Disney has been bringing movie magic to families for more than 100 years. Characters like Steamboat Willie, Simba, and Olaf have become a part of the pop culture fabric, while films such as “Snow White and the Seven Dwarfs,” “The Little Mermaid,” and “Pirates of the Caribbean” have set the bar in their own genres. Some have even made Looper’s list of 40 best Disney movies of all time. However, not all of Disney’s big screen releases have received the same amount of pixie dust.

There are plenty of titles from the House of Mouse that fell flat in theaters before becoming cult classics that are now enjoyed by so many. “A Goofy Movie,” “The Black Cauldron,” and “Oliver & Company” are just some of the titles that are still revisited with happy nostalgia decades after being released. But there are also an unfortunate few that still lack the magic needed to be considered a Disney success. Here’s some of the worst Disney theatrical releases, animated and live-action included.

“The Jungle Book 2” wanted to be like the 1967 animated original, but its overall story leads it to fall short of becoming a beloved toe-tapping adventure. In the 2003 sequel, Mowgli (Haley Joel Osment) is living with a human family and missing Baloo (John Goodman). He eventually reunites with his best pal, but he also comes face-to-face with old enemies like Shere Khan (Tony Jay).

Roger Ebert points out that there is no complexity to the story, adding that much of the dialogue seems to be used more as filler rather than actually developing the plot. The character lineup proves that Disney was hoping that familiar faces would help carry this story, but the idea of leaning into the familiar goes a bit too far, thanks to constant renditions of “Bare Necessities,” which is reprised no less than three times. However, the incessant repetition could turn this earworm into an annoying reminder of Baloo’s life philosophy. It’s clear that Disney should have spent more time fleshing out the script in order to truly commit to the idea of expanding Mowgli’s world.

“Planes” is a spin-off of Disney and Pixar’s “Cars,” which raced into the hearts of many families upon its release. However, this high-flying flick is no match for its automobile counterpart, and this could be due to Pixar not being involved. The tale, which was co-produced by DisneyToon Studios and Walt Disney Motion Pictures, follows crop dusting plane Dusty Crophopper (Dane Cook) as he faces his fear of heights in order to chase a dream. Unfortunately, this story about overcoming fear doesn’t have a lot of physical obstacles for its star to overcome.

USA Today wrote that the journey isn’t all that exciting because planes don’t have as many physical obstacles as cars do, which could lend to the predictability. Vulture took issue with the overall visual dullness, pointing out that in real life, planes don’t have much visual. That’s something that should have been taken into consideration, since eye-catching landscapes and death-defying terrain can add so much vibrancy to an adventure movie.

As for the story itself, the beginning briefly introduces characters while a good portion of the first 10 minutes is spent on so many one-liners that audiences may be wondering where the story is actually going. Variety found glaring problems, including the use of broad cultural stereotypes and a plot that follows the well-worn underdog formula rather than pushing the boundaries with a few twists and turns.

Disney tried to bring its magic to another classic tale with the animated adaptation of “Chicken Little,” but it doesn’t match the majesty of films like “Sleeping Beauty” and “The Sword and the Stone,” to which it seems to give a nod to by opening the movie with visuals of a storybook. It’s one of many fairy tale jokes in the film, and one of the many things that only adults will notice. Once the initial fairy tale homages are over, the movie works very hard to expand the short, classic fable by introducing Chicken Little (Zach Braff) while he is in the middle of his frantic claim about the sky falling. The audience is then whisked to the present day where the title character is eventually faced with an alien invasion.

His three best friends, Abby Mallard (Joan Cusack), Runt of the Litter (Steve Zahn), and Fish Out of Water (Dan Molina) try to move the plot along, but an over abundance of jokes and car ride chatter between Chicken Little and his dad Buck Cluck (Garry Marshall) could have been replaced with more plot details. The San Francisco Chronicle found the incessant jokes and pop culture references amusing, even though they clutter the plot. The BBC begs to differ, writing that cuteness and charm cannot overshadow the lack of story found in this relatively short film, clocking in at under 90 minutes.

A rewatch of this 2002 film will make audiences realize that this is Disney’s attempt to make a family-friendly “This is Spinal Tap” that appeals to country music fans, but it just ends up being one of the flops that Disney wants you to forget about. “The Country Bears” follows Beary Barrington (Haley Joel Osment) on his quest to reunite the titular band. While talking animals are hallmarks of the Disney brand, live-action talking animals are a whole different story.

The opening scenes of The Country Bears in concert feels reminiscent of Chuck E. Cheese’s Munch’s Make-Believe Band — minus the pizza. The Washington Post reminds viewers that this film is actually based on Disney’s own animatronic band that headlines the Disney World attraction “Country Bear Musical Jamboree.” The spectacle reopened following a makeover in July 2024, proving there is still an audience for these cuddly country crooners. However, The Washington Post called the movie awkward with not enough jokes to help its entertainment value. Music greats like Bonnie Raitt and Don Henley lend their voices to the cast, and even Willie Nelson, Queen Latifa, and Elton John make appearances as themselves. Alas, their star power isn’t enough to send this comeback story to the Country Music Hall of Fame. It’s a movie that proves that not all theme park attractions fit into a linear storyline.

