Uni

We get Sammy this year. Wish he would say, "And the motherf***ing Oscar goes to...." La La Land. Most anticlimactic win ever. Though that was a pretty great speech by a film composer, I gotta say.

They always have a filler thing in the middle of the show. This was kinda funny, not that great. The most interesting thing was that the tourists remained tourists—like this was just another stop along the way. They kept taking pictures, picking up souvenirs, no big deal. THAT'S funny.

Caught the theme from The Mission in a commercial. Actually . . . so far, the Oscar commercials are better than the Super Bowl commercials this year.

Gotta say, I'm pretty impressed with how Jimmy Kimmel has started things off tonight. He's taken a few easy-going, obvious shots in Trump's direction (that was inevitable), but nothing like what I expected—and he made a great case for people having positive conversations with one another. He's actually knocking the actors more than the politicians! His bits about Matt Damon and Meryl Streep were brilliant. I love the idea of the montage preceding the Supporting Actor award. Hope they do this throughout the show.

Thought I was watching the Grammys for a few minutes there....

Are we doing a live thread this year? It's like a tradition around here.

Ooooo . . . nice catch. (Interesting, isn't it, that one letter separates "drawers" from the things we keep in our drawers, yes?)

So sad she couldn't pull through. If only it hadn't happened on the plane, she might've been in a hospital earlier, and things might've turned out differently. At nineteen years of age, she played a person of authority with more gusto and pure cajones than most male actors did in those days (and still do, come to think of it). She was always older and smarter than her years. It's unfortunate the toll that her personal issues took on her, but she showed amazing character (and more cajones) by turning her experiences into words that others could share, understand, and relate to. So glad she got to do one more Star Wars film (and, from what I understand, there's plenty of footage of her for the next one as well). Even so, though, she's going to be missed. I was thinking this is similar in scope to the loss of Leonard Nimoy last year, but really, it's much closer to what losing James Horner was like—unexpected, and far sooner than should have been the case.

Ahh . . . that makes sense, actually. It would've spoiled the surprise for me if they'd captioned the planet. On the other hand, this . . . still makes no sense. Again, I don't think Threepio's nearly clever enough to try it, and beyond that, it doesn't gel with his actions and dialogue. Leia gave Artoo the plans, and through the early goings of ANH it's clear Threepio has no idea what's going on or the nature of the information Artoo is carrying. ("What plans? What are you talking about?") And when Artoo refuses to show Luke the entire message, Threepio actually gets pissed at him and urges him to give the rest of it up. How does that fit in with him trying to pull the wool over Luke's eyes. . . ? I think it's far more likely an oversight on Lucas's part. He fed him the line about "no escape for the Princess" at the beginning, but wanted to establish him as a befuddled worry wart once they landed on Tatooine, and never made the connection himself.

I think they had plenty of budget and schedule here. I doubt a blank check would've made much of an improvement. The technology's still not quite there yet. I do agree that it's stunning, and it's come so far it's incredible. The entire battle sequence at the end—on the planet too, but especially in space—was so photorealistic that it didn't need to be in 3D to seem absolutely immersive. But they just can't get human faces right. There's a sheen to the skin, that too-obvious deficiency in the movements of the mouth, a practiced, robotic flow to the movements, that all makes it unreal. I would qualify that, too, by saying that the context matters. For instance, when I saw Final Fantasy: The Spirits Within 15 years ago, I was blown away. I still think it's an amazing piece of work, and within its own boundaries it's a complete success. But when you put a CGI model among other actual humans in a filmed scene, it fails by immediate comparison. It's no longer an amazing recreation among other amazing recreations; it's a wax figure trying to blend in with real people, and it doesn't work. Can't help but agree. The accent was too sharp, the performance too meh. As a central character, he needed to be stronger.

