Donald W. Ernst Movies

Initially released to IMAX theaters at the crescendo of millennial fever and 60 years after the original Fantasia, Fantasia 2000 was meant to revitalize Walt Disney's goal of a constantly evolving film, with new segments replacing old ones with each re-release. Only The Sorcerer's Apprentice remains, with seven new shorts. Angular, abstracted butterfly-like shapes fly through the air in Beethoven's Symphony No. 5; computer-animated whales take flight in Respighi's Pines of Rome; Al Hirschfeld's caricatures of New York life come alive in George Gershwin's Rhapsody in Blue; Hans Christian Andersen's The Steadfast Tin Soldier is retold with computer animation against Dmitri Shostakovich's Piano Concerto No. 2, Allegro, Opus 102; frantic flamingos try to stop their yo-yoing comrade in Camille Saint-Saëns' Carnival of the Animals, Finale; Donald and Daisy Duck play Noah and his wife trying to manage the ark to Sir Edward Elgar's Pomp and Circumstance; and the cycle of life, death, and rebirth are celebrated in Stravinsky's Firebird Suite. ~ Emru Townsend, All Movie Guide

Robin Williams's dizzying and hilarious voicing of the Genie is the main attraction of Aladdin, the third in the series of modern Disney animated movies that began with 1989's The Little Mermaid and heralded a new age for the genre. After a sultan (Douglas Seale) gives his daughter, Jasmine (Linda Larkin), three days to find a husband, she escapes the palace and encounters the street-savvy urchin Aladdin (Scott Weinger), who charms his way into her heart. While the sultan's Vizier, Jafar (Jonathan Freeman), weaves a spell so that he may marry Jasmine and become sultan himself, Aladdin discovers the Genie's lamp in a cave, rubs it, and sets the mystical entity free, leading the Genie to pledge his undying loyalty to the dazzled youth. Aladdin begins his quest to defeat Jafar and win the hand of the princess, with the Genie's help. Monsters, Disney's trademark talking animals, and a flying carpet all figure into the ensuing adventures, but Williams' Genie, who can change into anything or anybody, steals the show as he launches into one crazed monologue after another, impersonating figures from Ed Sullivan to Elvis Presley. ~ Don Kaye, All Movie Guide

In this 3-D animated cross between Star Wars and the Knights of the Round Table, young Orin (voice by Joe Colligan) lives in an oppressed, underground world in which humans have become the slaves of robots. One day the hero finds the handle of a sword and in a vision is told that if he can locate the blade, he will be able to overthrow the robots. Off he goes on his quest, up to the surface world where he meets and teams up with Dagg (voice by Carmen Argenziano) to face the evil empire in a series of daring battles. Along the way, Orin and Dagg have their own love interests, and a bit of swarthy language occasionally peppers their conversation as well. Parents should be advised of these two excursions into a more adult world, otherwise, most moppets would enjoy the fast-paced tale of heroism and adventure. ~ Eleanor Mannikka, All Movie Guide

Controversial animator Ralph Bakshi's literal adaptation of J.R.R. Tolkien's classic fantasy trilogy, The Lord of the Rings, is brought to the screen in a reverent, stilted way, with Bakshi forsaking his sharp-edged animated looniness for a rotoscoped dullness. Although the film's title encompasses the entire Tolkien trilogy, this longish Bakshi feature, in fact, covers only the first book, The Fellowship of the Ring, and the first half of the second, The Two Towers. Given the complexity of the original story line, this unfortunately means that only those intimately familiar with the books will be able to understand what is happening in the movie. In brief, however, an evil sorcerer from a previous era created a magical ring which enables its users to call upon its tremendous powers to rule the world, but it inevitably warps them to evil. It was believed lost, but during a resurgence of magical evil in the world, Bilbo, a simple, plain-spoken hobbit, recovers it from its hiding place. The forces of good give his nephew Frodo the choice to bear the awful burden of the ring to a place where it may be destroyed. ~ Clarke Fountain, All Movie Guide

Fritz the Cat and Heavy Traffic helmer Ralph Bakshi subsequently directed the über-controversial animated feature Coonskin (aka Streetfight, 1975). Bakshi opens and closes the film with a live-action tale that stars Scatman Crothers, Miami Vice's Philip Michael Thomas, Charles Gordone, and Barry White; it recounts the adventures of three African-American men who escape from prison and are later gathered up. In between, an animated tale has animal characters with stereotypically black traits -- Brother Rabbit (voiced by Thomas), Brother Fox (voiced by Gordone), and Brother Bear (voiced by White) -- entering a white-dominated ghetto environment and diverging into different paths; one becomes a crime overlord, the second sells the first out to La Cosa Nostra, and the third establishes himself as a media-exploited sports icon. Completely misread as a racist work upon release, the film actually entails Bakshi's satirical excoriation of bigotry via the tongue-in-cheek use of black urban stereotypes. The director laces the film with profane ghetto dialogue and street slang; though animated, this is not a picture for children. Variety wrote of the work, "Beyond Bakshi's cinematic style, his stories seem haunted by a worldliness that is torn between cynicism and tortured humanism. There is heart in his plots, so superficial putdown is totally absent. What is present [is] the evidently sincere empathy of a social surgeon." The legendary Albert S. Ruddy (The Godfather, Cloud Nine) produced. ~ Nathan Southern, All Movie Guide

Dennis Weaver plays a tow-truck driver sent to prison on a trumped-up charges of attempted murder. Out after serving four years, Weaver finds himself a reluctant loner. His wife has died, and his two sons have disappeared. In seeking out his boys, Weaver also keeps an eye out for the man responsible for railroading him into jail. Whenever the script or the character threaten to lapse into cliche, The Rolling Man compensates with attractive camerawork taking full advantage of the Southern California landscape. This TV movie had all the earmarks of a pilot for a series, but there's no evidence to back up this suspicion. ~ Hal Erickson, All Movie Guide