This is the first review (of three, so far) that I wrote using a longer and somewhat more standardized format, modeled after James Berardinelli's reviews at reelviews.net. The basic structure goes something like this: title, information about the circumstances and date of the review, rating, some information about the film coupled with a very brief summary of my thoughts, a short plot summary, then a more expansive exploration of what I thought about the movie, followed by a brief conclusion. These are also longer, between 700 and 1100 words depending on how much I have to say.
Incidentally, this was written in a McDonalds in Matamata, New Zealand.
Aladdin
First Viewing, 29 August, 2010
Rating: 7.5 Good/Very Good
Aladdin was one of the core releases during the peak of the “Disney Rennaisance” (a period generally considered to consist of The Little Mermaid in 1989 until the Atlantis/Treasure Planet flops at the turn 
of the century, and to have peaked with Beauty and the Beast and The Lion King in the early 1990s), and for good reason. The movie is a classic family film—short and simple enough for young children, with enough material thrown in for their parents (or siblings) to enjoy.
Aladdin is the story of a destitute street rat who gets in over his head. The story begins (after a brief and mostly musical intro) with the villain Jaffar using a dupe to get a magic lamp for him from the Cave of Wonders. The cave, however, is none too pleased, and states (yes, it can talk) that only the “diamond in the rough” may enter. Turns out this “diamond” (a plot point that is subsequently mostly ignored) is none other than our titular hero, whom we meet as he is on the run from the law for stealing a loaf of bread. After meeting disaffected princess-on-the-lamb Jasmine, Aladdin in abducted by Jaffar and tricked/persuaded into entering the Cave after the lamp. Things go awry, however, and Aladdin is trapped within. There he meets the bombastic Genie (voiced with aplomb by Robin Williams), who promises to grant three wishes.
wers. Its box office, while not a catastrophe like Treasure Planet the next year, was more than a little disappointing to Disney’s executives. So the Great Mouse in the Sky decided to bury Atlantis with Disney’s other disappointments. No merchandise, no TV show, no theme park rides, no strange “Disney Vault” advertising. Atlantis, like The Black Cauldron before it and Treasure Planet, Brother Bear, and Home on the Range after it, is already fading from pop cultural consciousness.