Nailed it. It also undermines, once again, the need to go to Alderaan at all, since even the droids know where the Rebel base is located, yes. . . ? Indeed. I've spent too much time thinking on it, and the entire thing unravels once you give even a slight tug on it. To summarize: The Starkiller requires the consumption of an entire star to power its weapon. So where did it get the power to fire on the multiple planets in the middle of the movie? When it fires, they're all standing outside on the surface in the sunlight. Even if you toss it a mulligan and grant that they were in a binary system, it would've used up the second sun to fire on the Rebel base . . . leaving them with a completely useless weapon. Forever. Of course, the Death Star could travel at hyperspace between worlds, but it was basically a gigantic ship that was ultimately only the size of a "small moon," not a retrofitted planet. There's no conceivable way an entire world with an atmosphere, foliage, etc. could travel through hyperspace. An organization that would expend the kind of resources necessary to construct a superweapon that could only ever fire twice does not present that much of a threat to a thinking Resistance. Except, of course, that the weakness built into the Death Star could only be exploited by small fighter craft. The larger fleet would be literally of no use except to give the Death Star target practice. There's no need to send up the big ships, even if they were still in decent shape following the battle at the end of R1, because the X- and Y-wings were the only utilizable weapons in play. My thoughts exactly. I'd love to see how Ewan would bridge the gap between his middle-aged Obi-Wan and Old Ben, but . . . what the hell would the movie be about? Kenobi stayed on Tatooine to keep an eye on Luke, who aptly elucidated the location's central problem: that nothing ever happens there.

Good point. From indications in the OT, once a ship goes to hyperspace, it's pretty much lost. They had to put a tracker aboard the Falcon in ANH in order to trace its heading to Yavin 4, and once the Falcon made the jump at the end of Empire, the pursuit—and the movie—came to an end. They could plot their departure heading and extrapolate a possible destination, but all someone would have to do to foil that would be to drop out of hyperspace down the road a bit, recalculate a new course, and jump again. Such a simple tactic would (presumably) be common practice in any kind of guerrilla unit trying to avoid Imperial detection. Skywalker's answer is on point. She was (supposedly) already headed to Tatooine to pick up Obi-Wan. The plans just wound up on her ship, and when Vader caught up to her, she had to stash them in Artoo in an attempt to reach Obi-Wan with them. Of course, that brings back up the point of her presence at the battle. Earlier in the movie, Bail Organa said (implied, rather) that he would be sending her to recruit Obi-Wan for the war. Why wasn't she off doing that, then? How did she wind up at the battle at the end? That really made no sense, and—again—it would've made much more sense (and fit better with the dialogue in ANH) if they'd transmitted the plans to her ship while it was on its way to Tatooine.

They were on their way to Tatooine (per her father's request) to pick up Kenobi. And—as king mark said—what was she supposed to say to Vader? Own up to the whole thing? She had to play her part as best she could, for as long as she could. Maybe she was hoping the Imperials would honor diplomatic immunity. . . .

I do. For all that Lucas can't grasp when it comes to real-time character interaction, he always did have a mind for the bigger-picture mythological ramifications. Star Wars was, after all, modeled closely after Joseph Campbell's broader interpretations of myth and legend, and that's one of the elements that gives the OT it's greatest strength. R1 wasn't about that level of mythology (aside from Chirrut's references), and so couldn't draw from that same well of strength. It had to fill in those gaps with something else, and I agree that it wasn't entirely successful in doing so. It's interesting—it sounds like I'm debating these points, but I'm really not. Just discussing them. I had a helluva great time watching this movie, but I don't in any way feel the need to defend it. If people didn't connect with it the way I did, I can understand their frustrations much better than I might with other movies I consider to be worthy cinematic experiences.

Yeah, except . . . again, that's always been the case with Star Wars. While watching ANH a couple of weeks ago, at one point my wife—who also grew up with the franchise and is as much a fan as I am—said, "This is like watching a high school play!" Dialogue and acting have never been the highlights of these movies. Kasdan gave them what life they had (the prequels demonstrated how cringeworthy Lucas's efforts are without him), but ultimately even he only did so much. These movies have always represented the top of the 70s sci-fi heap, which is not exactly dramatic cinema at its finest. They're fun popcorn fare. When you try to wring higher purpose and quality out of them, they don't stand much chance of holding up.

I did too—though admittedly not because they'd done such a great job in fleshing them out, but through my own emotional extension into their situation. I cared for them the same way I cared for the soldiers in Saving Private Ryan—not as solidly-built character studies, but as character types defined more by their actions and their situation than by their dialogue and backstory. I chose to connect with them, in other words. But I can't fault anyone who couldn't do the same. It's up to the director and writers (even more than the actors) to do that properly, and if other viewers had a hard time filling in the blanks with these people, I'm not going to blame them for that. As I said in my response to Steef earlier, they apparently destroyed 2 Star Destroyers in Jedi—the same number they knocked off here—so I guess they do kill those huge ships. But I can easily see your point, and don't disagree with it: if it's that simple (in both cases) to take out these super-huge ships, the super-huge ships don't come off nearly so threatening . . . which (ironically) winds up taking away from the power of the opening shot of ANH, among other things.

