The Black Cauldron

1985

The Black Cauldron (1985)

TOMATOMETER

Critic Consensus: Ambitious but flawed, The Black Cauldron is technically brilliant as usual, but lacks the compelling characters of other Disney animated classics.

AUDIENCE SCORE


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Another of Disney's animated features, this one is perhaps not as well known and certainly not a classic, but still good entertainment for the young ones or for animation buffs. There are impressive Disney animation and memorable characters, but it just never quite came up to the classic standard of other Disney films. Still and all, however, it is a magic and sword animated film in which a young boy must keep a black cauldron from the hands of an evil Horned King. Classic good guys versus evil.

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Critic Reviews for The Black Cauldron

All Critics (30) | Top Critics (7)

Technically brilliant though short on narrative, "The Black Cauldron" is a painless, old-fashioned way to take out the kids, and a triumph for the animation department at the Disney studio, where it has been in development for almost a dozen years.

Jan 3, 2018 | Full Review…

The characters, though cute and cuddly and sweet and mean and ugly and simply awful, don't really have much to do that would remain of interest to any but the youngest minds.

Feb 5, 2009 | Full Review…
Variety
Top Critic

It's quite good, though by the impossible standards the film sets for itself it inevitably falls short.

Sep 5, 2008 | Full Review…

As usual it is technically excellent, but the charm, characterisation and sheer good humour that made features like Pinocchio and Jungle Book so enjoyable are sadly absent.

Feb 9, 2006 | Full Review…
Time Out
Top Critic

This is the 25th full-length animated feature from Walt Disney studios, and professionally put together as it is, many of the ingredients may seem programmed to those who have seen some of the others.

May 21, 2003 | Rating: 2.5/5 | Full Review…

The backgrounds are as richly textured and detailed as in any other Disney film.