“Condorman” is one of those strange superhero movies that you may not know existed. It tries to be “Superman” with the sleek appeal of early “James Bond” films, but the 1981 film falls short of expectations. It focuses on cartoonist Woody Wilkins (Michael Crawford), who steps into the shoes of the title superhero while using his CIA courier gig to help a Soviet spy defect. Its family-friendly appeal coupled with relatable goofiness makes it feel like a movie version of “The Greatest American Hero,” which also premiered in 1981. It just doesn’t land the same way as the classic TV series, and that could be because of how the movie views its overall appeal.

At times, “Condorman” takes itself too seriously, which could be why it falls flat. One such example is the villain Krokov (Oliver Reed). While his ranting and raving is meant to be sincere, it’s so over-the-top that it elicits chuckles rather than engaging the audience with dialogue that could signal key plot twists. Woody also takes his role a little too seriously at times, adding to the cheese factor. “Condorman” shows that such a fantastical story should lean into its goofy vibes rather than melodrama.

“The Nutcracker and the Four Realms” has a disjointed story, awkward scenery, and a way-too-scary villain. It begins with Clara Stahlbaum (Mackenzie Foy) receiving a mysterious egg from her recently deceased mother. As she searches for the egg’s key, Clara discovers a snowy universe reminiscent of Narnia. As the title states, there are four realms, but the scenery feels disjointed upon Clara’s entrance, which quickly turns from snowy haven to a landscape that looks more like “Alice in Wonderland.”

CNN points out that the lack of original production design matches a lack of inventiveness in this script. Dialogue is a problem because it feels more like filler rather than plot devices, especially when there are repetitive scenes showing Clara yelling at mice to give her the key to her egg. As for its characters, Clara’s father, Mr. Stahlbaum (Matthew Macfadyen) shares grief that comes across more like harsh annoyance toward his three children, quickly dismissing their feelings and giving demands amid Drosselmeyer’s (Morgan Freeman) holiday party. However, Clara is given a third-dimension in this adaptation as she showcases her passion for engineering and problem solving.

Time Out wrote that the villain, the Mouse King, is a glaring problem because he is a monster made up of hundreds of realistic CGI mice. This imagery could be too scary for young audiences, and it will make adults with mice phobias retreat immediately.

While there’s plenty of familiar scenery and fun characters, there’s not enough pixie dust in the world to make “Return to Never Land” fly on the big screen. The story begins with Captain Hook (Corey Burton) entering a World War II-era London in an attempt to kidnap Wendy (Kath Soucie). He takes her daughter Jane (Harriet Owen) instead, mistaking her for her mother. Once the Jolly Roger is back in Never Land, Peter Pan (Blayne Weaver) saves Jane and starts showing her the ropes of this magical oasis.

The story is meant to expand upon Jane, who is mentioned in the original literary works written by author J.M. Barrie. While Disney seamlessly introduces this character to its version of Never Land, the story itself is not as successful. This is meant to be a new adventure, but as the BBC points out, it has a copy-cat feel that lacks enchantment. Peter spends plenty of time introducing Jane to the Lost Boys, teaching her how to fly, and helping her believe in magic, all while trying to ward off Captain Hook. This magical realm is an eye-catching spectacle for little kids, but the story doesn’t do much to interest adults.

“Doug’s 1st Movie” was Disney’s chance to capitalize on a built-in fanbase, but Doug’s big screen adventure just feels like an elongated episode of the TV series. In the film, Doug Funnie (Thomas McHugh) and his best friend Skeeter (Fred Newman) discover the legendary Neematoad lurking in Lucky Duck Lake, which is being polluted by Bluffco. It is up to them to protect their new friend and expose the actions that are putting the environment in jeopardy — all while Doug tries to make time for his crush Patti Mayonnaise (Constance Shulman) ahead of the big school dance.

The New York Times wrote that positive lessons are front-and-center, including protecting nature and showing people that differences should be embraced. Positive messages have been a hallmark of the “Doug” TV series, and it’s a very important ingredient in a film geared toward a young audience. While this film does expand on the Neematoad legend talked about in the series, the Times said the tale is not at all inspired, noting similarities to “E.T.,” including a scene where the creature wears a disguise that includes a blonde wig.

But an uninspired story is not the only problem that plagues “Doug’s 1st Movie.” Before “Doug” became a Disney series, it spent four seasons delighting Nickelodeon audiences. Fans have spent years debating which version of the series is better, and this controversy could have doomed “Doug’s 1st Movie” even before its premiere.

