Direct-to-video Disney movies have earned themselves a less-than-stellar reputation, and for solid reasons. The sequel that kicked off the trend,The Return of Jafar, still ranks among the studio’s worst efforts, as do many of the direct-to-video animated films that followed.
For families wanting new Disney content that didn’t require an expensive theater outing, direct-to-video animated movies could seem like a solid solution. However, even as it traded theatrical windows for spots on the Blockbuster shelf, Disney was cutting costs in key areas. In 2005,Animation World Networkreported thatThe Return of Jafarcost between $3 and $5 million to make, putting it well below the $28 million it took to bring the firstAladdinto life. The film’s cheap quality is noticeable from the get-go, and very little is able to distract viewers from the marked drop in value and effort.
Here, though, we’ve managed to separate the good from the bad in an attempt to salvage Disney’s direct-to-video legacy. Some of these picks are obvious. Others will probably have you screaming for my immediate firing. Regardless of your feelings about them, though, every entry on this list rises above “cheapquel” status and ranks among the best direct-to-video efforts Disney ever released.
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The Lion King 1 ½
The Lion King 1 ½is easily one of Disney’s most inspired direct-to-video efforts. Not only is it genuinely hilarious, but it also captures the essence of Timon and Pumbaa’s friendship with such heart and grace that it’s tough not to like this film. Honestly, it’s the only entry on this list that has staying power remotely comparable to the original.
With a stellar voice cast, gorgeous animation, plenty of hysterical, hyena-centric jabs (“What do you call a hyena with half a brain? Gifted!”), and a takeaway you don’t have to think too deeply about,The Lion King 1 ½is a movie best enjoyed with zero expectations. The “underpromise, overdeliver” concept absolutely applies here. Not only is it compulsively watchable, but it also expands theLion Kingseries in an unexpected way and has a blast doing it. The movie would have set the bar absurdly high for direct-to-video Disney, but the worst was already behind it at that point.
Aladdin and the King of Thieves
Aladdin and the King of Thievesmay have made it onto the list, but that doesn’t for a second mean it’s worth watching more than once or twice. It’s a direct sequel toReturn of Jafar, which rightly raises eyebrows and inspires immediate skepticism.Aladdin and the King of Thievescan only marginally be called a movie, but there are glimpses of a more enjoyable experience here.
The film centers around Aladdin’s wholly unnecessary — but surprisingly sweet — reunion with his long-lost father, Cassim (John Rhys-Davies). While it never truly comes into its own,King of Thievesboasts a plot with plenty of twists and turns and satisfying cartoon action, all serving to close out Aladdin’s story in beautifully serviceable fashion.
One of its greatest assets, of course, isRobin Williams, who returns as Genie after an absence fromReturn of Jafar. Williams elevated the character and made him one of the originalAladdin’s most charming elements. He takesKing of Thievesto heights it couldn’t have reached without him, even if his role isn’t quite as memorable this time around.
Kronk’s New Groove
Kronk is the onlyEmperor’s New Groovecharacter with a story even remotely worthy of a spin-off. Still, this is a sequel/spin-off that doesn’t at all need to exist, but we’re glad it does.
Patrick Warburtonis as likable as ever, and his misadventures are completely and unapologetically innocuous in every way they can be. His good-natured henchman was one of the standouts in the original, if only because he served as a hilarious foil for Yzma. Now, we get to see Kronk pursuing his dreams. The result? Cuteness, hilarity, and chipmunks.
As far as harmless diversions go,Kronk’s New Grooveis truly the cream of the crop. Coasting on the appeal of its lovable oaf of a protagonist, this sequel is one of Disney’s strongest because it doesn’t take itself seriously and demands that we don’t, either.
The Lion King II: Simba’s Pride
The Lion King II: Simba’s Prideis probably Disney’s most ambitious direct-to-video effort, which actually ends up helping it. Disneyrefused to disclosethe production costs, but given its predecessor’s runaway success, it’s safe to assume that the studio pulled out all the stops for the sequel. While the story feels bigger and more consequential, it lacks the magic and weight of the original in some key areas.
Its biggest misstep is its handling of its baddies. It’s impossible to replicate the menace that Scar (Jeremy Irons) so effortlessly exuded, and the weakest moments inSimba’s Prideare the ones that attempt to replace Scar with bigger villains. Scar had ambition. Purpose. Here, his followers simply want revenge.
The Lion King II: Simba’s Prideis far better than it has any right to be, and while it doesn’t touch the quality of the original, it comes closer than many thought possible.
An Extremely Goofy Movie
An Extremely Goofy Movietries hard to make us care about Goofy’s relationship with his son Max. For the most part, it succeeds. There’s some clumsiness in the comedy department, but thankfully the focus seems to be more on heart than humor.
What’s remarkable aboutAn Extremely Goofy Movieis how acutely sad it so often is. The filmmakers excel at involving us in this father/son relationship, and by the time the credits roll, it’s difficult not to feel attached to these two characters. Going into the film, I had no idea I was going to enjoy it as much as I did. In fact, I was kind of trying to hate it. I had a disdain for pointless sequels, butAn Extremely Goofy Moviecombatted that irrational hatred with a quality I didn’t expect.
If that doesn’t earn it a place on this list, I’m not sure what does.
It’s kind of incredible thatTarzan IIis as watchable as it is, because everything about it screams “forgettable money grab.” The originalTarzantold us everything we needed to know about the vine-swingin’ hero’s childhood, immediately making the idea of a story centered entirely on young Tarzan a tough one to get behind.
ButTarzan IIis more fun than its marketing led us to believe. Its cutesy plot will likely only appeal to young children, but the difference betweenTarzan IIand other direct-to-video Disney movies is that it knows what it is and works within those parameters. That’s special, and it putsTarzan IIa cut above so much of what came before and what would come after.
Mickey, Donald, Goofy: The Three Musketeers
Mickey, Donald, Goofy: The Three Musketeersharkens back to the Disney shorts of yesteryear, when Mickey Mouse, Donald Duck, and Goofy constantly found themselves in hilarious situations that only the visionaries at the Mouse House could cook up. From pitting the three heroes against the enormous Pete to subjecting them to outrageous physical comedy, this standalone adventure brings back classic elements and updates them for a new generation of fans.
Surprisingly,The Three Musketeersactually turns fairly dark relatively quickly. As the story barrels toward its climax, Pete locks Mickey in a dungeon and leaves him for dead. It seems writersEvan SpiliotopoulosandDavid M. Evanswanted to make Pete as despicable as possible, and if that was their intent, they accomplished their goal.
The film is barely longer than an hour, which to me just means it’s honoring the limits of its appeal. There seems to be a shortage of self-awareness in the runtime department these days, makingThe Three Musketeerssomething of a rarity.