I don't think they "destroyed the whole fleet" here. They used some sort of electrical weapon on one, depriving it of power, then just plain bull-pushed it into the second one. That's not too over the top in terms of believability. (Not nearly as much as the idea that a small fighter crashing into one room aboard a ship the size of a whole city could render said ship completely immobile—and even if it did, what would send it suddenly out of control and crashing into the Death Star? Nonsense.) I did notice that. It undermines the menace of the Empire a bit when you present AT-ATs seemingly made of aluminum foil.

Seems to me the beginning of ANH (the battle above Tatooine) happens roughly two or three days before the attack on the Death Star (unless they spend days or weeks in hyperspace between locations). Biggs must've gotten his application approved and fast-tracked to pilot status in a hurry. Of course, I'm sure you're referencing collateral material here. Where did you come by that info? Just curious.

Haven't been around much lately (too busy starting a new business), but after seeing R1 last night I knew I'd be back here today to talk about it. (Where else can I go...?) I've read through everyone else's posts, and having seen anything surprising. I figured this one would provoke a lot of diverse reactions (just like TFA did). My reaction? The long and the short of it is that I loved this movie. It was a Star Wars film—in the classic, great sense—which means it was designed to provide a cinematic thrill, and not to stand up as a cinematic masterpiece. While no one would claim it did the latter, I felt it certainly lived up to the former. Ironically (and without any forethought or intention toward R1), we watched ANH a couple of weeks ago. It was the second time my 9-year-old daughter had seen it. I'm glad we did, because she went into this one with important details fresh in her mind. So did I—though there wasn't much chance I'd forget anything about the OT when it came down to it. I thought they did a great job setting up the story for ANH, and unlike some folks around here, I thought it was a story that deserved to be told. From that point of view, I thought they told it very well, too. This was SW from a very different point of view, not remembered through the gossamer veil of mythology but seen through the eyes of those who were in the trenches, fighting the battles that really made the Rebellion what it was. The dark, gritty nature of it fit the subject matter very well. It's one thing to see the Empire as the dark and evil co-equal of the legendary characters of light and good. It's another thing entirely to see it from the perspective of the common folk living under its relentless thumb. We've never really gotten a good look at that before, and it was about time we did. I can understand why some people are criticizing the lack of deeper characterization here. It would've been nice to know a bit more about Jyn's missing years, why she was a prisoner in an Imperial labor camp, that sort of thing. But to a certain degree all that misses the point. We read biographies and watch documentaries about great historical figures who led the masses in conflicts like the first two World Wars, but we rarely learn much in detail about those who were on the front lines. The generals get the glory, but the grunts get the job done. That's how it's always been, and to shift that paradigm here would've felt somehow out-of-place. This was the Saving Private Ryan of the SW saga. We didn't know a lot about those guys either—hell, they didn't know a lot about each other, as evidenced in their pool to guess what their Captain had done before the war. They were joined by a common purpose, and that was enough both to give them an underpinning of character and elevate that character in our eyes. It was the same here, and for me that served to fill in most of the gaps the shallow characterizations couldn't. That, and another factor that hasn't been mentioned yet, but made a powerful impact on me as the story unfolded: this was a story about rebels. Rebels rebel—not always just against the law, or against tyranny, but (quite often) against social norms, against morality, and against each other. Most of these people weren't just criminals in the eyes of the Empire, but would've been criminals in the days of the Old (or New) Republic as well. The fractured relationships between former military and political figures and the common rabble was made perfectly believable here . . . and I wound up more invested in the characters because they chose to rebel against the Empire and the Rebellion in a final attempt to legitimize themselves, if only in their own eyes. And frankly, I didn't need a ton of backstory or quirky quirks in order to take pleasure in watching Chirrut and Baze do their thing. I got the gist of it. There were times when the vagueness actually added to the effect. Was Chirrut Force-sensitive? Probably, but (unlike the prequels and most other galumphing failures) the movie doesn't tell us outright. It's much more interesting that we're left to guess, especially when Chirrut walks across the open space to the Master Switch and never gets hit by enemy fire. Luck? Typical