Centering a story around Disney’s trademark of cute and cuddly animals seemed like a good idea, but it didn’t translate into the bear-sized success that the House of Mouse was hoping for. “Brother Bear” chronicles the transformation of a young man named Kenai (Joaquin Phoenix) who kills a bear to avenge his brother’s death. He is then transformed into a bear and becomes a surrogate big brother to a cub named Koda (Jeremy Suarez). While it was a 2004 Academy Award nominee in the best animated feature category, critics were not thrilled with this coming-of-age, nature-centered tale.

The BBC called it a run-of-the-mill film with only a superficial resemblance to a Disney classic. Detroit Free Press points out that there are too many similarities between “Brother Bear,” “Pocahontas,” and “The Lion King,” which is why this tale feels recycled rather than inspired. Including a soundtrack helmed by Phil Collins adds to that recycled feel, since he also wrote the songs for “Tarzan” in 1999.

For decades, “The Lone Ranger” has been known as a pioneering radio drama enjoyed by generations, but Disney’s big-screen adaptation turned into one of those overhyped movies that ended up being terrible. The 2013 movie opens on Tonto (Johnny Depp) revisiting the adventures he shared with the Lone Ranger (Armie Hammer) while recalling how they took down outlaws in the Old West. Disney saw big success with the Johnny Depp-led “Pirates of the Caribbean,” but Depp’s performance couldn’t save the flat script that makes the 149-minute runtime exhausting.

The Guardian wrote that while “The Lone Ranger” does try to play with different genres, the constant weaving makes for a film that cannot figure out its true identity. Vulture points out that there is an odd combination of buddy comedy and carnage, and that while it tries to include humorous moments, audiences will not find much to laugh at.

“Wish” follows Asha (Ariana DeBose) as she fights to rescue wishes held captive by the conniving Magnifico (Chris Pine), who doesn’t believe that every person’s wish should be granted. It is clear that Disney was hoping that this film would become a modern classic that connects a younger audience to the brand’s animated classics. However, the references that are meant to be slight nods to the animated golden era go too far, sending this tale into copycat territory.

The plot is propelled by Asha wishing upon a star that comes down to Earth to help her complete her quest. While this makes sense in a movie titled “Wish,” it is also a predictable plot device, given that Disney’s anthem is “When You Wish Upon a Star.” Magnifico is caught crushing dreams that include depictions of Peter Pan and Neverland and a perfect nanny in reference to “Mary Poppins.” The Easter eggs continued to be peppered throughout, from forest cottage scenes that are animated in the style of “Sleeping Beauty” to the poison apple on Magnifico’s desk. Even the ending of “Wish” has allusions to Disney canon that need to be explained. The film spends so much time celebrating Disney’s past that there is not enough of its runtime left to flesh out the tale that could have helped define Disney’s future.

This 2004 animated Western follows Maggie (Roseanne Barr), a cow who is sent to a new home after her previous farmer loses his land due to the crimes of Alameda Slim (Randy Quaid). But Maggie’s new home is in jeopardy when the owner is faced with an eviction notice, unless she can come up with $750. Maggie and her fellow dairy cows set out on a quest to find Slim in order to claim the reward money. Roger Ebert wrote that there is a lack of originality, since the plot feels like it could have been copied from any 1940s cowboy flick, but the bright colors and fun characters will still delight young audiences.

While this does feel like a run-of-the-mill Western, it’s also an adventure story that is very frantic due to an overabundance of characters. “Home on the Range” begins by setting up its main story with three dairy cows, a farm owner, the local sheriff, and the outlaw who is ruining farms. That’s enough for a solid western, but a B-story is set up when a bounty hunter named Rico (Charles Dennis) goes after Slim, while at the same time Buck (Cuba Gooding, Jr.), the sheriff’s horse, is seeking his own adventure. All of these narratives will eventually collide into each other, but it’s too much story for the runtime that’s allotted.

Tim Burton is known for helming whimsical worlds that have their own unique vibrancy, but “Alice Through the Looking Glass” has bright visuals that clash to the point where audiences can’t focus on the story. The 2016 sequel to Burton’s 2010 “Alice in Wonderland” finds Alice Kingsleigh (Mia Wasikowska) traveling to the past in order to save the Mad Hatter (Johnny Depp).

The story is overstuffed from the beginning, with Alice receiving word about the troubled Mad Hatter as a distracting subplot about Humpty Dumpty (Wally Wingert) happens behind her. This after audiences already received a lot of information regarding Alice’s own personal problems, which focus on her ex-fiancé Hamish Ascot (Leo Bill) scheming to take her father’s ship. The chaotic entrance into Wonderland doesn’t help when more characters are introduced, while others are revisited in this journey through the past. Leonard Maltin called “Alice Through the Looking Glass” exhausting, noting that the 113-minute runtime feels far too long.