Jan 1, 2000 | Rating: 3/4 | Full Review…

Audience Reviews for The Black Cauldron

Back in 1973 Disney obtained the rights to Lloyd Alexander's fantasy series [i]The Chronicles of Prydian[/i]. A series spread over five novels aimed at children that are based around ancient Welsh mythology. This feature-length animation is loosely based around the first two books in the series. In case you haven't guessed yet, the concept for these stories is high fantasy. Magic, dragons, witches, goblins, the undead etc...Its essentially like a children's version of [i]The Lord of the Rings[/i] from what I could tell, although I have never read the books so I could be wrong. But in all honesty that was the first impression I got when I sat down to watch this movie. The visuals very much reminded me of the classic Ralph Bakshi version the of the classic Tolkien story, but with classic Disney designs. The plot surrounds the young boy Taran (Grant Bardsley) who tends pigs on a farm belonging to Dallben the Enchanter (Freddie Jones), a kind of wise old mystic, I think. I'm not really sure of the relation between Taran and Dallben, the boy just seems to work for Dallben and Dallben looks after him. Anyway Dallben learns that the evil Horned King (John Hurt) is after the Black Cauldron and fears he may come for his pet pig Hen Wen. Why? Because this pig has the power to predict or see the future somehow. I'm still not entirely sure why this would help the Horned King to be honest; how does seeing the future help find an object? Surely you need a map or something. Also no clue how this pig got these powers or how Dallben got the pig, oh well. So Dallben sends Taran away to go into hiding with Hen Wen. Unfortunately and predictably Taran manages to lose Hen Wen (well Hen Wen stupidly runs off in the middle of the dark woods) and both are eventually captured by the Horned Kings men. One thing leads to another and Hen Wen manages to escape but Taran does not. Back in the deep dungeons Taran bumps into some other prisoners and together they manage to escape. Their plan now? To find Hen Wen, locate the Black Cauldron and destroy it. That wasn't what Dallben wanted of course, but since when do young protagonists ever listen to their wise elders? Yes so straight away the main problem with this film is the plot and its characters. As I already said we don't really get much background on Taran, Hen Wen, or Dallben. We are simply thrust into their lives and straight into the crux of the plot. The Horned King is another main character that really isn't explained much. He wants the power of the Black Cauldron so he can raise his dead army (what happened to them?) and take over the land. I mean I could ask why but I suppose this is a fairytale so...But also, who or what exactly is the Horned King? He is clearly undead and powerful, what's his deal?? Later on as Taran tries to escape from the Horned Kings dungeon he meets up with Princess Eilonwy (Susan Sheridan). Now this is where things get really vague. Eilonwy is also escaping from the dungeons but we have no idea what she did to get there. Add to that we have no idea who she is, where she comes from, and why's she's called Princess. Is she from another realm with another King and Queen? She also has a small hovering/flying ball of light that accompanies her, like a pet or something. No clue what this little thing is or where it comes from, Elionwy merely says [i]its magic'[/i]. And then we come to Ffewddur Fflam (Nigel Hawthorne) a middle-aged bard with a magical harp which snaps a string every time he lies (but why????). Again this chap is picked up in the dungeons and simply becomes the comedic relief for the most part...and nothing else. No exaggeration, he literally does nothing. But in all honesty, all the characters do nothing. Taran is your typical young Disney hero who aspires to become something better, a great warrior or hero, usual stuff. Thing is he never achieves this, in fact he doesn't really achieve anything. In the dungeons he finds an ancient magical sword that helps him fight off enemies but its the sword doing the work...literally! Taran does absolutely nothing except show some kindness and maturity...before going back to tending pigs. Princess Elionwy seems to be merely there for female/Disney Princess representation. To be the heroes bit of fluff, but that never actually happens sooo...why is she there? Ffewddur Fflam is a bumbling fool for the kids. Let's not forget about Gurgi, a small furry creature that Taran meets in the woods and is essentially there to boost plush toy sales. This little guy is really annoying, looks like he's got a handlebar moustache, and he sounds very much like Gollum (ahem!). Again this guy does nothing really until he inexplicably sacrifices himself towards the end. But this lacked any emotion because he's an annoying character and (again) had no real need to be in the story. He had no real need to even join Taran on his quest, especially as Taran clearly disliked him. He originally pinched an apple from Taran, Taran scolded him, and Gurgi just kinda followed him ever since. But anyway speaking of merchandise sales, I would say the Fair Folk Kingdom would fall into that category. A large underground world of little glowing pixie or dwarf-like people with little fairy wings. Probably the worst characters in the film. They looked crappy and just felt like padding and pointless. The only good character is the Horned King simply because he looks so damn awesome (think Skeletor), sounds cool, and lives in a cool creepy castle with an undead army. He also has a throwaway goblin sidekick which is again comedic relief for the kids. Yeah sure the King isn't exactly an in-depth character, like I said we get no information on him or any of his aides, but he's just dark and sweet looking. The best part of the entire movie is easily the ending when he brings all of his undead army back to life and they start to attack his living men. One cut sequence has a guy being dissolved or melted by these undead warriors (for some reason), incredibly gory for Disney. But again I have no real clue why the King's undead army would kill his living army and what exactly these undead warriors are gonna do, melt everything? The only other characters to mention are the three witches Orddu, Orgoch, and Orwen. Taran and co have to try and talk these witches into revealing the location of the Black Cauldron. Long story short, these witches are basically Mad Madame Mim clones. One is tall and skinny, one is short and fat, and one is medium build. They are all bat-shit crazy and not to be trusted. Expect lots of flying objects and trickery from these characters. Oh and one very awkward sequence where they turn Fflam into a frog and he gets stuck in between the big boobs of witch Orwen. No I'm not joking, big cartoon boob visuals galore. So yeah the plot is just really poorly constructed in this movie. It apparently incorporates the first two books in the series and it kinda shows. Everything moves so fast and it feels rushed. One minute Taran is happy and with Dallben, next minute he's kicked out and off into hiding. Before you know it he's lost his pig and at the foot of the Horned Kings castle! This is obviously set in a large fantasy world but it comes across as very small in this picture. One scene shows Taran looking at the Horned Kings castle from a great distance, next scene he's at the door! The three witches spend ages trying to talk Taran out of his magic sword, in exchange for the Black Cauldron. But then at the end when the cauldron has been drained of all its powers the witches want it back again and offer the magic sword! So...why did they want the sword so bad in the first place? And why would they want the cauldron now it's useless? Also, as the tale goes, the only way to stop the cauldron is for a living creature to get inside it. So when Gurgi jumps into it, why does that not stop it? And lastly, its really odd how the entire plot revolved around Hen Wen the pig for so long, then all of sudden it didn't. Everyone is trying to find Hen Wen before the Horned King, everything depends on the pig; and then the plot just diverts and leaves the fate of Hen Wen up in the air right until the very end. On the positive side: The visuals in the movie are incredible. The animation is classic Disney with easily recognisable designs (although a bit too recognisable). From the rolling green countryside and Hobbit-esque woods. The towering shadow covered castle with its deep dark maze-like interior littered with dungeons, catacombs, skeletons, and cobwebs. To the gorgeous vistas, high detail, glowing magical effects, and a pair of awesome pet dragons. This movie looks flippin' amazing on every frame. Sumptuous colours, silky smooth animation, and some truly excellent artwork all the way through from top to bottom. There's just a few problems (but they're big). The plot is terribly formulaic and dull with literally no background history for anything. The opening narration speaks of the origins of the Black Cauldron and how an evil King was, basically, boiled alive in it which led to his soul being trapped within the cauldron. Well...was that supposed to be the Horned King? I don't think it was, I think this was another character from the book. And that's another problem, I feel like you need to know the book to understand this better because the movie is pretty loose. The final problem is the awful, bland (some badly voiced), one-dimensional characters that just don't do anything. Almost all of them have no need to even be there and present no arcs at all. Totally torn on this. This was my first time seeing this movie so I was unbiased and actually really hoping for a cracker going by the posters and images. Alas even though it is a visual treat and I adore this fantasy realm/world, it's a huge misstep by Disney and such a waste. A handsome spectacle of fairytale folklore and myth to be sure, but unfortunately lacking in any real depth.

