linguist orphan named Milo Thatch buries himself in books trying to unlock the secret to the destruction of Atlantis. Althouth his theories are ridiculed by his colleagues he is persistent in his dreams of one day discovering the lost isle. His dreams are realized when he is given a spot in an expedition, financed by a friend of his grandfather, to go in search of Atlantis following Milo’s guide: The Shepard’s Journal. But the Guardians of Atlantis await the explorers putting them in danger at every turn. And the deadly truth about Atlantis’s demise puts Milo, the royal family, and all of Atlantis in mortal jeopardy.

In 15th century Paris, Clopin the puppeteer tells the story of Quasimodo, the misshapen gentle-souled bell ringer of Notre Dame, who was nearly killed as a baby by Claude Frollo, the Minister of Justice. But Frollo was forced by the Archdeacon of Notre Dame to raise Quasimodo as his own. Now a young man, Quasimodo is hidden from the world by Frollo in the belltower of the cathedral. But during the Festival of Fools, Quasimodo, cheered on by his gargoyle friends Victor, Hugo, and Laverne, decides to take part in the festivities, where he meets the lively gypsy girl Esmeralda and the handsome soldier Phoebus. The three of them find themselves ranged against Frollo’s cruelty and his attempts to destroy the home of the gypsies, the Court of Miracles. And Quasimodo must desperately defend both Esmeralda and the very cathedral of Notre Dame.

Inventor Gepetto creates a wooden marionette called Pinocchio. His wish that Pinocchio be a real boy is unexpectedly granted by a fairy. The fairy assigns Jiminy Cricket to act as Pinocchio’s “conscience” and keep him out of trouble. Jiminy is not too successful in this endeavor and most of the film is spent with Pinocchio deep in trouble.

Belle is a girl who is dissatisfied with life in a small provincial French town, constantly trying to fend off the misplaced “affections” of conceited Gaston. The Beast is a prince who was placed under a spell because he could not love. A wrong turn taken by Maurice, Belle’s father, causes the two to meet.

Mowgli feels out of place in his new home, despite the efforts of his friend Shanti and his new little brother. So when Baloo arrives for a visit, the man-cub takes the opportunity to return for some fun in the jungle. However, Shanti, believing her friend was taken, follows them. With Shere Khan still on the hunt for him, Mowgli must protect himself and the ones he cares about from the dangers ahead. The new adventures make him reconsider his decisions and decide which he wants more - a life of laid back hilarity with Baloo in the jungle or a simpler existance in the man village with Shanti.

Robin Hood, Douglas Fairbanks’ biggest (though not necessarily best) production of the silent era, represents the first time that many familiar of the elements of the Robin Hood legend were presented on screen. To bring the project to full fruition, Fairbanks and his wife Mary Pickford purchased the old Jesse Hampton studio in Santa Monica, and on that site constructed a near-lifesized replica of 12th century Nottingham. The humongous castle set was so awesome that Fairbanks became worried that his own performance might be dwarfed. It wasn’t: take our word for it. When first we meet Robin Hood, he is still the Earl of Huntington, preparing to joust with his bitter enemy Sir Guy of Gisbourne (Paul Dickey). Despite Sir Guy’s propensity for cheating, the Earl is victorious. Shortly thereafter, Huntington rides off to the crusades with Richard the Lionhearted (Wallace Beery). Upon learning that Prince John (Sam De Grasse), goaded on by Sir Guy, has usurped his brother Richard’s throne, Huntington returns to Nottingham in a new guise: dashing righter-of-wrongs Robin Hood. While robbing from the rich, giving to the poor, and bedevilling the villains, Robin romances the fetching Maid Marian (Enid Bennett). The film’s singular highlight is Fairbanks’ slide down a two-story tapestry, a bit of bravado accomplished by hiding a playground slide behind the huge cloth. As in all of Fairbanks’ films, Charlie Stevens, a grandson of Geronimo and Doug’s “mascot”, appears in several minor roles. Also appearing is Alan Hale Sr. as Little John, a role he’d repeat in the 1938 Errol Flynn Robin Hood, not to mention the 1950 swashbuckler Rogues of Sherwood Forest. Long thought lost, Douglas Fairbanks in Robin Hood (as the film was so copyrighted) was rediscovered in the early 1960s. Most current prints fail to do justice to Arthur Edeson’s glistening photography; also, some versions are stretch-framed to slow down the action to “normal” speed, a process that retards the marvelously fast pace instilled by star Fairbanks and director Allan Dwan. We recommend that you seek out a good-quality, tinted print of Robin Hood, processed at the slightly faster-than-life speed at which it was originally filmed.

