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#101 dalmatians 2 patch's london adventure
mellowwpopper · 1 year
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There! I Fixed my Boy. 
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(originally published on 11/11/20)
DTVA/DTS TAGTEAM TWEET-ATHON MOVIE #42: 101 DALMATIANS II: PATCH’S LONDON ADVENTURE (2003) 
Well, I can say with confidence that this is the first sequel we’ve watched that is a significant improvement over the original. (Sorry Return to Never Land)
Alright so, the original movie wasn’t terrible or anything, it just wasn’t spectacular. It had a good artstyle, a good villain, and a couple good songs.
The number one thing that this movie succeeds at is that it actually has developed characters and a consistent plot.
The first movie really kept flip flopping between who the main character was. This movie establishes early on that it is about Patch and Thunderbolt, and it makes it easier to follow.
The movie brings up the excellent point that Roger might’ve been a bit too hasty in suddenly deciding to adopt 101 dogs, and as such Patch feels as though he is losing his individuality.
Because he gets left alone due to his parents’ negligence, he ends up finding his TV hero, Thunderbolt. It’s here where the movie basically becomes a better version of Bolt.
Thunderbolt knows he’s an actor, and is trying to do a real heroic deed because he gets told by his sidekick that he’s being planned to be killed off in the show. He basically uses Patch because he’s a nerd.
Oh yeah, Jason Alexander was in this movie as the sidekick. He’s pretty much a secondary villain. He also barely has any lines. Go figure.
The absolute best part of the movie is probably Cruella. She is the most developed character. In this movie, Cruella has been essentially cancelled. She’s in a slump, until she meets a pretentious modern artist played by Martin Short.
She decides his art isn’t good enough anymore however, so she decides to kidnap the puppies again just so he can use their fur for the paintings’ canvases. *sharp inhale* I do not envy the job of the writers of the Cruella redemption film...
The animation is above average. I once again think the backgrounds are the highlight, as they look almost identical to the original film. The characters are fine too, they just look a little too clean compared to the scratchy Xerox look of the original.
The score is good. I like how it has consistent motifs throughout. The songs just don’t hold a candle to the majesty of “Cruella de Vil” from the original. The credits have this weird remix song, which I’m having trouble putting into words. Just look it up...
Overall, I really like this one. The characters feel developed, the plot is engaging, and it’s tied together by decent animation and good music. This is the new bar for sequels going forward... 
9.5/10: Cruella is just so evil...why would you even try to justify her?
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capturingdisney · 2 years
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xxfrankenweeniexx · 8 months
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Lars the Artist
You should definitely watch the sequel to 101 Dalmatians! Martin Short voices Lars here and I swear he’s hilarious!
He’s available in my shop, link in bio!!
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arcanespillo · 3 months
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they're having a bark competition and this giant dog, tiny , made the screen tremble with his bark i love this movie SO much
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lukmarc10 · 6 months
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Lil’ Lightning from “101 Dalmatians 2: Patch's London Adventure” deserved better.
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so i randomly remembered this movie existed today and GOOD LORD it always used to leave a sour taste in my mouth as a kid for trying to make me believe that he was a villain!
like, my guy literally had to live in the shadow of a self-centered asshole, was treated unfairly by everyone around him and i'm supposed to dislike him when he finally snaps?! oh, hell to the no.
in this essay i will–
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arterstrashbin · 1 year
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"Name more iconic duo"
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Seriously, did Toby Fox get inspired by 101 Dalmatians 2 or it's a complete coincidence!?
Reblogs > Likes
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violetrose-art · 1 year
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Cruella and Lars' height difference is weirdly hilarious XD
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The Story
The story is about a young pup who just wants to feel special after his family treats him like a flea.
The story has quite a good story, some scenes do drag on though and it isn't the most original out there. But honestly, it's not that bad compared to other Disney sequels.
The Characters
The two main characters are great. You really feel sorry for Patch because his own family forgets about him, doesn't feed him and overall don't really care for him at all. Heck, the parents treat the other puppies better than their own son!
And speaking of Patch's family, they are REALLY unlikeable. They don't listen to him, they don't make sure that all the pups are fed equally and they don't tell the other pups off when they're making fun of Patch. Basically, think of the most stereotypical dysfunctional family you can think of. You just want Cruella De'Vil to make them into a fur coat every time you see them!
Thunderbolt is definitely my favourite character. You think (considering this is a Disney sequel) that he is going to be a jerk and be the main villain of the film. Thank goodness this film doesn't take that route. He is a generally a really likeable character and I can easily relate to him and he has an understandable reason why he lied to Patch.