Phil Hubbs
Phil Hubbs

Super Reviewer

½

This animated Disney film takes place in a mythical medeival land called Prydain, which is ruled over by a tyrant under the name of the Horned King (John Hurt.) The kings plan is to gain control of a mythical and indestructible creation of the gods called the Black Cauldron. While this is happening a young boy named Taran (Grant Bardsley) dreams to be a knight and wanders off with his pet pig Hen-Wren, only for both of them to be captured by the ruthless king. Taran learns that this pig has the power to see into the future and the King plans to use this power to gain the advantage in finding the cauldron. Taran escapes with the help of a jester and a princess and the three of them have to get to the cauldron before the King can. As far as Disney animated films, this film follows that same kind of sketchy animation style that kept happening around the time of this films release, with such films as the jungle Book, Robin Hood and even a little of the rescuers and Winnie the Pooh, so the animation isn't all too impressive. But this film does have some interesting things about it in terms of design and scale, the main thing being the incredible gothic architecture and design of the Horned Kings palace. This palace is just as incredible looking as say, Maleficent's castle in Sleeping Beauty in terms of the gothic angles and the dark lighting in the rooms, and it just looks incredibly creepy. The main design that really steals the show for me is the design of the Horned King. Though he does have basically an emperor look to him he does have some defining features in his design that makes him stand out among other disney villains. his horns looking like tree branches is interesting and his creepy hands and face just add to the disturbingness of this character. Now the voice acting is one of those things again like I've said, that has to be handled with care in these kind of films. It can either come off as serious or it can come off as goofy, this film has trouble juggling both. The films voice acting is decent but it doesn't reach the level say, Beauty and the beast reaches or even the level of dialogue that Sleeping Beauty reaches. The dialogue in the film both goes from being incredibly goofy to incredibly serious more often than it should, which does come off as a major problem. But the sheer power brought to some of the characters is fantastic, the main one being John Hurt as the Horned King. He is just so into this role and he just sells this movie just with this performance. The sheer power and slowness in his voice gives this demanding presence to his voice which says a lot for someone who sounds like he is whispering through a can. Now one of the things I have a problem with in this film, and though it is a nitpick is the music. While I enjoy Elmer Bernsteins music, like Doug Walker said in his Disneycember review, "All I hear is Ghostbusters," and I really do agree with that, the music just sounds way too similar to songs from ghostbusters. it just sounds really distracting from the film. Its good music don't get me wrong but when you hear music that makes you want to watch another movie it gets somewhat irritating. Overall this may not be one of Disney's best, but I do feel it doesn't get the real praise it deserves. Its better than some other Disney films like Oliver and Company and the Rescuers, and I think for that it deserves a little more credibility. If you're in for a dark and creepy looking animated fantasy adventure I'd say check this film out.

Michael Edwards
Michael Edwards

Super Reviewer

½

It is too uncomfortably dark for children (in a way that made me think of He-Man), while also too silly, shallow and unmemorable for an older audience - thus, not aimed at any audience in particular and flawed enough to be remembered only for its technical accomplishment.