stormtrooper's aim? Or . . . was the Force really with him, as he was with it, for those vital few moments? I don't know—and I'm better off not knowing. For all these reasons, I felt for these characters, and was impacted by their deaths. This was a film about the sacrifices necessary to save the galaxy and raise Luke, Han, and Leia to the status of legends. Even if we didn't know everything about each of these people's lives . . . they each had lives, and considered them worth living, and in the end considered them worth giving for a greater cause. You could see it in their eyes, too, especially when they looked at one another. Even if it didn't matter to some members of the audience, it mattered to them, and that was enough for me. Those are some of the big thought behind why I thought the movie worked. Here are some other, randomized inklings: - I know we've come to expect great effects from this franchise, but damn. This may be the best-looking space battle movie of all time. And it was great to get another huge battle of that type in this saga. TFA didn't really come through with that. The Resistance attack on the Starkiller base did its due diligence, but didn't really blaze new ground. This one did, and big time. And there were other fantastic touches, too. Like the Star Destroyer hanging over the city of Jedha—a striking visual representation of the Empire's dominance. Great stuff. - Same goes for the straight-up action sequences. Frankly, that's something they've been trying to get right again almost since the first movie back in '77. This felt like the first SW movie in a long time that I would've loved to play out as a kid on our school playground, particularly everything that happened on the ground (and in the tower) during the last battle sequence. (Anyone else notice how Disney made sure the climactic battle took place in Florida, so they could more easily weave it into the Disneyworld experience. . . ?) - The Death Star used to seem pretty frightening for all its planet-destroying power. But somehow, it became even more frightening as a weapon that could wipe out an area the size of a small continent. Aside from Ben's lament, we couldn't really connect with all the lives lost on Alderaan aside from an abstract understanding. But creating an explosion that tears up that much real estate, sending a good portion of it all the way up into orbit . . . that touches on old nuclear fears, and that makes it more harrowing. All the effects involving the Death Star, from its construction to its appearance around hapless worlds, was masterful as well. - I enjoyed almost every Easter egg they threw in as a connection to the OT. I was okay with the appearance of the cantina duo (though they could've managed something a bit less obvious, I think). I cheered outright at the sight of Red and Gold Leaders, which may have been the most sensible inclusion in the film, given that they're just days away from the attack on the Death Star. (If they could swing that, though, why couldn't they fit Biggs and Wedge in, too?) I also saw the nod-and-wink at the death of Red Five, leaving an opening for Luke to occupy. I knew we'd see C-3PO and R2, but I figured it would be in a much more appropriate place—at the end, aboard the blockade runner, not as a stupid throwaway back at the Yavin base. - Yes, Vader's scene at the end is pure awesome. I liked both his appearances, actually (and was thanking God that James Earl Jones is still around to give him his voice). Appropriate, without being overdone. - I was fine with the other villain, Krennic. Just like this was a story about the lower class of freedom fighters, we got a somewhat lower class of villain. Not everyone can be a Darth Vader or Palpatine. How ridiculous would the Empire seem if every ranking officer were a supervillain? - I give Gia's score a passing grade overall. He's no Williams, of course . . . but then, who is? He did all right with the Imperialish, militaryish stuff, especially in transitional shots between and in setting up scenes. I was a little confused as to why he didn't just fall back on the original themes more often, though. I mean, it's not like anyone (no one sensible, anyway) is going to charge him with plagiarism for using the Force and Rebel themes in appropriate moments, right? The canvas is already set. We didn't need a brand-new filmography for this one. Just go with what works. I will say, though, that the greatest musical choice came at the moment when the wreckage of the Star Destroyers hurtled down through the shield gate. When a lot of other composers would've blared a triumphant fanfare, Gia went quiet, almost reverent. It was almost as if it reflected a whisper that said, "We win." Gave me chills. Not everything was perfect, of course. Far from it. I had my fair share of nitpicks, too: - I'll side with most everyone when it comes to the first third or so of the movie. I may not need a lot of backstory, but please try to keep the proceedings at least halfway clear. The constant jumping around while juggling at least three separate story threads was very much not in keeping with classic SW style, which favors straightforward and clear storytelling. - No one else seems to have picked up on a