Cruella De'Vil is definitely forced into this movie. Okay, her plotline is funny, for only five minutes. Then it gets tiresome and she doesn't have any real significance till the last few minutes of the film. Why couldn't we just of stocked with the new villain. We got barely any time with him and he could of been funny if he had more screen time instead of the bitch from the last film! (See what I did there?)
The Animation/Special Effects
The animation is just okay. The animation on the characters are very smooth, but the backgrounds look dull and sometimes the animation looks like a flash animation from the Internet. (Did they have flash animation back then?)
Final Thoughts
Overall, this is another Disney Sequel that I think is better than the original film. The other film being Pocahontas II: Journey to a New World. While I prefer that film over this one, this film is definitely one you should pick up for your little pups!
The Story 4/5 The Characters 3.5/5 The Animation/Special Effects 3/5
Overall 3.5/5
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mackthemuser · 2 years
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Straight Out of Home Video Podcast Episode: 101 Dalmatians 2: Patch's London Adventure
Straight Out of Home Video Podcast Episode: 101 Dalmatians 2: Patch’s London Adventure
Hope and Mack join Candace on the Straight Out of Home Video Podcast to talk about Disney’s 2003 animated sequel 101 Dalmatians 2: Patch’s London Adventure. While we didn’t like the villainization of corgis (especially Candace’s corgi and Geeky Waffle mascot Bucky J. Barks), we liked the animation style, the charming characters, and Cruella’s attempts to move past her fur obsession. Listen to…
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dizzydizney · 5 days
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disney-is-mylife · 10 months
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This poll was TOUGH to narrow down because there's so goddamn many of these films 😭 Keep in mind I am ONLY including sequels to films from the official line-up, so films like An Extremely Goofy Movie or The Tigger Movie do not count (the latter because the WInnie the Pooh franchise aren't really "sequels," more like additional features/specials/spin-offs lol).
Disclaimer: With these sequel polls, I will NOT include ones from the Walt Disney Animation Studios, which are as of June 1, 2023: The Rescuers Down Under, Fantasia 2000, Ralph Breaks the Internet, and Frozen 2.
Have fun voting and try not to start any fights over your personal faves! 😘
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fitzrove · 10 months
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capturingdisney · 2 years
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weirdgirl92 · 9 months
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spiderdreamer-blog · 1 year
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Disney DTV Sequel Capsule Reviews: Atlantis: Milo’s Return (2003) and 101 Dalmatians: Patch’s London Adventure (2003)
The legacy of the DTV sequel/TV spinoff era for Disney’s animated films is a fascinating question. In terms of the naysayers, it was seen as diluting the brand with cheap recycling of the characters and plots of the classic movies (this is also the current argument aimed at the live action remakes). On the positive end, fans who grew up with them cite expanded worldbuilding and stories with new, compelling characters as points in their favor. I’m somewhere in the middle: I think at their worst with films like The Little Mermaid II: Return to the Sea, The Hunchback of Notre Dame II, The Jungle Book 2, or The Fox and the Hound 2, the stories are lazy and inspired with dull characters that don’t further the narratives. (FATH2 also lands in the strange “midquel” territory, which tends to present structural and dramatic issues) But at their best, those positive elements do stand out: even with some janky animation here and there, the Aladdin sequels and series created a robust action-adventure universe, The Lion King 1 1/2 is a genuinely clever spin (I also have a fondness for the Timon and Pumbaa TV show in terms of unabashed cartoon shenanigans, and Simba’s Pride has some strong drama to it), An Extremely Goofy Movie is a very solid follow-up to its predecessor, while Cinderella III: A Twist in Time arguably improves on the original in terms of the character writing. So I find myself here today having watched a couple of them I hadn’t seen before and found them interesting enough to write about. Let’s dig in, shall we?
Atlantis: Milo’s Return
So the first interesting note here is that this technically isn’t actually a sequel film. Prior to the summer 2001 release of Atlantis: The Lost Empire, a follow-up TV series called Team Atlantis was developed by Disney TV animation stalwarts like Tad Stones, Victor Cook, and Greg Weisman. It got far enough into production that three episodes were fully completed. Then the bad news came from on high: Atlantis had underperformed at the box office (though not outright bombing in the way, say, Treasure Planet did) thanks to a certain green ogre dominating all he surveyed, so the series was cancelled. This is quite a shame, in my opinion. Atlantis is one of my favorite Disney films, especially from that weird experimental era where they were attempting to experiment and get away from the strict Broadway musical formula that had dominated the Disney Renaissance of the late 80s through the 90s. We had this, Treasure Planet, Tarzan, The Emperor’s New Groove, and Lilo & Stitch in a five year span (we also had Dinosaur, Brother Bear, and Home on the Range, so not all of them were GOOD experiments, though I like Range more than most). It has great characters, some of my favorite character animation in the canon, and is gorgeously realized in terms of the various blended aesthetics and filmmaking. But someone got the bright idea in their head to compile the completed episodes and add some bridging animation to see if they could make some money off it. Incidentally, this is not the first time this has happened: Belle’s Magical World is made up of three episodes of an abandoned Beauty and the Beast spinoff series, and the first of these, The Return of Jafar, was initially created as the pilot movie for the Aladdin TV series before Michael Eisner suggested the video release.