Carlos Magalhães
Carlos Magalhães

Super Reviewer

The words 'Disney' and 'cult classic' are very rarely seen together. Disney has had its fair share of commercial failures over the years, but for the most part these have been in some way down to the product itself, rather than an inability to market it. Likewise Disney's reputation as the bastion of all that is bright, charming and safe is a million miles from the lexicon of cult classics. These are, by and large, films that you can't evoke without using words like 'dark', 'strange', 'edgy' or 'weird' - in short, they are often films that you wouldn't show to children. In this respect The Black Cauldron is pretty much unique. It flopped on its original release, being beaten by The Care Bears Movie on opening weekend (ouch). Since then it has gained a small but devoted following, which hold it either to be an underrated Disney effort or a minor classic in its own right. The film is still riddled with problems, like many of the cult films I've reviewed in the past, but in the end there is enough interesting stuff in there to make the experience worthwhile. It's fair to assume that a large amount of The Black Cauldron's cult appeal stems from its visual departure from the Disney norm. For people of my generation, who grew up during the Renaissance, you wouldn't look at this film and automatically assume that it came from the same people who made The Little Mermaid. Even when we take the paler aesthetic of the 1970s into account, The Black Cauldron still feels on first impression, like it has crept into the Disney canon under the radar. The animation is reflective of the film as a whole, containing several pockets of brightness and invention which are struggling to get out of a greyer, more ordinary environment. The film was one of the first to utilise CG animation alongside conventional hand-drawn work, with most of the cauldron's movements being mapped with a computer. The hand-drawn style itself is somewhere between Ralph Bakshi and The Sword in the Stone, using pinks, purples and especially greens to create a ghoulish, unsettling feel. What's ironic about The Black Cauldron's reputation is that it is probably the most closely-rooted in fairy tales that Disney has been since the Golden Age. The film is based on the first two books in Lloyd Alexander's The Chronicles of Prydain, which drew strongly on Welsh folk tales and the fantasy of J. R. R. Tolkien. Even though its adaptation is characteristically loose, all the familiar hallmarks are there - creepy woods, dark magic, spooky castles, princesses, young warriors and plenty of good music to both offset and accompany the action. The film is also notable for its relatively stellar cast. While other Disney films of the period were lucky if they could secure one big name star, The Black Cauldron has a very solid and rounded supporting cast. Nigel Hawthorne, just before his defining role in Yes, Minister, is a very good fit for Fflewddur Fflam (try spelling that on a pub quiz). He brings an entertaining combination of cowardice and eloquence, playing off his lie-detecting harp very well. And then there's John Hurt, who is no stranger to fantasy, having played Aragorn in Bakshi's Lord of the Rings and later being the host of Jim Henson's Storyteller series. Hurt's performance as the Horned King brings us on to the next big plus: the film has a genuinely scary villain. In my review of Oliver & Company, I complained that Sykes was never really convincing as a villain: his methods were illogical and his end seemed totally improvised. The Horned King is a lot scarier, in both his ends and his means; while Sykes was ultimately holding a cat to ransom, he wants to enslave the world with an army of deathless warriors. Hurt doesn't often play villains very often, but he is quite adept at it, using his gravelly voice to compliment the King's intimidating physique. His death scene is one of the most graphic in Disney history: he doesn't just fall off a cliff or get stabbed, he gets his skin ripped clean off his bones and his body disintegrated by pure, concentrated evil. Somewhere in The Black Cauldon, there is a genuinely dark, creepy and interesting story. Coming in the year that gave us Re-Animator and George A. Romero's Day of the Dead, it is effectively a zombie film for children. The film departs from Romero's template in several ways: it doesn't introduce the zombies right away, there's a conscious attempt to moralise the heroes' actions, and the zombies are not overtly symbolic of anything. But nonetheless it is striking how close to horror the film treads, and how straight it plays its subject matter. Unfortunately, the intrigue caused by this realisation also illuminates the film's many shortcomings. For all the moments in which it takes a brave step forward into grown-up horror territory, there are at least as many moments in which it retreats into the safety of convention, or stands around wondering what it really is. The film can't quite decide exactly how dark it wants to be, or even what it wants to be about. A lot of the blame for this can be laid on Jeffrey Katzenberg, who was appointed as Disney Chairman during post-production. Upon seeing the rough cut, Katzenberg demanded that the film be severely cut, feeling that its