rather obvious connection: Now we know who Supreme Leader Snoke really is. Turns out the shot just before the explosion of the Death Star in ANH is a feint. Grand Moff Tarkin survived, became Force-proficient, and later assumed control of the First Order and took on Kylo Ren as an apprentice. I mean, isn't it obvious? Snoke is just an appropriately older version of Tarkin (probably lost his hair escaping from the Death Star). Aside from that, they look exactly alike. I suppose one could argue that it could be because they're both badly-rendered CGI characters, but . . . I dunno, I'm fairly certain. . . . No, I'm not really that stupid. It's my way of saying the valley called, and they still can't find their can. Tarkin's rendering, while a noble attempt, was still creepily inhuman, and that kind of thing has become too much of a distraction in movies that would do better without them. I could've handled the few seconds of Leia at the end, but tacked on to the Tarkin thing, it just annoyed me further. (On the other hand, I thought they did a much better job rendering Bail Organa. He seemed completely realistic. Completely lifeli—what? Jimmy Smits is still around? Oh. Sorry. Hard to tell anymore.) - And speaking of Leia: yeah, that was another bad moment. The Leia Organa of ANH was a stiff-backed, strong-willed woman, not a grinning little girl. I agree that it's baffling how the movie ended so abruptly, and on such an off-note, when it would've been so easy to have them transmit the data to her ship (headed for a rendezvous with Obi-Wan Kenobi on Tatooine), and then, just before arriving there, as a Star Destroyer comes out of hyperspace on their heels, show her in just as brief a moment furrowing her brow and telling the crew to get ready for battle. Much more in keeping with both this movie and ANH. - And on that note: I could've done with either an abrupt start or finish, but getting them both just made the director look ham-handed. This isn't rocket science. - Forest Whittaker should no longer be allowed to appear in science fiction movies. Ever. He could've done his penance for Battlefield Earth here, but instead just doubled down on the same thing. Bizarre character that had no need to be bizarre, doing bizarre things that didn't need to be done and made no sense. For instance: what was with the scene where that creature "interrogates" the Imperial pilot? Why go through all that rigmarole, talking about how it has the effect of driving people crazy, and then not have it drive the guy crazy? Stupid. It looks like my nitpicks outnumber my kudos, but that's really not the case. I spent most of the movie—and especially the last 45 minutes or so—with a fixed smile on my face, reveling in the Star Wars milieu, an activity I will never tire of experiencing, especially when it's done right. Overall, Rogue One did it right. I'm honestly at a toss-up as to whether I liked it better than TFA. It wasn't quite as epic, and didn't quite hit some of the higher notes that J.J. was able to pull off in his version (as he does so well). But it also didn't have any of the patently puerile silliness (like the Rathtars) that J.J. can never seem to resist tossing in, and managed to avoid any overwhelming plot or device dilemmas (like the total inconceivability of the Starkiller base). It was different, and as a different thing, it was in many ways better . . . but it was still different, and as a different thing, couldn't measure up in all the same ways. Whatever. I've already given it too much thought. I had great fun, and for that, this gets a solid 8 out of 10 from me. You're wrong. Aside from the Executor slamming into the Death Star, we have seen one destroyed—or the beginning of its destruction, anyway. At the moment when Ackbar is actually telling the pilots to focus their attack on "that Super Star Destroyer," if you look in the background behind him, you'll see another Destroyer starting to explode from its middle section. (I'm surprised that I'm the only one who's mentioned that—and I can't believe I'm the only one who's ever seen it.) Actually . . . that was one moment that didn't work for me, precisely because it looked exactly like it was made of Legos. It was so white, so sharp, so bright, that it wound up looking completely fake. The Destroyers in the OT always had that same air of slight dinginess that pervaded the whole look of the galaxy, which made them look more realistic. I didn't like the too-"clean" look of the Imperial ships in this movie. I completely agree. I knew they were going to get the plans, and that they all had to die at the end . . . so why was I wearing out the edge of my seat? At one point, I openly smiled at the thought of how intense it was, and silently acknowledged the filmmakers' skill. I figured they were aiming for the dish on the tower in order to stop the transmission immediately, knowing that it would also destroy the base collaterally. You could stop Vader's lightsaber with those cheekbones. My wife asked the same thing. I reminded her they'd had enough time to transport the Rebel captives several miles away and keep them imprisoned for awhile—plenty of time for those two to saunter back to their ship and start heading for Tatooine.

