Finish the Disney Title: 10s Blitz (2)

[B] Groove | The Emperor's New Groove : Production famously swerved from a serious epic. What survived was Looney Tunes energy, a talking llama, and Kronk’s spinach puffs stealing whole scenes.

[C] Hunchback | The Hunchback of Notre Dame leans on the missing word to signal tone and setting. Disney names often do this, cueing genre before the first scene.

[C] Internet | Ralph Breaks the Internet leans on the missing word to signal tone and setting. Disney names often do this, cueing genre before the first scene.

[A] Jungle | The Jungle Book leans on the missing word to signal tone and setting. Disney names often do this, cueing genre before the first scene.

[D] Lilo | Lilo & Stitch : Watercolor backgrounds gave the film its softness. A found‑family story in flip‑flops, plus Elvis needle drops that made “ohana” mainstream vocabulary.

[B] Lion | The Lion King : Hamlet echoes over the savanna. Circle‑of‑life framing, choral openings, and a villain song with goose‑step choreography rewired the ’90s animated blockbuster.

[B] Mermaid | The Little Mermaid : The renaissance kicked off here. Ashman and Menken’s Broadway polish turned seashells into showstoppers and reminded audiences that animated films could belt.

[A] Mouse | The Great Mouse Detective : Basil of Baker Street retools Sherlock for tiny alleys. Ratigan’s villainy plus clockwork set pieces led the studio out of its mid‑’80s slump.

[A] Music | Make Mine Music : Another package film: musical shorts instead of a single story. Think jukebox variety hour, where the studio experiments with tone on a postwar budget.

[D] Peter | Peter Pan : Second star to the right, straight on till morning. Flight wires become pixie dust on screen, and Neverland bundles pirates, mermaids, and bravado into one map.

[A] Planet | Treasure Planet : Treasure Island in space. Solar sails, cyborg cooks, and a rebellious streak gave the classic boys’ adventure a gleaming, neon‑nautical coat.

[D] Range | Home on the Range : Western cows, barbershop villains, and a yodel that could stop a stampede. Broad comedy marked the end of the hand‑drawn era for a bit.

[A] Rescuers | The Rescuers Down Under : Early CAPs digital coloring supercharged falcons and cliffs. A rare Disney sequel that went bigger without songs and still kept its tender heart.

[C] Robin | Robin Hood : Economy move: lots of recycled animation from The Jungle Book. Still charming, with a folksy balladeer narrating the outlaw’s woodland capers.

[A] Robinsons | Meet the Robinsons : Built around “Keep Moving Forward,” a Walt quote. Future‑gadget gags meet adoption‑story warmth, underscoring optimism as the film’s actual superpower.

[D] Sleeping | Sleeping Beauty : Eyvind Earle’s angular backgrounds defined the look. The film plays like illuminated manuscript pages turned into moving tapestries with a prickly spindle deadline.

[D] Stone | The Sword in the Stone : Arthur’s nickname is Wart here. Lessons from a cranky wizard change into fish, birds, and squirrels before destiny chooses England’s future king.

[C] Toad | The Adventures of Ichabod and Mr. Toad : Two stories: sleepy Hollow’s headless rider and Wind in the Willows’ impulsive toad. A double feature in one tidy package.

[D] Tramp | Lady and the Tramp : First CinemaScope animated feature. Spaghetti in an alley became Hollywood shorthand for romance, even if neither dog understands cutlery. Title structure carries extra meaning, a quiet marketing trick audiences decode instantly.

[B] Winnie | Winnie the Pooh : Stories flutter out of a book’s margins. Hundred Acre Wood logic is simple: snack first, think later, and never waste a good balloon.