more graphic scenes would deter Disney's target audience. When he encountered resistance, Katzenberg pushed the release date back six months and personally removed 12 minutes of footage, shortening the 'Cauldron Born' scenes and omitting several deaths. Not only are the changes obvious from the jumps in Elmer Bernstein's soundtrack, but they also make no sense considering that the Horned King's death remains in all its glory. If Princess Mononoke can have decapitation scenes and still get a PG, it's hard to see how removing these scenes would have helped the film's chances. Even without Katzenberg's changes, however, the storytelling in The Black Cauldron is all over the place. We get vague inclinations of the Horned King's plan in the opening section but then the film wanders off into light-hearted slapstick and awkward character drama. From here on in, the horror elements feel like a more interesting film, running parallel with ours and occasionally trying to break in. We stay with our leads for so long that the 'Cauldron Born' aren't introduced until the end, and they don't hang around long enough to demonstrate how monstrous they are. The film also suffers from having too many characters. While Fflewddur Fflam is enjoyable in his own right, the main protagonists are barely developed and largely unlikeable. Taran spends most of his time either moping or showing off, and Princess Eilonwy is pretty bland. Gurgi, Doni and Eilonwy's bauble all fight for the role of official sidekick, but the film never finds a good enough use for any of them, and so they come and go according to plot convenience. While the visuals of The Black Cauldron are creepy in places, they are also quite derivative. Like the Wolfgang Reitherman efforts of the 1970s, there are numerous examples of Disney ripping off its own back catalogue. The shots of Henwyn the pig in water are clearly inspired by Dumbo getting drunk, while many of the landscape shots are borrowed directly from Snow White. But to be fair, accusations about the bauble being a rip-off of Navi are misplaced, since the first Legend of Zelda game was still a year away. The Black Cauldron is a flawed but interesting effort from Disney which is thoroughly deserving of its cult status. There is a darker, braver film somewhere in here which has been either covered up by Disney convention or cut out wrongfully by Katzenberg. But when the darkness does break through, it comes to life as both a return to the deep well of fairy tales and an intriguing tonal departure. It is, in the end, as enjoyably flawed as Labyrinth, and that, in and of itself, is no bad thing. The words 'Disney' and 'cult classic' are very rarely seen together. Disney has had its fair share of commercial failures over the years, but for the most part these have been in some way down to the product itself, rather than an inability to market it. Likewise Disney's reputation as the bastion of all that is bright, charming and safe is a million miles from the lexicon of cult classics. These are, by and large, films that you can't evoke without using words like 'dark', 'strange', 'edgy' or 'weird' - in short, they are often films that you wouldn't show to children. In this respect The Black Cauldron is pretty much unique. It flopped on its original release, being beaten by The Care Bears Movie on opening weekend (ouch). Since then it has gained a small but devoted following, which hold it either to be an underrated Disney effort or a minor classic in its own right. The film is still riddled with problems, like many of the cult films I've reviewed in the past, but in the end there is enough interesting stuff in there to make the experience worthwhile. It's fair to assume that a large amount of The Black Cauldron's cult appeal stems from its visual departure from the Disney norm. For people of my generation, who grew up during the Renaissance, you wouldn't look at this film and automatically assume that it came from the same people who made The Little Mermaid. Even when we take the paler aesthetic of the 1970s into account, The Black Cauldron still feels on first impression, like it has crept into the Disney canon under the radar. The animation is reflective of the film as a whole, containing several pockets of brightness and invention which are struggling to get out of a greyer, more ordinary environment. The film was one of the first to utilise CG animation alongside conventional hand-drawn work, with most of the cauldron's movements being mapped with a computer. The hand-drawn style itself is somewhere between Ralph Bakshi and The Sword in the Stone, using pinks, purples and especially greens to create a ghoulish, unsettling feel. What's ironic about The Black Cauldron's reputation is that it is probably the most closely-rooted in fairy tales that Disney has been since the Golden Age. The film is based on the first two books in Lloyd Alexander's The Chronicles of Prydain, which drew strongly on Welsh folk tales and the fantasy of J. R. R. Tolkien. Even though its adaptation is characteristically loose, all the familiar hallmarks are there - creepy woods, dark magic, spooky castles, princesses, young warriors and plenty of good music to both offset and accompany the action. The film is also notable for its relatively stellar cast. While