Changes

|2008

|2008

|PG-13

|PG-13

|Although the film does depict the Communists as bad guys (to such an extent that the Russian Communist Party in Moscow was angered by the decision), and implies that Indiana Jones is a Republican or at the very least an [[Dwight D. Eisenhower]] fan, the film also depicts McCarthyism in a negative light, with one character implying that the American Government was simply being paranoid, as well as overall downplaying the true scope of the Soviet menace by having the same character denying there being a sizeable Communist infiltration in America.

|Although the film does depict the Communists as bad guys (to such an extent that the Russian Communist Party in Moscow was angered by the decision), and implies that Indiana Jones is a Republican or at the very least a [[Dwight D. Eisenhower]] fan, the film also depicts McCarthyism in a negative light, with one character implying that the American Government was simply being paranoid, as well as overall downplaying the true scope of the Soviet menace by having the same character denying there being a sizeable Communist infiltration in America.

|$786.6 million

|$786.6 million

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|-  

| 1960

| 1960

| G

| G

|-

|-

|''The Princess and the Frog''

|''The Princess and the Frog''

|2001

|2001

|PG

|PG

|Loosely based on a 1990 fairytale picture book by William Steig, the second feature-length computer animation by DreamWorks SKG stars Shrek, a socially challenged ogre who becomes an unlikely hero when he forms an alliance with a pesky, talking donkey to rescue a princess at the behest of the evil Lord Farquaad of Duloc, who hates fairytale-type beings and has forced a host of them to live in Shrek's swamp. Not long after they rescue Princess Fiona, Donkey learns that she was cursed as a child to transform into an ogre herself by night and that only marriage can break the curse. Shrek does not hear this message clearly at first and thinks Fiona is calling him an "ugly beast" before he realizes she actually despises her own ogre form and stops her marriage to Farquaad, preventing him from becoming a tyrannical king and continuing to oppress fairytale beings. Although DreamWorks is liberal, the dialogue occasionally resorts to adult humor (such as Shrek and Donkey cracking jokes at Farquaad's expense that implied that he had small gonads when explaining what he's like), and Fiona sometimes behaves like a feminist (as when she effortlessly uses martial arts against Robin Hood and his Merry Men), it is implied that most of the characters are Christians as the gingerbread man says "God Bless Us Everyone" (a reference to the character Tiny Tim in ''A Christmas Carol''). The gospel song "I'm a Believer" at the end of the feature, and the scene where Shrek and Fiona are silently upset about being separated has the version of "Hallelujah" by Leonard Cohen. Robin Hood is a secondary antagonist, but he is at least implied to be based on the infamous revisionist version by [[Joseph Ritson]] that was made in solidarity to the [[Jacobin]]s during the French Revolution). Lord Farquaad, intended to be based on Liberal [[Disney]] CEO [[Michael Eisner]]<ref>http://articles.chicagotribune.com/2001-04-06/features/0104060008_1_lord-farquaad-dreamworks-jeffrey-Katzenberg</ref> (which adds to the whole film's existence as a reverent parody of Disney fairytale animation conventions), is likewise a lampoon of materialism because he only desires Fiona's marriage so he can officially become the King of Duloc. Finally, shortly after Farquaad meets his end at the jaws of Donkey's dragon love interest, Donkey jokes about [[Hollywood values]]: "Celebrity marriages, they never last, do they?"

