Not an ideal choice for younger kids, this hip and violent animated feature from Disney was nevertheless a huge smash in theaters and on video, and it continues to enjoy life in an acclaimed Broadway production. The story finds a lion cub, son of a king, sent into exile after his father is sabotaged by a rivalrous uncle. The little hero finds his way into the "circle of life" with some new friends and eventually comes back to reclaim his proper place. Characters are very strong, vocal performances by the likes of Jeremy Irons, Nathan Lane, and Whoopi Goldberg are terrific, the jokes are aimed as much (if not more) at adults than kids, the animation is sometimes breathtaking, and the music is more palatable than in many Disney features. But be cautious: this is too intense for the Rugrat crowd. --Tom Keogh

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Anybody who struts around with Simba's hard-won authority deserves this royal DVD read-along from Disney. Kids can recoil at Uncle Scar's dastardly deeds en español and discover that "hakuna matata" sounds pretty much the same in Spanish, French, Italian, or German. And should the dynamic storytelling fail to thrill your 4- to 12-year-old fan, a flurry of other interactive options await. Toggle to "Songs" for sing-along renditions of movie hits, including "I Just Can't Wait to Be King," and on to "Music Videos," where Elton John roars soundtrack favorites "Circle of Life" and "Can You Feel the Love Tonight" and Jimmy Cliff and Lebo M groove to "Hakuna Matata." The "Vocabulary" feature allows for see-and-say mastery of a list of wildlife, while the "Game" section allows players to match paw and hoof prints to the proper beast and reassemble the scattered skeletal remains of an elephant. Original cast voices are featured, and grownups will be pleased by the package's reading component. --Tammy La Gorce

Disney's Classic

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The film that officially signaled Disney's animation renaissance (following The Little Mermaid) and the only animated feature to receive a Best Picture Oscar nomination, Beauty and the Beast remains the yardstick by which all other animated films should be measured. It relates the story of Belle, a bookworm with a dotty inventor for a father; when he inadvertently offends the Beast (a prince whose heart is too hard to love anyone besides himself), Belle boldly takes her father's place, imprisoned in the Beast's gloomy mansion. Naturally, Belle teaches the Beast to love. What makes this such a dazzler, besides the amazingly accomplished animation and the winning coterie of supporting characters (the Beast's mansion is overrun by quipping, dancing household items) is the array of beautiful and hilarious songs by composer Alan Menken and the late, lamented lyricist Howard Ashman. (The title song won the 1991 Best Song Oscar, and Menken's score scored a trophy as well.) The downright funniest song is "Gaston," a lout's paean to himself (including the immortal line, "I use antlers in all of my de-co-ra-ting"). "Be Our Guest" is transformed into an inspired Busby Berkeley homage. Since Ashman's passing, animated musicals haven't quite reached the same exhilarating level of wit, sophistication, and pure joy. --David Kronke --This text refers to an out of print or unavailable edition of this title.

Excellent condition, plays great, includes the original VHS, case, and paperwork, fast shipped, ask me for my VHS List! :D

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Charlie Brown gets rocks in his trick-or-treat bag, Linus awaits a visitation from the Great Pumpkin in his terribly sincere pumpkin patch (while the adoring little Sally sits tight with him), Snoopy falls asleep, Lucy harasses Schroeder, and Pig-Pen kicks up a dust storm even beneath his costume in this classic television broadcast. Funny stuff, but also graced with Charles Schultz's more poignant and gently satiric themes from the 1960s on the influence of faith, failure, and hope in our lives. --Tom Keogh

Monsters generate their city's power by scaring children, but they are terribly afraid themselves of being contaminated by children, so when one enters Monstropolis, top scarer Sulley find his world disrupted. Plot Synopsis: James P. Sullivan (AKA "Sulley") and Mike Wazowski pick up their paychecks at Monsters Inc., the utility company that generates energy from the goose bumps of children. Sulley, the No. 1 scream-generator at the plant accidentally lets in a little girl into the monster world. Since monsters are actually terrified of children it's a major cause for alarm and a major headache for Sulley and Mike.

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The folks at Pixar can do no wrong with Monsters, Inc., the studio's fourth feature film, which stretches the computer animation format in terms of both technical complexity and emotional impact. The giant, blue-furred James P. "Sulley" Sullivan (wonderfully voiced by John Goodman) is a scare-monster extraordinaire in the hidden world of Monstropolis, where the scaring of kids is an imperative in order to keep the entire city running. Beyond the competition to be the best at the business, Sullivan and his assistant, the one-eyed Mike Wazowski (Billy Crystal), discover what happens when the real world interacts with theirs in the form of a 2-year-old baby girl dubbed "Boo," who accidentally sneaks into the monster world with Sulley one night. Director Pete Doctor and codirectors David Silverman and Lee Unkrich follow the Pixar (Toy Story) blueprint with an imaginative scenario, fun characters, and ace comic timing. By the last heart-tugging shot, kids may never look at monsters the same, nor artists at what computer animation can do in the hands of magicians. --Doug Thomas

SCHOOLHOUSE ROCK takes children on a fantastic scholastic learning adventure. The same great songs you knew and loved as a kid are now available to a whole new generation. Each volume in this special collection features exclusive bonus programming of some of today's hottest rock stars singing their favorite SCHOOLHOUSE ROCK! song. Learning multiplication tables is easy when you sing along with MULTIPLICATION ROCK. Songs include "My Hero, Zero"; "Elementary, My Dear" (multiplying by 2); "Three Is A Magic Number"; "The Four-Legged Zoo"; "Ready Or Not, Here I Come" (multiplying by 5); "I Got Six"; "Seven Sampson"; "Figure Eight"; "Naughty Number Nine"; "The Good Eleven"; and "Little Twelvetoes."

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From 1973 to 1985, a generation of kids watching Saturday morning television learned the function of conjunctions and the preamble to the U.S. Constitution with the help of an animated series called Schoolhouse Rock! The brainchild of executives at McCaffrey and McCall Advertising, the three-minute segments combined whimsical cartoons with catchy music (rock was only one of the styles) to help kids learn seemingly dry topics as easily as they could learn popular songs. Multiplication Rock tackles the multiplication tables, covering numbers 0 through 12 (but not 1 or 10), and chances are few people who grew up watching can multiply by 3 or 5 without hearing the familiar voice of composer-singer Bob Dorough. Other underlying talent included jazz drummer Grady Tate ("I Got Six," "Naughty Number Nine") and jazz pianist Blossom Dearie ("Figure Eight"), who contributed vocals. (Subsequent installments would feature many other jazz musicians and songs written by jazz pianist-composer Dave Frishberg and future Broadway composer Lynn Ahrens, who at the time was a fledgling secretary for McCaffrey and McCall.) Years later, the series was considered so hip that now-grown-up rock stars rerecorded the songs, and Multiplication Rock includes a music video of "Electricity, Electricity" by Goodness. --David Horiuchi