other Disney films of the period were lucky if they could secure one big name star, The Black Cauldron has a very solid and rounded supporting cast. Nigel Hawthorne, just before his defining role in Yes, Minister, is a very good fit for Fflewddur Fflam (try spelling that on a pub quiz). He brings an entertaining combination of cowardice and eloquence, playing off his lie-detecting harp very well. And then there's John Hurt, who is no stranger to fantasy, having played Aragorn in Bakshi's Lord of the Rings and later being the host of Jim Henson's Storyteller series. Hurt's performance as the Horned King brings us on to the next big plus: the film has a genuinely scary villain. In my review of Oliver & Company, I complained that Sykes was never really convincing as a villain: his methods were illogical and his end seemed totally improvised. The Horned King is a lot scarier, in both his ends and his means; while Sykes was ultimately holding a cat to ransom, he wants to enslave the world with an army of deathless warriors. Hurt doesn't often play villains very often, but he is quite adept at it, using his gravelly voice to compliment the King's intimidating physique. His death scene is one of the most graphic in Disney history: he doesn't just fall off a cliff or get stabbed, he gets his skin ripped clean off his bones and his body disintegrated by pure, concentrated evil. Somewhere in The Black Cauldon, there is a genuinely dark, creepy and interesting story. Coming in the year that gave us Re-Animator and George A. Romero's Day of the Dead, it is effectively a zombie film for children. The film departs from Romero's template in several ways: it doesn't introduce the zombies right away, there's a conscious attempt to moralise the heroes' actions, and the zombies are not overtly symbolic of anything. But nonetheless it is striking how close to horror the film treads, and how straight it plays its subject matter. Unfortunately, the intrigue caused by this realisation also illuminates the film's many shortcomings. For all the moments in which it takes a brave step forward into grown-up horror territory, there are at least as many moments in which it retreats into the safety of convention, or stands around wondering what it really is. The film can't quite decide exactly how dark it wants to be, or even what it wants to be about. A lot of the blame for this can be laid on Jeffrey Katzenberg, who was appointed as Disney Chairman during post-production. Upon seeing the rough cut, Katzenberg demanded that the film be severely cut, feeling that its more graphic scenes would deter Disney's target audience. When he encountered resistance, Katzenberg pushed the release date back six months and personally removed 12 minutes of footage, shortening the 'Cauldron Born' scenes and omitting several deaths. Not only are the changes obvious from the jumps in Elmer Bernstein's soundtrack, but they also make no sense considering that the Horned King's death remains in all its glory. If Princess Mononoke can have decapitation scenes and still get a PG, it's hard to see how removing these scenes would have helped the film's chances. Even without Katzenberg's changes, however, the storytelling in The Black Cauldron is all over the place. We get vague inclinations of the Horned King's plan in the opening section but then the film wanders off into light-hearted slapstick and awkward character drama. From here on in, the horror elements feel like a more interesting film, running parallel with ours and occasionally trying to break in. We stay with our leads for so long that the 'Cauldron Born' aren't introduced until the end, and they don't hang around long enough to demonstrate how monstrous they are. The film also suffers from having too many characters. While Fflewddur Fflam is enjoyable in his own right, the main protagonists are barely developed and largely unlikeable. Taran spends most of his time either moping or showing off, and Princess Eilonwy is pretty bland. Gurgi, Doni and Eilonwy's bauble all fight for the role of official sidekick, but the film never finds a good enough use for any of them, and so they come and go according to plot convenience. While the visuals of The Black Cauldron are creepy in places, they are also quite derivative. Like the Wolfgang Reitherman efforts of the 1970s, there are numerous examples of Disney ripping off its own back catalogue. The shots of Henwyn the pig in water are clearly inspired by Dumbo getting drunk, while many of the landscape shots are borrowed directly from Snow White. But to be fair, accusations about the bauble being a rip-off of Navi are misplaced, since the first Legend of Zelda game was still a year away. The Black Cauldron is a flawed but interesting effort from Disney which is thoroughly deserving of its cult status. There is a darker, braver film somewhere in here which has been either covered up by Disney convention or cut out wrongfully by Katzenberg. But when the darkness does break through, it comes to life as both a return to the deep well of fairy tales and an intriguing tonal departure. It is, in the end, as enjoyably flawed as Labyrinth, and that, in and of itself, is no bad thing.

Daniel Mumby
Daniel Mumby

Super Reviewer

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