Sadly Over-hyped

Don't listen to the Hype. It's awful

This film is so real. It treats its characters with so much care and sensitivity.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

This is quite a thrilling little fairytale, where two children stumble upon a village of gnomes in the woods. While they are friendly to the children, a witch suddenly arrives and kidnaps them. The scenes where the children attempt to escape the witch's lair were quite exciting, as were the magic spells the witch casted. But, the gnomes' attempts to rescue the children and shower the witch with arrows were cheesy. You could hardly make out the witch's dialog, whom is voiced by the actress that eventually voices the Evil Queen in Show White and the Seven Dwarfs.Overall, not a bad tale. Reminds you a little of those full-length animated movies from Disney.Grade B-

. . . with this ironically portentous brief cartoon, BABES IN THE WOODS. The future Disney MegaCorp casts ITSELF as an evil, ugly witch, possessing a job-killing potion capable of turning the liveliest kid or cat into stone (as in "stone-cold dead"). This, of course, is exactly what Disney soon did to the entirety of Western Civilization, bribing the U.S. Congress to extend standard 28-year copyrights Ad Infinitum. This insures that Disney's Witching Hours will NEVER end; that Steamboat Willie and friends NEVER will be allowed to breathe free in the Public Domain. As an unintended and ever more grotesque side effect from this misuse of Disney's ill-gotten Wealth, all the Beloved Creatures of Real Artists--such as Gatsby, Bugs Bunny, Gilroy, Porky Pig, and Bogart--are similarly condemned to the static single dimension of Disney's Stone Cold Dungeons. The solution to this sorry state of affairs is embedded in the conclusion of BABES IN THE WOODS. Just as the tiny bearded gnomes liberate all the kiddies frozen by the Disney Witch, it is up to We the 99 Per Center Little People to make sure that imprisoned Disney Characters such as Goofer and Bluto FINALLY see the light of day by tagging them across America's municipal buildings and streets as often as possible!

An early attempt at the Brothers Grimm world to which Disney would soon lay claim. But more awkward and with much sloppier animation. The Hansel and Gretel stand-ins ("whose names I don't know") are shockingly devoid of personality - they've got weird little blank faces that even I could draw. When the boy is turned into a spider, it's both icky and somewhat of a relief, because at least now he's got some personality. Turned into a spider, not fattened up to be eaten. This witch just imprisons and transforms kids...the standard cannibalism was apparently too edgy.The whole thing is also dated by the utterly inane song.Is it just me, or is there something unearthly and horrific about the witch's final moments, after which the ring of laughing children just seems bizarre? And is the fact that the rock's 'arms' seem to have disappeared with the passage of time suppose to be a hint that this is all just the stuff of myth? So many questions.

A Walt Disney SILLY SYMPHONY Cartoon Short.A malignant old witch tricks the BABES IN THE WOODS into entering her house of horrors. Only their new friends, the little woodland dwarfs, can save them now...A lot of colorful action is packed into this cartoon, which includes elements of stories from the Brothers Grimm. Charming opening, in which the story begins as a sung lullaby. The wicked witch, though now all but forgotten, is the first of Disney's great villainesses.The SILLY SYMPHONIES, which Walt Disney produced for a ten year period beginning in 1929, are among the most fascinating of all animated series. Unlike the Mickey Mouse cartoons in which action was paramount, with the Symphonies the action was made to fit the music. There was little plot in the early Symphonies, which featured lively inanimate objects and anthropomorphic plants & animals, all moving frantically to the soundtrack. Gradually, however, the Symphonies became the school where Walt's animators learned to work with color and began to experiment with plot, characterization & photographic special effects. The pages of Fable & Fairy Tale, Myth & Mother Goose were all mined to provide story lines and even Hollywood's musicals & celebrities were effectively spoofed. It was from this rich soil that Disney's feature-length animation was to spring. In 1939, with SNOW WHITE successfully behind him and PINOCCHIO & FANTASIA on the near horizon, Walt phased out the SILLY SYMPHONIES; they had run their course & served their purpose.