Cinderella was Walt Disney’s return to feature-length “story” cartoons after eight years of turning out episodic pastiches like Make Mine Music and Three Caballeros. A few understandable liberties are taken with the original Charles Perrault fairy tale (the wicked stepsisters, for example, do not have their eyes pecked out by crows!) Otherwise, the story remains the same: Cinderella, treated as a slavey by her selfish stepfamily, dreams of going to the Prince’s ball. She gets her wish courtesy of her Fairy Godmother, who does the pumpkin-into-coach bit, then delivers the requisite “be home by midnight” warning. Thoroughly enchanting the prince at the ball, our heroine hightails it at midnight, leaving a glass slipper behind. The Disney people do a terrific job building up suspense before the inevitable final romantic clinch. Not as momentous an animated achievement as, say, Snow White or Fantasia, Cinderella is a nonetheless delightful feature, enhanced immeasurably by the introduction of several “funny animal” characters (a Disney tradition that has held fast into the 1990s, as witness Pocahontas), and a host of a sprightly songs, including “Cinderelly,” “A Dream is a Wish Your Heart Makes,” and — best of all — “Bibbidi Bobbidi Boo.”

1963’s The Sword in the Stone is Disney’s animated take on Arthurian legend. In the midst of the Dark Ages, when England has no rightful ruler, a sword imbedded in a stone mysteriously appears in a London churchyard, bearing the inscription “Whoso pulleth out the sword of this stone and anvil is rightwise king born of England.” Scores of would-be kings travel to London to attempt the feat and thereby claim the throne. They all fail. Years later, in the English countryside, an 11-year-old squire nicknamed Wart (Rickie Sorensen) is devotedly helping his incompetent foster brother, Kay (Norman Alden), train to become a knight, when he meets the great magician Merlin (Karl Swenson). The well meaning, but absentminded, wizard declares himself Wart’s mentor and claims that he will lead the boy to his destiny. Spirited and full of spunk, Wart (whose real name is Arthur) approaches Merlin’s lessons with the same determination that he applies to Kay’s hopeless training and to the monotonous chores he is assigned by his guardian. He soon finds himself accompanying Kay to London for a jousting tournament that will determine England’s new king. There, Wart forgets to bring Kay’s weapon to the joust, but finds an abandoned sword in a nearby churchyard — which he effortlessly pulls out of a stone.

Almost 50 years after Walt Disney brought James M. Barrie’s classic children’s tale Peter Pan to the screen in one of the best-loved animated features, the studio that bears his name revisits the story of the magical boy who doesn’t grow up in this sequel. In London during World War II, Wendy (voice of Kath Soucie) comforts her children with stories about her youthful adventures with Peter Pan (voice of Blayne Weaver) in the fantastic world of Neverland. Young Danny (voice of Andrew McDonough) loves the stories and believes that they’re real, but his older sister, Jane (voice of Harriet Owen), isn’t so certain. Jane soon discovers her mother is indeed telling the truth when she’s kidnapped by the evil Captain Hook (voice of Corey Burton) and spirited away to his lair in Neverland. Hook is still trying to capture his nemesis, Peter Pan, after all these years, and is certain he’ll come to the rescue of his old friend, Wendy; however, Hook realizes too late that he’s carried away Wendy’s daughter instead. Peter comes to the aid of young Jane, but as they do battle with Hook, he realizes it will take some work before Jane will fit in with the Lost Boys. Return to Neverland includes original songs from Jonatha Brooke and They Might Be Giants.