May 15, 1998
In the mystical past of summer of ’98, “animation” meant drawings. TOY STORY was the only computer animated feature that existed, so that was still just a novelty, not the entire industry. It wouldn’t be until the Fall that dueling bug movies kicked off the war for computer animation supremacy, so nobody wanted to be Pixar yet. They still wanted to be Disney.
The previous November, Fox Animation Studios had made their Don Bluth directed version of a Disney movie, ANASTASIA. In December Dreamworks would release their Biblical version, PRINCE OF EGYPT. And this was Warner Bros. Feature Animation debuting with their sword and sorcerer version. They took a little bit of the dark fantasy of THE BLACK CAULDRON and early Don Bluth, but mostly tried to make a musical in the vein of the ’90s classics like BEAUTY AND THE BEAST and ALADDIN.
The operative word being “tried.” This is a terrible fucking movie. Nothing can compare to FOODFIGHT!, but as far as professionally completed animated features given a wide release in theaters, QUEST FOR CAMELOT (a.k.a. THE MAGIC SWORD: QUEST FOR CAMELOT in some countries) is one of the worst I’ve watched all the way through. The shamelessness with which they try to copy Disney, combined with the clear lack of understanding of why people like the stuff they’re trying to rip off, and the substandard execution of it, is honestly depressing to watch. Like any animated feature there are surely many talented people who worked on it, but it’s very obvious that the direction at the top came from a bunch of clueless executives who just had no respect for the audience or the art form, and no idea what the fuck they were doing. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.