We pick up sometime after the events of the film. Kida (Cree Summer), now Queen of Atlantis, is pondering if she should end her late father’s isolationism and return the city to the surface. Before she and Milo (James Arnold Taylor picking up for Michael J. Fox, the only original cast member not to return since he was presumably too expensive for a series budget) can make that decision, friends like Whitmore (John Mahoney, though a few lines sound like Corey Burton ADR pick-ups), Mole (Burton), Vinnie (Don Novello), Sweet (Phil Morris), and Audrey (Jacqueline Obradors) drop in for a visit. It turns out weird shit is happening on the surface that may be related to lost Atlantean artifacts, so the group goes to investigate. This gets us into our three recycled episodes: the first involves a trip to a village near Trondheim, Norway that is besieged by a Kraken and the mysterious Volgud (Clancy Brown); the next takes them to Arizona and an encounter with dust coyotes; and the third involves a former competitor of Whitmore’s, Erik Hellstrom (W. Morgan Sheppard), who had a mental breakdown and now believes himself to be Odin, wishing to bring down Ragnarok on the world.
I admit to grading on some fairly generous curves here. The animation is a notable downgrade from the film in the level of detail and fluidity, though it’s better looking than other spinoff series like The Legend of Tarzan, which cannot remotely replicate the intricate designs of that source film on a TV budget. And while Taylor is a fine actor that replicates Fox’s nerdy exuberance well, it’s distracting that he sounds “off” when every other major character outside of Cookie (Steven Barr taking over for the late Jim Varney, who died prior to the film’s release) steps right into place like they never left. But in terms of an old-fashioned episodic adventure series, it’s actually pretty entertaining once we get underway. 
One major point in its favor are that the characters are all on point writing wise (Sweet is forever my favorite thanks to Morris’ cheerful motor-mouth contrasting so well with his massive size), and it’s nice to see progression on things like Milo and Kida’s romantic relationship being low-key sweet or the obvious question she would have to answer in terms of Atlantis’ status. It’s also interesting to watch the stories progressively get better. The first one has some decent action and Lovecraftian atmosphere, but Volgud is a mostly periphery threat who could’ve been emphasized more; it feels like a waste of the always great Brown, who adds a Nordic chill to his bass tones. The second has more of a fun Western vibe, with a good sneering villain in the form of Thomas F. Wilson as Ashton Carnaby, shifting his Biff vibes into sleazy con man mode, and he gets a grimly karmic fate for his transgressions. A Native American spirit named Chakashi also has some interesting beats as a character, not revealing whether he’s friend or foe until the end, and I like Floyd Red Crow Westerman’s dry, foreboding performance. The third story is unquestionably the best. Sheppard (in an ironic bit of casting since he played the genuine article Odin in an episode of Weisman’s Gargoyles) is a commanding and charismatic presence as Hellstrom, who carries the action formidably. His recasting of Milo as the trickster god Loki and Kida as his daughter Brunhilde reminded me of how Batman: The Animated Series handled the character of Maxie Zeus: his delusions are so overpowering that they barely seem to inconvenience him. You even feel a slight touch of pity as he cries out for his Asgard at the end. It also has some fun lifts from Jack Kirby in how a frost giant and presumably Surtur are visualized.
All told, I think I had this quite a bit of potential as a series even with the noted flaws. Among the planned episodes were a crossover with Gargoyles called “The Last” that would’ve featured an unnamed Demona and one of the Canmore family’s Hunters, which got as far as recording and model sheets before the plug got pulled. I don’t know that it would’ve been groundbreaking, but we still could have had plenty of adventures with this crew, and maybe more continuations like a theatrical sequel. Hell, I’d be down for a revival Disney Plus series at this point. But this is all that remains of a curious, half-formed dream.
