All Dogs Go to Heaven (1989)
Directed by Don Bluth
When a casino-owning dog named Charlie is murdered by his rival Carface, he finds himself in Heaven. Wanting to get back at his killer, he cons his way back to the living with the warning that doing so damns him to Hell. Once back, he teams with his old partner, Itchy, to prep his retaliation. He stumbles upon an orphan girl who can talk to the animals, thus allowing him to get the inside info on the races to ensure his wins to finance his plans. However, all the while, he is still haunted by nightmares of what's waiting for him on the other side unless he can prove that he is worthy of Heaven again.
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What critics compared All Dogs Go to Heaven to
Legendary animator Don Bluth ("All Dogs Go to Heaven") shows some signs of maturity, connecting to an audience older than what he's used to, while Fox Animation proves that it can compete with the big guns over at the Mouse House (that's Disney, folks).
It was directed by on Bluth and Gary Goldman, the team behind the excellent The Secret of NIHM (1982) and the questionable All Dogs Go to Heaven (1989) and Anastasia (1997).
"Titan A.E." is the latest feature from Don Bluth, the onetime Disney animator ("Robin Hood") who broke loose and, with another Mouse Factory refugee, Gary Goldman, produced a string of middling-to-good full-length cartoons: "The Secret of NIMH," "An American Tail," "All Dogs Go to Heaven" and more.
Bluth, whose pictures include The Secret of NIMH, The Land Before Time, and All Dogs Go to Heaven, codirected the movie with Gary Goldman, and it's clear that he's trying to advance his technological artistry along with the times.
In his several-year run against the Disney titan, animation producer Don Bluth has turned out some respectable contenders, such as An American Tail, All Dogs Go To Heaven, and The Land Before Time.
Created by Disney rival Don Bluth ("An American Tale," "All Dogs Go To Heaven") as a launching project for 20th Century Fox's new animation house, "Anastasia" pretty much skips right over all that unpleasant slaughtered family business.
Strong in the belief that it was his vision that was truly heir to Walt Disney's own beliefs about the role of animation in popular entertainment, Bluth managed for a short time to give his old company its first serious competition ever in the mid-'80s, seemingly poised to take on the title of The New Walt, unclaimed since Disney's premature death in 1967, until his former employer got its head screwed back on and roared back to life in 1989, as The Little Mermaid wiped the floor with Bluth's All Dogs Go to Heaven , forever crushing Bluth's presence as a major player in American animation.