LoginWhen people hear the words direct-to-video, they groan, though actually most of them aren't that bad. Two or three of them are awful, like Cinderella 2, but this one belongs up there with one of the more entertaining films.
The animation is not that bad at all. Most of it is very colourful, though in the more sinister bits it is a little flat. I liked the songs also, with some very funny lyrics(and random in some of them)set to the works of classical composers like Beethoven and Grieg.
The story, while not very faithful to the classic tale, is very nice, and goes at a fast pace. Although, the film could have done with being 5 to 10 minutes longer. The plot has some funny twists, with Captain Pete plotting to kidnap Princess Minnie and take over as ruler. A bit over-familiar, but it is decorated with some very funny sword fights, and a very funny scene in the opera house.
The voice talents are top notch, especially Jim Cummings as Pete. In fact all the characters were very well-done, but the short duration didn't allow the script to fully develop.
Anyway, despite the flaws, I really liked it, so I will award a 7/10, for the humour and the characters. Bethany Cox.
I thought I wouldn't say this, but I enjoyed it!
Posted : 1 year, 11 months ago on 3 June 2022 11:30
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Mickey, Donald, Goofy: The Three Musketeers
Posted : 4 years, 6 months ago on 1 November 2019 07:39
Not a takeoff of the source material so much a vague sequel, The Three Musketeers is a little over an hour but generally free from joy, memorable music, or anything with “oomph” that makes visiting Mickey and the gang so much fun. Sure, the fourth-wall jokes are cute, but they begin to pileup as exercises in futility if they’re the only funny bits that are working. Pete has his peg-leg back and is in villainous mode, with a delightfully deranged Clarabelle as his gal Friday, while Goofy and Donald round out Mickey’s straight man with their lunacy, but it just isn’t enough.
Perhaps the biggest strike against it is how the first half is zippy and full of anarchic energy, and then it all clearly loses gas. The engine is running no fumes by minute 35, but we’re only a little over halfway there. What should have been, and felt like, a natural climax is merely a point in the narrative where things start to repeat. Just how many times can Minnie either narrowly escape capture or need rescuing in 68 minutes anyway?
There’s a very charming and delightful short film buried somewhere in the rewritten opera songs, visual gags, and borrowed literary pedigree. It’s not the worst of the direct-to-video bunch, but it’s grossly inadequate a use of the company’s a-list creations. The Mouse deserves better.
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