101 Dalmatians: Patch’s London Adventure
The original 101 Dalmatians is not what I’d call a four-star classic of the Disney canon, but it’s a solid B+ with a great 60s London vibe and one of the all-time classic villains in Cruella De Vil. She’s so iconic and funny that they half considered using her in The Rescuers (which IMO would’ve been a considerable improvement) and they had to get no less then the great Glenn Close to play her in the 90s live action remake. The massive success of said remake reignited interest in the property, with a spinoff TV series that melded elements of the original film and the remake, as well as a sequel to the live action film, 102 Dalmatians (the height of creativity, as you can see), and this sequel. I’d never seen it before, but found a good recommendation for it in a YouTube ranking of all the sequels, so I decided to check it out.
We pick up after the film as Roger and Anita Darling (Tim Bentnick and Jodi Benson, the latter managing a pretty good British accent to these Yankee ears) prepare to move their pound of puppies, as well as Pongo (Samuel West) and Perdita (Kath Soucie), to a farm in the country, their “dalmatian plantation”. One pup, the titular Patch (Bobby Lockwood), increasingly feels left out and not recognized for his own qualities. Naturally, he fawns over TV hero Thunderbolt (Barry Bostwick), who’ll be in town for a get-on-the-show-as-a-guest-star contest, and Patch seizes the opportunity when he’s accidentally left behind in the move. After Patch embarrasses himself at the contest, Thunderbolt’s sidekick, Lightning (Jason Alexander), informs the star that the producers are planning to kill him off and replace him with a younger dog, in a bid to make himself the star after stewing in his shadow. Thunderbolt then determines he should commit real acts of heroism to raise his profile and recruits Patch to help him when he realizes the fan remembers more about his own show than he does. Meanwhile, a disgraced Cruella (Susanne Blakeslee) meets strange artist Lars (Martin Short, going full-bore on the pretentious French artiste cliche) and is inspired by his spot-centric art, eventually getting a wonderful, awful idea to inspire him in turn...
The first, most obvious thing about this movie is that it looks great. Disney’s then-still-in-action Japanese unit replicates the Xerography look of the original quite well, giving it a fresh digital crispness in the process. Especially good are the backgrounds, which are a lovely callback to the modern, abstract cityscapes of London. They accompany this with their typical brand of fluid, snappy character animation that suits figures like the larger-than-life Thunderbolt and the extravagant Cruella. It feels like a channeling rather than a stale imitation, which is key to these projects. The acting is also very much on point, particular highlights including Lockwood being chirpy and likeable without becoming grating, Bostwick riding a good line of an egotistical jerk that you nonetheless care about, Alexander using his smarmy asshole routine to great effect, Blakeslee adding to her repertoire of recreating old-timey villains (she’s also a great Maleficent) by chewing every last scrap of scenery available, and Short managing a good two-step with a character who is at first deliberately annoying but undergoes a pleasantly surprising change.
“Pleasantly surprising” is a good way to put it overall. Like the original, it’s not groundbreaking, but it finds purchase in pursuing solid character dynamics. A dilemma like Patch’s is quite a fertile one, and they mine it well without going too far into bathos territory; notably, once it’s discovered that he’s missing, his family IMMEDIATELY leaps into action. The bond between him and Thunderbolt is nicely organic, with the star learning that his actions do have a positive impact even if they’re just “acting” in his mind. And while they have a slightly rote “liar revealed” moment when Lightning gleefully rubs it in that Thunderbolt was using Patch for his own benefit, the pup’s hurt is well-handled, and Thunderbolt actually owns up to it rather than make excuses, which assists his ultimate redemptive moments (he’d also already been feeling guilty and tried to admit it beforehand). Cruella is used in interesting ways too; even if she reverts to her old self to a degree, it’s fascinating to see her kind of broken down and in a real relationship. There’s also a few good chuckles out of the culture clash between the thoroughly American Thunderbolt and his British surrounding, such as a gag where he chastises drivers for being on the “wrong” side of the road. The only really tired/eye-rolling moment is a drag-disguise scene with henchmen Horace and Jasper that doesn’t really add anything a less elaborate, gendered disguise couldn’t have accomplished. I get that a lot of these old-school drag bits weren’t inherently malicious, but it’s always a bit jarring to go back (compare to, say, Bugs Bunny, who gives remarkably zero fucks in ways that are more palatable to modern lenses).
My ultimate conclusion here, I suppose, is that while hard work and talent do not always make up for weak premises and starting points, as many of these sequels evidenced, the fact remains that a lot of hardworking, talented people who cared about the craft did work on these. The law of averages demands that can come through even under mercenary circumstances and with less resources. I find myself glad I dipped into these waters again, thinking more fondly of the whole enterprise.
Except you, Little Mermaid II. You still suck.
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