|Loosely based on a 1990 fairytale picture book by William Steig, the second feature-length computer animation by DreamWorks SKG stars Shrek, a socially challenged ogre who becomes an unlikely hero when he forms an alliance with a pesky, talking donkey to rescue a princess at the behest of the evil Lord Farquaad of Duloc (a ridicule caricature of liberal-progressive former CEO of Disney and former Jeffrey Katzemberg boss, [[Michael Eisner]]), who hates fairytale-type beings and has forced a host of them to live in Shrek's swamp. Not long after they rescue Princess Fiona, Donkey learns that she was cursed as a child to transform into an ogre herself by night and that only marriage can break the curse. Shrek does not hear this message clearly at first and thinks Fiona is calling him an "ugly beast" before he realizes she actually despises her own ogre form and stops her marriage to Farquaad, preventing him from becoming a tyrannical king and continuing to oppress fairytale beings. Although DreamWorks is liberal, the dialogue occasionally resorts to adult humor (such as Shrek and Donkey cracking jokes at Farquaad's expense that implied that he had small gonads when explaining what he's like), and Fiona sometimes behaves like a feminist (as when she effortlessly uses martial arts against Robin Hood and his Merry Men), it is implied that most of the characters are Christians as the gingerbread man says "God Bless Us Everyone" (a reference to the character Tiny Tim in ''A Christmas Carol''). The gospel song "I'm a Believer" at the end of the feature, and the scene where Shrek and Fiona are silently upset about being separated has the version of "Hallelujah" by Leonard Cohen. Robin Hood is a secondary antagonist, but he is at least implied to be based on the infamous revisionist version by [[Joseph Ritson]] that was made in solidarity to the [[Jacobin]]s during the French Revolution). Lord Farquaad, intended to be based on Liberal [[Disney]] CEO [[Michael Eisner]], as mentioned above.<ref>http://articles.chicagotribune.com/2001-04-06/features/0104060008_1_lord-farquaad-dreamworks-jeffrey-Katzenberg</ref> (which adds to the whole film's existence as a reverent parody of Disney fairytale animation conventions), is likewise a lampoon of materialism because he only desires Fiona's marriage so he can officially become the King of Duloc. Finally, shortly after Farquaad meets his end at the jaws of Donkey's dragon love interest, Donkey jokes about [[Hollywood values]]: "Celebrity marriages, they never last, do they?"

|$484.4 million

|$484.4 million

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|-

|2004

|2004

|PG

|PG

|The sequel to the above film. On the one hand, aside from DreamWorks being liberal, there are some jokes that could be interpreted as promoting gender confusion (such as the revelation that Pinocchio was wearing women's underwear while he and the other fairy tale creatures save Shrek and Donkey from imprisonment). On the other hand, there is also an anti-racism message for the film, since Fiona's father, the king of Far Far Away, is initially distrusting of Shrek largely due to the latter's Ogre status, and eventually comes to accept him upon realizing Fiona does truly love him, even going as far as to save his son-in-law from Fairy Godmother at the end, and the main villain, Fairy Godmother, is explicitly racist against Shrek for his species, insisting that "Ogres do not get happy endings" repeatedly. Also like the prior movie, it has a more anti-materialist message, as Fairy Godmother as well as her son, Prince Charming, both only intended to use Fiona in order to gain control over Far Far Away, similar to Lord Farquaad in the preceding movie. It also has a redemption message in the form of Puss in Boots, who initially was hired to kill Shrek, but after Shrek spares him, he ultimately became a loyal ally to Shrek, even willingly holding off several soldiers to allow Shrek and Donkey (who at that time had been transfigured into a handsome man and a white stallion, respectively) enough time to stop Prince Charming and Fairy Godmother from having Fiona "wed" the former (due to thinking that Fiona ingested a brainwashing serum inside her tea that had been laced on Fairy Godmother's orders). Also has a degree of anti-feminist messaging due to Fairy Godmother clearly adhering to the feminist view on things.

|The sequel to the above film. On the one hand, aside from DreamWorks being liberal, there are some jokes that could be interpreted as promoting gender confusion (such as the revelation that Pinocchio was wearing women's underwear while he and the other fairy tale creatures save Shrek and Donkey from imprisonment), but in reality are at the expense of Pinocchio. On the other hand, there is also an anti-racism message for the film, since Fiona's father, the king of Far Far Away, is initially distrusting of Shrek largely due to the latter's Ogre status, and eventually comes to accept him upon realizing Fiona does truly love him, even going as far as to save his son-in-law from Fairy Godmother at the end, and the main villain, Fairy Godmother, is explicitly racist against Shrek for his species, insisting that "Ogres do not get happy endings" repeatedly. Also like the prior movie, it has a more anti-materialist message, as Fairy Godmother as well as her son, Prince Charming, both only intended to use Fiona in order to gain control over Far Far Away, similar to Lord Farquaad in the preceding movie. It also has a redemption message in the form of Puss in Boots, who initially was hired to kill Shrek, but after Shrek spares him, he ultimately became a loyal ally to Shrek, even willingly holding off several soldiers to allow Shrek and Donkey (who at that time had been transfigured into a handsome man and a white stallion, respectively) enough time to stop Prince Charming and Fairy Godmother from having Fiona "wed" the former (due to thinking that Fiona ingested a brainwashing serum inside her tea that had been laced on Fairy Godmother's orders). Also has a degree of anti-feminist messaging due to Fairy Godmother clearly adhering to the feminist view on things.

|$919.8 million

|$919.8 million

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