Elsa and Anna have to leave Arendelle to find out the secret of Elsa’s powers and their family history. Overly-complicated sequel with OK though derivative songs, and reliance on goodwill from Part I to see things through. Some good moments, but second time around, this is no classic.
A generation after the events of Mary Poppins, the magical nanny returns to the Banks family, this time to help them save their home. Despite care and affection for the original, this is a reprise rather than a sequel. Emily Blunt lacks the lightness of touch of Julie Andrews, and the songs tend to the unmemorable.
In Edwardian London, a magical nanny aids a family in need. Solid musical comedy with then state-of-the-art animation/live-action hybrid sequences and practical effects. Some great songs, a sense of playfulness, and an iconic central performance. A sequel was made in 2018.
Santa’s awkward younger son has to deliver an overlooked gift so that Christmas can be saved. Excellent, quirky and gently-subversive animation with heart and brains, delivering slapstick, pathos and some flashes of dark humour. Lots to enjoy, including shout-outs to other Aardman characters.
A fairytale princess is magically transported to present-day New York. Excellent musical rom-com which satirises and celebrates Disney animated fairy stories at the same time. Lots to enjoy: great songs, fine performances, a keen sense of self-awareness, and no little affection for its subjects.
Woody has to protect Bonnie’s new favourite toy, a figure made from a spork and art supplies. Contrived but watchable fourth instalment. Looks great, has some interestingly dark moments, a fine chase, and is funny throughout, but is an unnecessary coda to the series rather than a required conclusion.
A boy befriends a massive alien robot. Smart, affecting and upbeat Cold War-era animation, varying the ET template enough to make this adaptation of Ted Hughes’ The Iron Man successful in its own right. A good job done all around, with a positive message carefully dramatised.