I really don't get the hype.

How wonderful it is to see this fine actress carry a film and carry it so beautifully.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Mickey Mouse is quite the story teller, telling the orphan kids about the time Mickey took on the role of in Gulliver's Travels, where he is a giant in the town and takes on its residents, dodging cannonballs and arrows. It's fun seeing Mickey un-phased by the ignorant residents' attacks, and they should be grateful that Mickey fended off the real nemesis of the show - a giant spider who likes to punch. Not the funniest of Disney cartoons, but a little entertaining. Grade B-

. . . to grow into a Monster Too Big to Assail during this brief cartoon, GULLIVER MICKEY. To Hitler-mustached Evil Genius Walt Disney (aka, the Real Life Voice of Mickey Mouse), business rivals, law enforcement, John Q. Public, and U.S. Congress People were ALL Lilliputians, to be treated like the nonentities he thought that they were. Der Fuhrer Disney would settle for nothing less than a Disneyland--and then, Horrors!--a Disney World! Realizing that his name would outlive both himself and Existing Copyrights as set forth by the Magna Carta, Adolf--Er, Walt--cooked up a Perpetual Motion Congressional Bribery Machine, so that a feckless parade of American senators, presidents, and alleged "People's" representatives would Declare a Thousand-Year Disney Reich unassailable by Mortal Man. GULLIVER MICKEY simply chortles sadistically as Americans give it all they've got to wrest control of THEIR stolen birthright from this Godzilla Mouse Monster. Hundreds of cannonballs bounce off Mickey harmlessly as he grabs more defenseless Little People than Harvey Weinstein could in 10 lifetimes. Getting suckers to PAY to watch Cultural Rapist GULLIVER MICKEY while screwing actual Gulliver creator Jonathan Swift's Estate out of their last uneaten baby is what Arch-Demon Disney called a "Two-Fer."

Mickey is at home reading Jonathan Swift's "Gulliver's Travels" when the 11 mice children he's watching start making a ruckus. To keep them quiet, he tells them a story based on the Lilliputian portion of the book (the book, by the way, has to do with several lands--not just the one in which Gulliver is a giant). In this case, he tells a pretty tall tale--telling them that the story was true and happened to him. He then tells about being shipwrecked in a strange land where he was a giant and the little people all attacked him--assuming he was coming to hurt them. However, a giant spider then attacks and it's Mickey to the rescue--beating up the spider and saving everyone. Obviously one of the little mice doesn't believe all this and plays a cute joke on Mickey--and Mickey, good naturedly, laughs along with everyone.Overall, this is a very good cartoon in every way. The animation (as always with a Disney cartoon) is great but the story is also a lot of fun. And, the ending really worked to tie it all together. Lots of fun and a cartoon I heartily recommend.By the way, the same style of story is told in "Giantland"--another film where Mickey is caring for this huge brood of mice. This time, however, he retells Jack and the Beanstalk--with him, naturally, in the role of Jack.

A Walt Disney MICKEY MOUSE Cartoon.GULLIVER MICKEY enthralls his young nephews with the story of his adventures among the tiny people of a faraway land.With a nod of acknowledgement to Jonathan Swift, this is a well-made little black & white film featuring very fine animation of the miniature world Mickey discovers. Sleepy Pluto makes a tiny cameo appearance. Walt Disney gave the Mouse his squeaky voice.Walt Disney (1901-1966) was always intrigued by pictures & drawings. As a lad in Marceline, Missouri, he sketched farm animals on scraps of paper; later, as an ambulance driver in France during the First World War, he drew comic figures on the sides of his vehicle. Back in Kansas City, along with artist Ub Iwerks, Walt developed a primitive animation studio that provided animated commercials and tiny cartoons for the local movie theaters. Always the innovator, his ALICE IN CARTOONLAND series broke ground in placing a live figure in a cartoon universe. Business reversals sent Disney & Iwerks to Hollywood in 1923, where Walt's older brother Roy became his lifelong business manager & counselor. When a mildly successful series with Oswald The Lucky Rabbit was snatched away by the distributor, the character of Mickey Mouse sprung into Walt's imagination, ensuring Disney's immortality. The happy arrival of sound technology made Mickey's screen debut, STEAMBOAT WILLIE (1928), a tremendous audience success with its use of synchronized music. The SILLY SYMPHONIES soon appeared, and Walt's growing crew of marvelously talented animators were quickly conquering new territory with full color, illusions of depth and radical advancements in personality development, an arena in which Walt's genius was unbeatable. Mickey's feisty, naughty behavior had captured millions of fans, but he was soon to be joined by other animated companions: temperamental Donald Duck, intellectually-challenged Goofy and energetic Pluto. All this was in preparation for Walt's grandest dream - feature length animated films. Against a blizzard of doomsayers, Walt persevered and over the next decades delighted children of all ages with the adventures of Snow White, Pinocchio, Dumbo, Bambi & Peter Pan. Walt never forgot that his fortunes were all started by a mouse, or that childlike simplicity of message and lots of hard work always pay off.