'Lilo and Stitch'
Two worlds collide

THOUGH THE INSANE gobs of cash generated by completely computer-made films like Shrek, Monsters, Inc., and Ice Age might suggest otherwise, Disney's latest, Lilo and Stitch, should prove that good ol' fashioned animation – albeit sparked up with C.G. accents – can still work movie magic. In a galaxy far, far away, a mad scientist's genetic experiment gone awry begets Stitch, a snaggletoothed menace to alien society. After a daring jailbreak, the rascally critter descends on Hawaii armed with supersmarts and a hardwired desire to wreak havoc on everything in his path. Before long, this anti-E.T. crosses paths with Lilo, a lonely girl with two main passions: taking pictures of beer-bellied tourists, and Elvis. Even before Stitch introduces nonstop mayhem and destruction into her life, Lilo – who heads a "human" cast that's more realistic and modern than is seen in most Disney flicks – has got troubles of her own. She's an orphan in the care of her disorganized, frequently exasperated (but still loving) older sister, Nani, and a local social worker (voiced by, and drawn to look exactly like, the imposing Ving Rhames) has made it clear that he's losing patience with the little family. Using an original story rather than tapping a well-worn classic allows directors Chris Sanders (also the voice of Stitch) and Dean DeBlois considerable creative freedom, and Lilo and Stitch combines elements as diverse as hula and fire dancing, spaceship chases, surfing, intergalactic bounty hunters, and plenty of the King's hits. At the film's core is a simple message about the importance of family, and while Lilo and Stitch may lack the Broadway-style grandeur of other recent Disney efforts, it's nevertheless a charming tale that boasts winning, memorable characters. (Cheryl Eddy)