JOHN WILLIAMS: Superman: The Movie E.T. The Extrateresstrial Hook JERRY GOLDSMITH: Star Trek: The Motion Picture Poltergeist Alien JAMES HORNER: Apollo 13 Star Trek II Glory And while we're on the subject . . . seeing people's lists here like this, it got me thinking. We oughta do some kind of Top 10 List for each composer, y'know? Have everyone list them in order from favorite on down, and post them as some kinda "JWFan" listing for all of them. Whatdya think. . . ?

Wow. I wasn't able to get in here over the past few days, and expected a couple of pages by now. . . . Most people my age remember him fondly from their childhood as Willy Wonka, but he was always George Caldwell to me. I cut my Wilder teeth on Silver Streak, a movie my dad first showed me when I was about 8 years old. It kicked off the Wilder/Pryor partnership and my lifelong love of Gene's work. He played the naive foil to Pryor's streetwise (if silly) schtick so perfectly, so many times. He was comedy's everyday man, quietly making it look easy for all these years. I wasn't aware he was as ill as he apparently was--he's been giving lucid and intelligent interviews for years now. I'll miss him dearly.

I've got the opening bars of piano and light strings from "Bruce and Linda" (Dragon: The Bruce Lee Story) echoing around in there today. Quietly powerful stuff.

It's still in print--and still costly. It's gone through a couple of editions. The newest isn't a hardback like the original, but I think the layout's better. (It also omits the click book at the end, since that's become an outdated tool.) I've had my eye on that one for a long time. I need to get my hands on a copy.

As I said, The Pagemaster got the biggest jump over the last year than any score. Like, ever. Not a bad performance, really. Captain EO got its first--and only--vote in this year'spoll. (I'd have to check, but I'm assuming that was you. . . ?) I wonder how many of these scores (and the ones from both JW polls) got their votes from people who'd been similarly "brainwashed"--i.e., we were so enamored with the score on an emotional level before learning of its shortcomings that we still can't dream of keeping it off our own Top 10 lists? There's gotta be more than a few.

It's been nearly a year since the 2015 tribute. People wanted more time to think through their choices, and they got it. 15 more people added their votes this time around, and some folks amended their lists. I included the lists from people who submitted last year but didn't resubmit this year (assuming they were just leaving things the way they were--I didn't change my list either). The list itself, however, did change, and in some significant and interesting ways. I'll point some of these features out, but first, let's get to the main event. Here it is, folks, the Official (Updated) JWFan James Horner Top 10 list: 1. Star Trek II: The Wrath of Khan 2. The Land Before Time 3. The Rocketeer 4. Willow 5. Apollo 13 6. Braveheart 7. Titanic 8. Legends of the Fall 9. Krull 10. Star Trek III: The Search for Spock The runners up: 11. Cocoon 12. Brainstorm 13. Sneakers 14. Aliens 15. The Mask of Zorro 16. Glory 17. Field of Dreams 18. An American Tail 19. Avatar 20. The Perfect Storm And rounding off the top 25 are The New World, The Name of the Rose, The Legend of Zorro, A Beautiful Mind, and Balto. Only four titles in the top 20 stayed fixed in place; not surprisingly, the biggest placeholder was Star Trek II, which took first again by an even larger margin than last time around. I doubt it'll ever get knocked from the top spot, even if we do this again 10 or 20 years down the line. So what about those changes? The most notable, I think, is that during the same year that it finally received a long-awaited, complete 2-CD release, Braveheart fell four places, from 2nd to 6th. The Land Before Time, which I considered a big sleeper last year, proved that it wasn't a sleeper at all by taking William Wallace's place. The Rocketeer did just as well, jumping four spots to knock Apollo 13 out of place . . . and it didn't need the help of its expanded set, either. Nearly all the votes were in before the new release hit the net (it also got the most total votes--30 in all). Willow took another step up as a Horner classic, and Titanic solidified its place by climbing three spots out of 10th place. Perhaps the biggest surprise is the newest member of the Top 10 list: Star Trek III, which replaced Cocoon. Ultimately, though, while there was some shuffling going on (especially on the 11-20 list), 24 of the top 25 titles were here last year. The Legend of Zorro got a boost to #23 (replacing The Spitfire Grill), but otherwise everything else is the same. I think the most honorable mention mentionable is The Pagemaster, which wound up being the beneficiary of the biggest change in fortunes. It earned only a single 10th-place vote last year for a measly 1 point; this year, it nearly made the list of 25, coming in just two points behind Balto (a 22-point improvement). I'll post more specific metrics later.